So…you’re looking for some places to find money/jobs/grants/work? Where can you even go to research and get started?
It can be confusing to find calls, auditions and other spots for artists’ work. And like many young performers, in my early days of working I wrote off looking for grants and residencies because I didn’t think the accepted applications from artists like me. That simply isn’t true. There are opportunities to fund your work in every artistic discipline, if you know where to look.
Here’s some of our favorite places for artists to find more work (or ways to fund it!):
Opportunity Arts – If you haven’t already checked out C4 Atlanta’s new opportunity board, you add it to your bookmarks immediately. Listings change daily, with upcoming jobs, contract work, RFPs, auditions, grants and more. Listings are also referenced by artistic discipline and opportunity type. Currently free to list and always free for artists to browse. Looking for a space for an upcoming show? Check out the “Spaces” button, which links to Spacefinder Georgia, where you can search for spaces by location, size, event type and budget.
Foundation Center Atlanta – The Foundation Center Directory Online is an incredible database of grant opportunities. If you search their database from your house, you have to pay a fee. However, Atlantans are incredibly fortunate to have a local chapter of the Foundation Center in Downtown. If you visit the Center, you can use the Directory for free from their office, as well as access other available online fundraising tools. Additionally, the Foundation Center offers classes and training about fundraising, so it’s worth checking out their training calendar of upcoming programs, too.
CAFE (Call for Entries) – CAFE lists calls from all over the world. You can find lots of listings for awards, upcoming grants, and public art in particular. Though the platform is probably already familiar to those looking to find opportunities for public visual art, performing artists and artists of other disciplines can also find plenty of opportunities for grants, residencies and other opportunities to make or fund work. CAFE allows you to upload your own artist portfolio and submit to opportunities directly through the platform. This makes it easier to submit to more opportunities.
Creative Capital – Creative Capital publishes a new list of artist opportunity deadlines every two months. Additionally, there are links to other directories of artist residencies and opportunity boards. There’s always a wide variety of listings among all artist genres, with hyper local opportunities to international calls. Creative Capital also provides training for artists through in person and online opportunities. Creative Capital also awards their own grant every two years with awards up to $50,000 of support.
Your Local Municipality’s Facebook (or other social media) Page – Ok, this is a little vague. But depending on where you live, your local arts council may be sharing lots of other calls online through Facebook. Georgia Council for the Arts, Fulton County Arts and Culture, Atlanta Mayor’s Office of Cultural Affairs and many others all share calls for artists on their Facebook pages regularly. Often, calls are also shared through their monthly email newsletters, too. Like and Follow your town, county or other local arts council’s social media to get access to what their sharing.
There are other spots you can look to for finding funds. Feel free to share you favorites with us!
Lastly, if you’re looking for grant support for the first time, check out our upcoming program with Atlanta Contemporary on Saturday, January 26 from 10-12 AM called Grant Writing 101. During this workshop, we’ll cover the basics of getting started looking for grant support including gathering and preparing your grant materials, finding grantors, building a case for support and more. This is a great introduction to the grant writing process for folks who are working on their very first grant or with limited grant experience. Register Online Here.
Sign this letter asking to Mayor Reed to adopt an equitable funding distribution model for his fractional tax for the arts!
On Monday, C4 Atlanta, along with several other Atlanta arts organizations and artists, sent a letter to Mayor Kasim Reed to ask him to support our model for distribution of funds under his proposed sales tax for the arts initiative. Other supporters of this initiative include: Flux Projects, Hammonds House Museum, glo, Living Walls, MODA, Poem 88, Art Papers, Dashboard US, Moving in the Spirit, Atlanta Celebrates Photography, Soul Food Cypher, and others.This initiative would provide a dedicated stream of funding for arts and culture organizations in the city through a .1% sales tax. The full version of our proposed funding distribution model is available in PDF format here:
The model proposed by this group includes funding for individual artists and is meant to incentivize growth of small and mid-sized arts and cultural organizations, while also providing financial assistance to larger institutions, too. Funding for individual artists would also be available in this model, as well as for non-arts organizations who would like to create cross-sector arts collaborations that would benefit the community. By nature of their mission, smaller organizations are often those providing the largest share of resources to underserved communities and communities of color. We also understand and appreciate the place of large institutions in our arts ecosystem as well. It is important for a robust arts community to have thriving organizations at all levels in order to support the career growth of arts workers and to provide the greatest array of services to the most people, regardless of race, location, gender identity or socio-economic status. Because of this, we believe this model will continue to cultivate Atlanta’s rich cultural capital and promote even more diversity within our community.
— Reach out to non-arts community organizations to sign as well. This model supports cross-sector collaborations.
Below is a copy of our letter to Mayor Reed introducing our proposed model and the reasons for asking him to adopt it in the pending legislation to introduce this tax initiative. Names of supporters are added automatically as they sign. If you would like to sign on to this letter encouraging the Mayor to adopt our funding model click here:
I love my job. I get to work with artists and help create and manage education that can support their ability to achieve their hopes and dreams. Those hopes and dreams contribute to making an incredibly diverse and creative arts ecology for our community, from which everyone benefits. Each year, C4 Atlanta services over 400 artists through our training services. That’s a LOT of creative hopes and dreams for Metro Atlanta!
In order to service the city’s musicians, painters, circus artists, dancers, film producers, tattoo artists, actors, and more! A lot of thought and preparation goes into what we offer. As former artists ourselves, our staff understands that where you put your (often very) hard earned dollars makes a huge difference, and we are committed to offering as high a standard of adult education as possible. What goes into that? An awful lot.
All too often being a good educator is equated with expertise in a particular content area. But all of us at some point in our lives know that this simply isn’t true. Each of us have been “trained” at some point by an expert who wasn’t actually skilled at education: a trainer who couldn’t explain to you what they were doing, a professor who’s MO seems to be “read the book, and figure it out for yourself”, or a brilliant musician who can’t seem comprehend how to translate their talent to a young student.
In addition to our almost 20 years of combined experience in education, our staff puts and incredible amount of infrastructure behind each class that we offer. So what DOES it take to plan and produce class at C4 Atlanta? Let’s take a look.
Most of our classes start with suggestions from our students. Every educational offering includes an evaluation, and every evaluation includes a question asking “What other educational offerings would you like to see in the future?” Some of our best courses have come from suggestions from artists like YOU!
Let’s assume that we’ve already done the funding legwork to ensure that we have the finances in place to even create a class in the first place. Often this is the longest part of the process. Securing grant funding make take years depending on the program. This can also include the time it takes to develop a relationship with and introduce our organization to a funder who has an interest in the type of education we’d like to offer. Other classes are developed with more agility. We test a concept, get feedback, and expand on it until it becomes a full course offering.
In order to develop a class, we first need to start with visioning the objectives and expectations. What are our goals for student learning and what skills will students walk away with? What is a reasonable given student expectations and feedback? What information is relevant and current? What do we want the class to look and feel like? What kind of student experience will it offer? What kind of time frame is reasonable; is the class a one day offering or will the content require several sessions to cover adequately?
In order to more fully form our overall course objectives, some research is usually necessary. Our staff regularly stays on top of the most relevant research in the field, and what information may be on the horizon to contribute to our learning opportunities. It is important for us to be aware of what is trending in the field and how the needs of working artists may be changing over time. We are also fortunate to have a wide network nationwide of friends in the field to help point us toward additional information when we need it. In some cases, these friends have also become content collaborators or class partners.
Once overall class objectives have been identified, we can then begin to create lesson plans. For a multi-week class such as Ignite or Hatch, we can break up the course objectives into individual classes, each with it’s own individual lesson plan. For a one day or pop-up class, one single lesson plan is usually all that’s necessary. In our lesson plans, we identify specific learning outcomes for each individual class (based on our larger class objective(s)), activities and modules to be presented, outside support materials for the facilitator for more information, evaluation criteria for both the students and the facilitator, and a list of facilitator and student materials needed to execute the class. Having a strong, robust lesson plan makes our next steps much easier, so we work hard to make sure we get it right.
From these initial lesson plans, we then begin to think about what is called an implementation plan. This is different from our lesson plan in that in addition to more specific detail, it also includes a breakdown of the timing of each section of a lesson. Specific case studies, anecdotes, concepts, discussion questions, or activities are outlined in the implementation plan, as are time for evaluations, introduction and/or closing rituals. This implementation agenda allows the course facilitator to effectively pace the learning of the class. It also allows those building the lesson to make reasonable expectations for learning, plan necessary breaks in learning in ways that will not disrupt the content delivery, and map out a student’s expected learning trajectory. It’s important for concepts to build upon each other, and for students to have ample opportunities to practice the skills they are learning, and it’s important for this to be built into the design of the class from the beginning.
In our courses, it’s also important to us that students are building a network of colleagues and resources beyond what is provided in the content. Ample time for course discussion is factored into the implementation plan as well.
With strong plans laid, we can then begin to build presentations and supplementary learning materials for our classes. Powerpoints, workbooks, worksheets, exercise write-ups, and graphs or charts are created. Additional write-ups or notes may need to be included here for the class facilitator as well. The learning environment can also affect how we reach learners who have specific learning or ability challenges. The more that modifications or learning designs that can facilitate learning for a multitude of individuals and learning styles can be anticipated, the stronger overall our class will be for all students. To this end, our staff is currently researching Universal Design for Learning, with plans to incorporate this into all of our classes in the future. This is a core tenant of our upcoming strategic plan for the next five years.
Is the class ready to go yet? Nope. It’s time for a consistency check. Everything we have created needs to now be proofed. We’re not just looking for typos and grammatical errors, but also checking to make sure that what we have created theoretically works in a practical format: Did we cover the objectives we identified adequately? Are our timings correct? Should certain concepts be moved in order to facilitate better learning? Have we included a good mix of traditional instruction and activity? Did we plan enough time for breaks? Are the chosen visuals clear and representational of the concepts we are covering? Our implementation or lesson plans may need to be tweaked at this point depending on the changes that are necessary.
Now that the format of the course is complete, we’ll need a way to measure our efficacy at meeting our learning objectives, as well as our course facilitator’s ability to connect and share the content with the class. Course evaluations are an important part of each class. Questions are matched not only with the course objectives, but also with information that could be beneficial when evaluating our overall offerings and services. In the future, we hope to a create a unified assessment plan that includes all of our organizational assessment and evaluation goals and integrates with each individual course evaluation. As a core tenant of our new strategic plan, this will allow us to not only assess learning in a single class, but also to see how an artists’ learning in a single class incorporates with our larger service goals for the community.
It’s also time to begin thinking about class touch points. How are we reaching out to students who will be in the class? If you’ve taken a workshop with us, you know that we traditionally include a welcome and follow up to each lesson, and build a bank of additional resources for students. Chelsea, our operations manager, often helps with getting the resources online, while I maintain them for consistency, switching out certain tools or studies for newer versions. There may also be check-ins mid-course or other reminders necessary for upcoming class dates or homework. And our staff is always available for individual questions or clarity as it relates to our educational offerings. Moving into 2017, we will be remapping Ignite and creating a day-long training session for Ignite artist-facilitators. We hire artists who demonstrate a competency for teaching, breaking down complicated concepts, and who are earnest listeners to help facilitate Ignite and AIM Atlanta. For consistency, we spend a considerable amount of time for these artists to train alongside a staff member or long-time trainer.
All of these considerations, research and planning go the creation of each and everyone one of our professional development offerings. But once the course is created, we never stop updating and improving. As trends change and research is released, our staff continues to work on education. We are committed to providing a high quality, inclusive, accessible learning experience to any and all who walk through our doors.
I’d like to close with that final point: accessibility. The cost of providing such a high quality educational experience is great. In an effort to keep course costs low, C4 Atlanta fundraises throughout the year. While we receive money from government, corporations, individuals, and foundations who believe in our mission to support the careers of arts workers, we also know that for some, any cost associated with professional development education is too great to bare. These are often the artists most in need of our services. In order to keep our classes accessible, C4 Atlanta offers an additional $10,000 in scholarships each year for training and education. Please consider making a contribution to our scholarship fund as we raise money through Power2Give through December 21st. The Mayor’s Office of Cultural Affairs will match, dollar for dollar, each donation given, doubling even the smallest of gifts to make them twice as impactful. Donate here: Donate to C4 Atlanta Scholarship Fund
Have a suggestion for a learning opportunity that you’d like to see at C4 Atlanta? Email me: email@example.com
I have been holding onto this post in my head for a few weeks. I attended a convening in early September held by the Emily Hall Tremaine Foundation in Kansas City, MO. The purpose of the convening is for organizations like C4 Atlanta to meet and discuss current trends, issues, etc. affecting our field. That is an anemic description but I really want to talk about one portion of the convening in which we learned about Universal Design for Learning (UDL). The session was presented by Allison Posey, CAST.
Universal Design for Learning is a set of principles for curriculum development that give all individuals equal opportunities to learn.
UDL provides a blueprint for creating instructional goals, methods, materials, and assessments that work for everyone–not a single, one-size-fits-all solution but rather flexible approaches that can be customized and adjusted for individual needs.
Why is UDL necessary?
Individuals bring a huge variety of skills, needs, and interests to learning. Neuroscience reveals that these differences are as varied and unique as our DNA or fingerprints. Three primary brain networks come into play: Recognition networks, strategic networks, and Affective Networks.
So what does this mean, exactly? Well, it means that learners (yes, even adult learners) need to experience the aquisition of knowledge in a variety of ways to make the learning meaningful. You may be familiar with Dr. Howard Gardner’s “Multiple Intelligences, (MI)” in which Gardner posits that there exists eight ways in which learners exhibit intelligence; thus, integrated learning styles are necessary to reach different types of learners. When I was in grad school for a degree that focused on information technology, Gardner’s work was highly regarded. Both UDL and MI support a learning environment that includes ALL learners. As a colleague pointed out, UDL has a little more neuroscience behind it. So what about adult learners?
“Change the learning environment, not the learner.” – Allison Posey, CAST (presentation in KC)
The above phrase has been bouncing around in my head. I think about it everyday. Have you ever noticed that not much attention is giving how people learn past high school? Does dyslexia, dysgraphia, and other learning disabilities (really, this is about perspective) go away once we become adults? Or is the expectation that we have learned how to deal with it? My daughter, who is now a freshman in college, and I talk all the time about the difference between subject matter experts and teachers–people who actually care about learning. Is it fair to have a class for adult learners and to not think about UDL? Maybe fairness isn’t the right question… I had to challenge myself with this question: “As a leader of a nonprofit dedicated to adult learning (regardless of the subject matter), don’t I want every person sitting through our classes to have access to the best learning environment possible?”
The staff and I talked through UDL. I brought it to my board during our annual retreat. I am proud to say that UDL will be integrated into our strategic plan as a programmatic goal: to redesign ALL of our classes around the core principles and guidelines of UDL. This will take some time. The thing about this type of work, teaching continuing ed, is that the field is constantly evolving. We don’t just hammer out a class and are done with it. All of our classes have gone through curriculum updates–some simple, others drastic. For example, Chelsea, our Operations Manager, completely rewrote the curriculum for the Website Bootcamp course to ensure it stayed relevant. Our Hatch curriculum had several collaborators and the staff took weeks to map the content. We did our best to include multiple strategies for delivering the curriculum content: movement, improv, role playing, writing, visual presentations, doodling/drawing, small group breakouts, games, etc.
In a later blog, Audrey, our Education Manager will be discussing all of the elements that go into curriculum building at C4. We put a lot of thought and time into the learning progression, pedagogical framework, evaluation, and touch points. We are also reducing the number of panels we host as a way to promote a more equitable learning dynamic between facilitators and learners. We love what we do and want to be as transparent as possible about our work. All of this takes time and resources but the goals are in place. We will be adding specific tactics and objectives to a timeline soon.
As you think about your professional development trajectory, mull over this: “how do I best learn?” Let us know. Email us. Adults have specific learning needs, that is true, and they may differ from that of younger learners; however, some principles in learning are the same across the board: variety is key. Death by PowerPoint is out. As a field, it wouldn’t hurt us to think more about how our professional development offerings can be more inclusive. Not only more inclusive, but more engaging as well. Even if you are a visual learner, sitting in one spot staring at a screen while a person drones on is not conducive to inspiring genus.
While there is no large body of research to support that the neurological factors that may account for dyslexia are linked to creativity, there are researchers, artists, and educators that are exploring a possible link. Whatever the conclusion, I prefer the challenges of this quote:
…because many Dyslexics do show wonderful visual and spatial skills, we look for an analogous extra something in the brain to account for that. But perhaps we should be doing the opposite – looking for what inhibits creativity.
I look forward to exploring how C4 can modify the learning environment. It will be a journey.
For these two classes, we ask the artists to reflect on the following thoughts:
Session #2 – Themes to consider:
depositing information vs. sharing information through dialogue
artists coming from a place of privilege
managing expectations through all aspects of working with community and with all of the stakeholders involved.
Session #3 – Themes and questions to consider:
What are the assets offer by the arts community of Atlanta?
What assets are available to you?
What are your personal assets?
What are the reflections that you had after the discussion about doing with the community (vs. for, or to) based on your own personal experiences?
We hope you enjoy their thoughtful responses!
These past two Hatch sessions focused on active methods of engaging community and gave us artists a lot of concrete examples of how to do so, either through experiencing methods as a group, or through the breakdown of other projects that had been effective or not. Through this process, we learned about mistakes that can be made and were given a chance to examine our own work through the lens of this learning.
I was able to reaffirm something I have known about my work: that it doesn’t truly and deeply enter the realm of community work, mine is, thus far, a social practice. This is okay, but my ultimate goal is to develop a practice which also works with the communities I care about and am invested in. What I understand better through these lessons is how to approach that goal. What is seems to involve most is trust, because you have to let go of so very much control if you actually want to work with people, not dictate to them or for them. That requires trust given to them, and building trust in them of you (a herculean task of time effort, energy, and consistency).
The main letting go is of false expectations, which I call “shoulds.” These are process focused methods, the process is where the art is, and the product, or the should, is secondary. I have a mentor who talks a lot of about the fallacy of “should” and this session also reinforced that idea. It may be cliche to say, but in life “should” is a lie we tell ourselves which really only hurts us, and this is as true for art practices as it is for anything. We make the best decisions we can in every moment, everyone who is present are the best people for that conversation, and everything that is said is what needed to be said. When we worry so much about shoulds we do damage, because we are trying to predict something that is unreal and it feels inherently negative because it assumes we somehow did less in the reality of what has actually taken place. That “should” deems less valuable the actual work being done. The asset based community development work we did in the session speaks strongly towards acknowledging only what actually exists, focusing on the reality of what we know, what we can do, and how we can use it to create positive, powerful, solution oriented conversations and I pretty much adore that idea.
As much as I love these ideas, I struggle to apply them to my own life, and I certainly believe that how we engage our communities should be equally reflected in how we work and care for ourselves. So it’s scary to know I am so bad at believing in the reality of what I can do, of what I am capable, and yet to expect myself to use all of these tools to work with others.
by Jessica Caldas
Asset Based Community Development = Looking at the “Haves,” Piling the Bounty
I work in art. Because I always have worked in art. Growing up in rural Georgia: Art, storytelling, puppetry were my solo means of personal fulfillment.
Ironically I kept thinking of this as McKenzie Wren facilitated Hatch Session #3…
My art growing up always began with looking at a pile. A pile of…fur, craft supplies, paints, whatever! And then saying, “Okay, what can I create?”
Asset Based Community Development is that. Collectively looking at the “pile.” The skills, resources, and offers of individuals to better a community as a whole…”Okay, what can we create?”
By utilizing the Community’s bounty, their “pile,” the community is intrinsically involved at the core. It is theirs. The project or mission doesn’t exist without the community. The “pile” of assets doesn’t exist without them.
We as artists hold the ability to actualize, curate, and help the community utilize the assets to the fullest.
“Okay Community, what should we create?”
As our next round of AIM is coming fast upon us, I thought I would take some time to talk about marketing. One of my favorite ways for creative professionals to increase their market and visibility is through content creation and content marketing. The Content Marketing Institute describes content marketing as the following:
Quite simply, content creation and curation allows your audience to interact with you based on the content you share through platforms like social media, YouTube, websites and blogs. The goal of content marketing is therefore not to sell, as in traditional marketing, but to cultivate a relationship with your stakeholders and find the “tribe” that is interested in what you are doing. It is that greater sense of loyalty that helps to build your customer base in the long run, by providing a destination for the folks with which you are looking to interact. Through content marketing, you can develop greater brand awareness, help build your customer base, provide added value to your work and services, and establish yourself as an expert in your field or discipline. Another plus is that content marketing is generally a very cost effective form of marketing and even more advantageous to artists and creative professionals working on small budgets.
So how do artists create and curate content? Consider the things you do as part of your practice that other people might find interesting. How you create work, how you run your business, areas or techniques of expertise and thoughts or articles that pertain to your career, core values or industry are all great sources of content. Even posts and pictures that tell more of your story or share your personality are great for getting your market more interested in you as an artist. Likely, if you find it interesting and it relates to your core values or your business, your target market will find it interesting too.
From there, consider your market and how you might best deliver this information to your audience or customer base. Your distribution channel should match where your stakeholders go to find information. For instance, concentrating your efforts on Facebook and Twitter might not be your best option if you are a children’s book illustrator (and this depends on what market segment: children, parents or teachers). Performing artists might do better with mediums that allow their work to be experienced more closely to how it is performed.
Content that creates exclusivity is also highly advantageous. As much as I am an advocate for accessibility to the arts, who doesn’t love the feeling of a backstage pass or a members only exclusive? The ability to create exclusivity helps to drive overall demand.
Keep in mind that this is about creating a relationship with those that consume your content. Relationships that are totally one sided don’t usually work very well. Dialogue between yourself and your target market is key to content marketing. So re-tweeting, using hashtags, answering fans’ comments, and being consistent (!!!!) are all important to making content marketing work for you. One more note about consistency – the moment you stop blogging, podcasting, or tweeting regularly is the moment you lose your audience completely. In any relationship, as soon as you break someone’s trust, you’ve usually lost their loyalty. So commit to the things you can keep up with. I have long thought a video series on how singers practice would be great for young singers and professionals. However, having no video production equipment or skill, it would be ridiculous of me to try this. There’s no way I would be able to keep up a regular, quality output.
If done correctly, content marketing can even lead to additional revenue streams. Services like Patreon allow patrons to donate directly to artists for the content they consume based on an amount they find sustainable. It’s also possible that as you establish your expertise in your discipline, others might approach you with opportunities to share you curated content as much as your artwork.
A new Atlanta startup will soon be offering a very innovative form of content marketing. VISIT is a new platform in which makers, artists and creatives can offer exclusive access to themselves through a limited number of phone call or Facetime interactions. Conceived as a limited edition, add-on purchase experience, each fifteen minute visit allows the maker and customer to share in whatever way they wish together. Still in beta, it’s worth keeping an eye on this new model as they launch their full platform soon.
And finally, content marketing is just one piece of your overall marketing strategy.
Concentrating on just one area of marketing can decrease your overall reach ability. It’s important to understand all the tools available to create a better marketing plan. Which is why we offer AIM, our three week course in Arts Marketing. In addition to content marketing, we also cover lean marketing strategies, social media, traditional marketing and so much more. Classes begin October 20th! Sign up here.
The root of the word technology is techne, which happens to be the Greek word for art. And the whole word, with the –ology at the end, means “the study of art.” Technology is a practice, not a product. Not a thing. It’s the practice of examination and experimentation and artisanship. The things we think of as technology are only evidence of the practice. Gwydion Suilebhan
The first time we offered the Website Bootcamp it was a big class. Over the course of two days at the Foundation Center I offered lessons in installing, configuring and using WordPress, the software that powers C4 Atlanta’s website and about a quarter of the rest of the web. We had 30 people in the class over those two days. That was back in June of 2012.
A lot can change in three years. And although we have made a lot of tweaks to the Website Bootcamp over that time, services like Wix, Weebly and Squarespace have made it much easier for artists to build attractive websites. The best thing an artist can spend time on is on making art. With a website built and used the right way, you can spend less time and energy to reach more of the right people.
The redesigned Website Bootcamp will include exercises in week one on creating goals and budgeting appropriately, and comparing the options you have in front of you. In week two, we will cover strategies on content and design. And finally, week three will serve as in-class lab time, where everyone will have the opportunity individually work on their sites, but with the benefit of having support resources immediately on-hand.
At the end of the day, no matter the platform you choose, your website will never be complete. The journey of building your site will come with its own rewards.
C4 Atlanta is pleased to announced that we will be partnering with the Office of the Arts at Georgia Tech as we continue our TechsmARTs program.
TechsmARTs was created five years ago as a free, meet-up discussion focused on the intersection of arts and technology. The goal of the partnership is to enhance support of the program, expand its reach into the community and create meaningful conversations about the influence and impact of technology on the arts.
Here’s what the Jessyca Holland, Executive Director of C4 Atlanta, had to say about the partnership:
“This partnership happened very organically. C4 Atlanta has always held the belief that artists and technologists are creative thinkers who have more in common than not. The Office of the Arts values this belief. I am thrilled to be working together with them.”
“I’m excited to see these two groups join forces to further the dialogue between technology and art. It’s a natural partnership: since its inception, C4 Atlanta has proven itself invaluable within the Atlanta arts community for the business and technology resources it offers. The Office of the Arts is leading the charge to celebrate arts and creativity across the Georgia Tech campus and to further infuse arts into this technology-focused community.”
Upcoming TechsmARTs dates and discussions:
Boomers, Xers and Millennials: A look at how arts patrons across generations use social media.
September 14, 2015, 10:30 AM – 12:00 PM
Held in partnership with the Atlanta Contemporary. The Atlanta Contemporary will also be the venue host, 535 Means St NW, Atlanta, GA 30318
Gregory Burbidge, Senior Program Specialist, Government Services at Atlanta Regional Commission
Beg, Borrow and Steal:A discussion of the impact of technology on copyright, trademark, content reuse, and cultural appropriation in the digital age.
November 9, 2015, 10:30 AM – 12:00 PM
Held at 7 Stages Theatre, 1105 Euclid Ave NE, Atlanta, GA 30307
I had the opportunity to interview the talented Megan McSwain. Read on to learn more about her life, practice, and philosophies..
What is the Georgia Art Therapy Association (GATA)?
Her personal view:
I am licensed art therapist and professional counselor in a private practice in Atlanta. I primarily work with children, teens, and their families. I work with a range of emotional and psychological issue, primarily: problems of life transitions (changing schools, grief, divorce), stress and anxiety, depression and other mood disorders, self harming behaviors, eating disorders, and normal developmental issues of childhood. I also provide workshops and lectures about art therapy and other mental and emotional health issues, such as family communication and healthy relationships.
“The Georgia Art Therapy Association (GATA), a statewide non-profit organization, was founded in 1978. GATA is an affiliate Chapter of the national organization, The American Art Therapy Association, Inc. (AATA). Members belong to both organizations, but GATA also includes those who support the practice of art therapy, as a Friend of GATA. We provide activities for art therapists and other professionals in the Southeast to educate the public about art therapy.”www.georgiaarttherapy.org
What’s the mission of the association? I would say that the primary mission is both to provide support for art therapists in Georgia and to promote and provide information about art therapy, in the form of workshops and other outreach events.
How is art therapy different from other types of therapy?
Art therapy involves the use of art (both making and viewing) as a way to process and heal psychological challenges. The art making process can be helpful in both the diagnostic and healing process. Often the artwork created is as much about the process as the final product.
What are some specific benefits art can offer? Art and the art making process can offer many benefits when utilized therapeutically. 1. It allows people to process and see their problems and strengths in new ways 2. It becomes a tangible witness to the often more invisible process of therapy 3. It utilizes different parts of the brain than talking 4. Offers a way to break out of patterns of communication particularly in families (the art can often become a new voice or way of communicating.) 5. Helps people see their problems as separate from their identity. Just to name a few (:
How has your background in art shaped your therapy sessions?
As a painter art has always been my therapy, so when I heard about the profession of art therapy it was a natural fit. I think that many artists feel compelled to make art as an outward manifestation or expression of complex internal processes and emotions. I also feel that within all of us is the capacity to create art, and art therapy provides the opportunity to do just that.
How do you feel your art and therapy education have shaped your practice?
As a private practitioner, my practice with clients involving both traditional talk psychotherapy practices and making art. Often I will take an issues, such as anxiety or depression, and process it verbally, i.e. discussing triggers or history of the problem, then I will have the client use art to process and explore the issues more deeply, such as making a painting of a sculpture about the issue. In the art making clients can see aspects of the problem and solutions that they many not recognize verbally. Often in life we talk about the heart (emotions) vs. the head (logic). I think as people, we can talk from a very head based place about an issue, but the creation of artwork allows us to cut more directly to the heart.
What do you see yourself doing in ten years?
Right now I am also work towards a doctorate (DrAT) in art therapy. This is a relatively new degree that has only been developed in the last couple of years. In my research I am exploring the nonverbal communications dynamics between parents and children. My goal is to create tangible resources for parents to use art to improve their relationship with their children. I think there is much to be gained from the art making process both in terms of self awareness and emotional health. It is also my personal goal to become more involved in expanding the field of art therapy so that more people can benefit for the healing and insight provided by the art making processes. I also would like to work towards teaching art therapy at the college level, and create more chances for students to learn about art therapy or become art therapists.
I had the opportunity to interview Corey Bradberry, the executive director of The Collective Project. The Collective Project, Inc. is a theatre and performance group that creates original work for Atlanta, by Atlanta. Read on to learn more about Corey and his exciting projects…
Katie Owerbach: Are you an Atlanta Native?
Corey Bradberry: I was born in Dallas, Texas, but I’ve lived in the metro area since I was in elementary school, so I consider myself a native as much as the next fellow.
KO: Describe your artwork?
CB:I work in the theatre as an actor, director, writer, singer, musician, producer, and more. I co-founded the Collective Project, a resident performance company at the Goat Farm in midtown. We produce exclusively original work that features Atlanta artists, be they writers, performers, or designers. I’ve been mostly involved with smaller black-box productions… I love the intimate feel smaller spaces lend to an audience.
KO: What are your current projects?
CB: I am currently performing with the Alliance Theatre’s “A Christmas Carol,” but I am also producing and directing some pieces for the Collective Project’s December show, “The Theory of Everything.” It features 19 original short pieces and each night, the audience votes on what pieces they will see and the show order is determined by number of votes. It’s a raucous ride and the result is a show custom-built for each audience, as the pieces range all across the theatrical gamut. It runs December 8-22 and we can’t wait to hear audience feedback!
KO: How can people learn more about your work?
CB: www.thecollectiveprojectinc.com has all the information about the comings and goings of the Collective Project. We also have a Facebook and Twitter page.
KO: How do you see “the arts” helping Atlanta?
CB: Atlanta is in desperate need of having its voice heard. The arts have been truly blossoming the last few years and I hope that trend will continue. The arts allow an opportunity for the community to come together and share an experience. Effective art leaves people with a new perspective in mind and the more artists creating work in Atlanta, the further that conversation will go.
KO: Where do you see yourself in the next 10 years?
CB:I hope to build upon the foundation we’ve established with the Collective Project in whatever form it takes. I am currently exploring more of the film and tv arena that Atlanta has recently discovered.
KO: Have you participated in any Ignite workshops? What did you enjoy most from these workshops?
CB: Yes, I participated in Ignite over the summer of 2012. It was a great opportunity to hear about what other arts entrepreneurs were working on and to have a continual sounding board for new ideas. I can’t recommend it highly enough!