Tag: ignite

Behind the scenes – What goes into making your classes?

A rare photo of me facilitating during Lesson One of our Fall Hatch session. As Education Manager, I'm normally the one behind the camera.
A rare photo of me facilitating during Lesson One of our Fall Hatch session. As Education Manager, I’m normally the one behind the camera.

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.

Chelsea facilitates Financial Literacy. She really loves to talk about numbers!
Chelsea facilitates Financial Literacy. She really loves to talk about numbers!

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?

One of the original lesson plans for our Hatch class. This course took over three years to develop, from initial planning to final implementation.
One of the original lesson plans for our Hatch class. This course took over three years to develop, from initial planning to final implementation.

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.

A student hard at work completing an exercise during Fundraising 101. It's important to include opportunities for hands on learning, no matter what class we create.
A student hard at work completing an exercise during Fundraising 101. It’s important to include opportunities for hands on learning, no matter what class we create.

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.

Preparing workbooks for Ignite.
Preparing workbooks for Ignite.

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.

Jessyca Holland
Photo of our ED. She would only approve this image. To be fair, she was working on a class design.

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: audrey@c4atlanta.org


October Member of the Month : Sharon Crumley

This month C4 Atlanta is highlighting current member and IGNITE alumni…

Sharon Crumley

Sharon is a self-taught artist who creates mixed materials art in many genres.

Sharon’s  work is intricate, colorful and textural using a combination of textiles, paper,  paint and found elements to create multi-dimensional art.  Her  art  expresses a variety of subjects from modern abstractions and  ethnic adaptations to feminine themes. Sharon’s work is available at in Roswell at Synergy Artisan Gallery and Artist’s Attic on Marietta Square.

Sharon’s works have been featured in many shows, juried and non-juried.  Her works have appeared at Grandview Gallery, Emory Clinics, Roswell Teahouse – (2 solo shows),  Basil’s restaurant,  Buckhead Library, Defoor Centre and  DK Gallery on the Square in Marietta, Ga.

Her work was part of the Jane Fonda G-CAPP clock event, Gallery in the Galleria at the Woodruff Arts Center 2010 and 2011 sponsored by Digital Arts Studio,   MOCA pin-up show,  Ferst Center in Atlanta, GA, Art and Design Showhouse 2011 and 2012, and an auction at Mason Murer for the Jay Shapiro Foundation.

She has been published in Pages, Somerset Studio magazines and in a feature article in Family Life Magazine May 2015. She is a member of the Atlanta Collage Society and the Alpha Arts Guild.


Freestyle-1Carerra 1

Sharon shares thoughts on her Beginnings…

“My beginnings were  like most other children.  Making doll clothes, sewing and other crafty projects. I moved on to crocheting, then made and sold hats and scarves to a small boutique in town.  

After having a family, working in corporate, getting laid off from corporate, things had to change.  I went back to sewing but not clothes.  Although I liked to sew, something more immediate was necessary. After cutting fabric in squares and random pieces, laying them out and sewing them together, the result was very pleasing.   Aha! Fabric collage. The work was entered into an art show and sold! 

My creative endeavors have expanded from fabric collage to woven paper.  In addition,  the fortune cookies were inspired by playing with fabric one afternoon.  The African art is another expression of who I am.The dresses are a result of reading with my Mom as a child.  The story is about a child that was bullied in the 1940’s for wearing the same dress to school everyday.  The book was, “100 Dresses” by Eleanor Estes. Mom passed but came to me and said “100 dresses”.  With  that memory the “100 Dresses Series”, was started.   The series has taken many years to complete and  has expanded to included note cards and prints.”

Check out more about Sharon Crumley HERE.

Introducing Hatch – A New C4 Training Program

C4 Atlanta, a nonprofit incubator for artists and arts organizations, has been awarded a two-year, $100,000 grant from the Emily Hall Tremaine Foundation (EHTF) in support of its Ignite and Hatch professional development programs for artists. The grant to C4 Atlanta is under EHTF’s Marketplace Empowerment for Artists (MEA) program.

The money will go toward our current Ignite, business planning class for artists AND it will also fund Hatch.

What is Hatch, you ask?

Hatch is a new program designed for artists working in community. Under the program, participants will learn the legal, financial and “soft” skills necessary to effectively lead community-based art projects. Hatch will connect artists to vital information about how to approach collaborative projects outside a traditional studio practice. The first Hatch cohort, to begin in October, will serve as a pilot offering.

C4 has been working on building partnerships and designing the Hatch framework for a few years now. The funding from Tremaine will allow us to design Hatch, pilot the program with working artists, and implement. Our primary purpose as an organization is to connect artists to the resources and skills they need to be successful. Hatch will not focus on the creation of art; rather, the program will cover the ‘behind-the-scenes’ functions of working in community.

The Emily Hall Tremaine Foundation is proud to support C4 Atlanta’s ongoing mission to provide affordable and quality professional practice education to Atlanta’s artists. Expanding on the success of Ignite, C4’s new program, Hatch, will further their mission by supporting artists working beyond the studio and the business marketplace.  Hatch will provide the foundational support of knowledge and resources crucial for success of community-driven work.  C4’s history of fostering artists careers is ideally suited to create and launch this new program that has the potential to influence and support artists not only in Atlanta, but all across the country.

– Heather Pontonio, Art Program Director, Emily Hall Tremaine Foundation

C4 Atlanta will work with both local and national collaborators on the curriculum design of Hatch. Among the collaborators:

  • Emily Hopkins, Consultant and Executive Director, Side Street Projects in Pasadena, CA
  • Heather Alhadeff, President, Center Forward, an Atlanta based transportation and land-use planning firm
  • Jim Grace, Attorney and Executive Director of the Arts and Business Council of Greater Boston
  • McKenzie Wren, a community arts consultant and Executive Director of Clarkston Community Center

Eddie Granderson, Program Manager of Public Art Services at the Atlanta Mayor’s Office of Cultural Affairs is also serving as an advisor.

Future of Art in Atlanta – Ignite Grads

April 28th marked another round of Ignite graduations. Ignite is our 8-week entrepreneurship seminar for artists and creative professionals. Artists presented their business plans in front of a panel of experts.

Photo of Peter Cranton, Ignite
Peter Cranton presents his business plan.

We had several people missing from the day class graduation photo due to work, illness, etc. One of the artists had to leave early. The day class included: Doria Roberts, Hellenne Vermillion, Jill Pope, John Pruner, Peter Cranton, Paige-Nichette Dawkins, Shelly Siebert and Audrey Gamez. Congratulations! This class contains a lot of content and can feel, at times, overwhelming but artists come out of it empowered with a new outlook on their art practices.

photo of ignite day class
Ignite Day class


The Evening Ignite class included: Jessica Cook, Orian Crook, Cindy Brown, Manual, llaneras, Margarita Rios, Chavonna Rhodes and Lauren Pallotta. Congratulations!

Photo of Ignite Class
Ignite Evening Class


C4 would also like to give a special shot-out to Urban Cannibals and Doria Roberts for providing lunch for the Ignite graduation. The sandwiches were fresh and tasty. The scones–amazing. Urban Cannibals also donated coffee and chips. Thank you for supporting Atlanta’s arts community!

Urban Cannibals Sandwiches
Jealous? Great food.

Introducing ‘Tension’ Artists

C4 Atlanta’s first ever Ignite graduate show will kick off May 11, 2013. The opening reception/fundraiser Arts Fuel will be on May 11, 2013 from 7pm – 10pm. Tickets for Arts Fuel are on sale now.

Opening for 'Tension' is May 11, 2013
Opening for ‘Tension’ is May 11, 2013

We wanted to keep the theme of our first show, ‘Tension,’ germane to our mission. For this show, Atlanta artists explore the dual identities of “the artist” and the “business person.”

Many of us can relate to this struggle or tension. In our own lives, we balance work and life, children and relationships, and the pursuit of emotional well being while living in a results-driven world.

The work in ‘Tension’ will range in medium, price and technique. This is a great opportunity to collect from some of Atlanta’s most talented artists. More information about gallery hours to come, but if you want the opportunity to purchase first, please attend Arts Fuel, May 11th. Discounted tickets for arts professionals are available.

It is with great pleasure that I give you the list of Atlanta professional artists who’s work will be featured in ‘Tension:’

Yun Bai
LaMar Barber
Rose Barron
Stephanie Coulibaly
Kathy Rennell Forbes
Vanessa Huang
Machiko Ichihara
Kerry Jackson
Igor Korsunskiy
Beth Lilly
Katy Malone
Corrina Mensoff
Mia Merlin
Barbara Nesin
Stacie Rose
Cat Rogers
Maria Sarmiento
Nathan Sharratt
Catherine Shiel
Amber Singleton
Deborah Sosower
Karley Sullivan
Gina Thompson
Diana Toma
Lisa Tuttle

KP Bridge Program – Feb 18, 2013

KP Bridge Program – January 2013

On Monday, February 18, 2013 Kaiser Permanente will be accepting applications from eligible C4 Atlanta members in the Kaiser Permanente Bridge Program. Enrollment slots are limited.

Where: C4 Atlanta, 115 Martin Luther King Drive, Atlanta, GA 30303
Time: Register for an application time HERE

Enrollment Guidelines

  • The Applicant must be a current individual member of C4 Atlanta
  • Eligible C4 Atlanta members may choose from the following training requirements:
  • Option One – C4 Atlanta Individual Member must be actively enrolled in or have completed Ignite, entrepreneurship training seminar for artists.
  • Option two – C4 Atlanta Individual Member must have completed one of our professional development classes, submit a one-page Artrepreneur Plan (template provided by C4 Atlanta after you sign up for an application slot) and attend an orientation session (day of application).

Orientation will be held once on January 14th (application day) at C4 Atlanta. This session is mandatory for C4 Atlanta Members who have NOT completed the Ignite Seminar.

Bridge Program Monthly Premiums*

$27.00 – Single Subscriber
$49.00 – Subscriber & Child(ren)
$55.00 – Subscriber & Spouse
$82.00 – Subscriber, Spouse & Child(ren)

*Premiums are subject to change.

Income Guidelines (max income): 

Bridge Program Income Guidelines

Family Size

Monthly Gross Income

Annual Gross Income

























 For each additional person, add


Featured Artist: Corey Bradberry

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!

Production photo from Theory of Everything


Thank you Corey!


Ignite Scholarships for 2013 – Due Dec 17th

Apply for Ignite Scholarships for 2013 – Due Dec 17th

Ignite Your Creative Career

Through donations from individuals and funding by the City of Atlanta Office of Cultural Affairs, C4 Atlanta is able to offer 20 artist FULL scholarships from January 2013 – June 2013 for Ignite. Scholarship recipients must be City of Atlanta residents or be affiliated with an arts business within the city of Atlanta.

Please complete the following application. Applicants will be selected by merit in addition to need. Incomplete applications will not be accepted. Applications are due December 17, 2012.

Information about class schedule, requirements, etc. can be found on the application.

power2give logo

Featured Artist: Diana Toma

I had the privilege of interviewing Diana Toma, a local artist originally from Romania.  She recently received the honor of working on the US Open 2013 Theme Art Project.  Diana has participated in C4 Atlanta’s Ignite  workshops and has some exciting projects coming up.  Continue reading to learn more about the talented Diana Toma…

Congratulations on your recent accomplishment working with the US Open.  How do you think this accomplishment will shape your artwork in the future?

Collage of images by Diana Toma
Courtesy of Diana Toma

Thank you! I’ve connected right away with this project as soon as I got invited to create a proposal: I feel it fits like a snug glove. Working with the United States Tennis Association has been an enriching experience, I am ecstatic that they are interested in bringing the fine arts back into their art theme, after a long history of illustration type of themes. There’re six of us in the final run – if my artwork will be chosen to represent the US Open 2013 it will bring about terrific exposure: I read about 1 million people attend the tournament! It will be a dream come true for my work to reach such large community.

Furthermore, this experience challenged the way I create my compositions and brought about a new way of constructing the artwork. I get to draw and paint with traditional methods then scan them and manipulate them as layers in Photoshop. This is very exciting, I will definitely continue exploring this technique even after the US OPEN 2013 Theme Art project will come to an end.

2. Where can one learn more about the artwork you do?

You can see my current work at www.artbydianatoma.com and my past work at www.inthatmood.com. I have also recently created a facebook page where you can get in a direct dialogue with me. I aim to post daily, wherever it’s my art, my thoughts, or artwork and articles that inspire me. Thou I am new at it, I am falling in love with this venue of communication that allows me to connect directly with the one who are moved by my art. Check me out at www.facebook.com/inthatmood. If you may, please like and share the page.

You have participated in Ignite workshops in the past.  How has this workshop enhanced your art career? What did you take away from the workshop?

It offered a great deal of info on running my art as a business, and offered quite a few samples of creative pathways to take. It basically widened my view on what is available out there and in the process left me with new ideas on how to expand myself. Being in a new conversation, reading material that I usually don’t, connecting with a diverse group of people – all these have got the internal wheels turning faster.

How do you feel your art work fits in to the Atlanta art scene?

I’ve been creating in different cities on different continents, in both Europe and in North America. Wherever place I chose to stay a while, it leaves an impression on my art, and living in Atlanta left its own unique mark. With that said, my art is all about moving and touching the viewer at an emotional level. In that way my art is of universal nature. I would say it fits wherever someone pays it attention, locally or not.

How do you see “the arts” helping Atlanta?

I think that wherever artists show up, the community changes, improve and develops. Likewise, part of my mission is to transform my environment through creating art. Can’t imagine a better life then beautifying and adorning my community and my surroundings.

What do you see yourself doing in 10 years?

I only went as far as considering what I will do this summer! I have just started the creative thinking around touring Europe by car for a month, starting in my home country Romania. Keep checking my facebook for more info, I intend to make this tour be a social art project.

As a rule of thumb I don’t spend much time futuring (or pasting for that matter). I prefer to dwell in the only time that I know to ever exist: right now. I could say this thou: I always see myself doing something that I love, whatever that would be.

To browse and buy prints by Diana look here http://www.etsy.com/shop/ArtByDianaToma



Featured Artist – LaMar Barber

Image of LaMar's work. Painting.
Adam, Courtesy LaMar Barber

LaMar Barber is good soul. I really mean that. I developed an affinity for LaMar during our Ignite class last spring. He has a really great smile that makes you smile right back. LaMar’s Ignite classmates bonded with one another quickly. They even held a reunion weeks after the class had ended. LaMar started a FB page for that group of artists because LaMar values connection with fellow human beings. It is C4 Atlanta’s honor to feature LaMar Barber as September’s C4 Atlanta Artist. Here is a little about LaMar in his own words…

JH: Are you an Atlanta native?
LB: I left Detroit Michigan to attend Atlanta College of Art just months after graduating high school. The best part of residing in Atlanta is the city’s ability to be in tempo with the resident vs. the resident being in tempo with the city.
JH: Describe your artwork.
LB: My work creatively interacts with the viewer to develop communal culture.
JH: What are you current projects?
LB: Continuing the dialogue from “American Nude”, a summer solo exhibit at GA Tech, examining social vulnerabilities of the American culture, I turned my attention to the American woman.This series, Perspective of Women (P.O.W.), is a discussion of perspectives; inspired by the youtube series ‘in(HER)view’. Each work, five in all, will articulate my perspective of the woman’s perspective of her life in America.
JH: How can people learn more about your work?
LB: I favor artist’s talks and panel discussions because I tend to believe all sensory processors are necessary to comprehend the opaque perspective of the artist. However, to simply become aesthetically aware of the work, the World Wide Web is the most convenient method.
JH: How do you see “the arts” helping Atlanta?
LB: Acting as substituents for topics too taboo to discuss, the Arts assist Atlanta in becoming the most progressive city southern of the United States.(Additionally the Arts create opportunities, via murals and public works of art, for residents to measure and address their communal sense of beauty.) 

Image of LaMar's work. Painting.
Family, Courtesy of LaMar Barber
JH: Describe an Ah-Ha! moments you may have experienced during Ignite.
LB:  Understanding how the Arts appear “on paper” and how it exist in the economic atmosphere laid the foundation for my “Ah-Ha” moment; which is that the latter aren’t always same. The epiphany came when the instructor simplified, through comparison of other professional disciplines, the Arts’ financial contribution to America’s economic structure.This insight enhanced my ability to qualify events and properly forecast the impact of potential projects.
JH: Any take-aways from Ignite?
LB: The opportunity to attend the Ignite professional practice course came with the help of friends and a scholarship from C4, all of which I am forever grateful. Having been equipped to wear different managerial caps I comfortably managed social outings, my art exhibitions, completed a public art commission and more.The successes from these attempts have encouraged me to begin strategizing my micro business Contributing Culture. Contributing Culture is a business resource serving communities through philanthropic efforts.
JH: Where do you see yourself in 10 years?
LB: As an “artrenpreneur” having maintained a successful micro business my hope in ten years is to be organizing a new set of decennial goals.
LaMar was recently chosen to be a part of the Atlanta Beltline’s fall season of public art. To learn more about Atlanta artist LaMar Barber, visit lamarbarber.com.
Image of LaMar's painting, the WAY home
the WAY home, courtesy LaMar Barber