Tag: Living Walls

Miranda Kyle Sets Fire to Barriers Because Art is Never Separate

Atlanta has a strong and growing creative economy. Everyday, we meet women who are on the ground working to break down barriers, build community, inspire, inform, and entertain the people of Atlanta through the arts.

For National Women’s History Month in March, C4 Atlanta will be curating a Leading Lady blog series celebrating the women in the creative economy of Greater Atlanta. Over the last several weeks, we have asked the public to nominate women in the creative sector who inspire and have positively impacted the Atlanta community through their contributions. 

We are proud to introduce the Next Leading Lady for March 2020 : Miranda Kyle


Where do you work and what do you do?
I am the Program Manager of Arts and Culture for Atlanta BeltLine, Inc. (ABI) and curate the annual Art on the Atlanta BeltLine Public Art Exhibition. I support the department of Design and Construction to incorporate art into park and trail design, engage developers to consider public art in their construction, and advise on secondary design elements like benches and future transit stops. Additionally, I work on interdepartmental collaborations with Community Engagement and Planning by managing relationships with outside arts organizations and institutions such as the National Black Arts Festival, the Woodruff Center for the Arts, Living Walls, Southern Fried Queer Pride, and Artlanta Gallery.


When and how did you first become interested in the arts? How long have you been in your line of work?
Art was always used as a problem solving tool in my house growing up. So it was considered just as essential as being able to write well, perform first aid, of solve for x. It was just a part of my toolkit for life, and that was my normal. It wasn’t until I got to college that I was ike…whoa you don’t build a maquette of the inner ear while studying it for anatomy class? You JUST read about it and look at pictures? I felt like other people were learning lopsided.
So I was in college to be a Mythbuster (that isn’t a real discipline, but what I wanted to be so I was studying chemistry) then I took a metallurgy class and went to an iron pour, fell in love, and became a foundry rat.
Being a sculptor allowed me to continuing solving problems through and for space, which lead me to curation, which lead me to my current job. I have curated exhibitions locally and internationally for over a decade, ranging in disciplines from performance to public art., and in a variety of environments.

What did you want to be or think you were going to be when you grew up?
Oh man, there was so many different things I wanted to be. I wanted to be a dolphin trainer for a while (was was an emergency veterinary technician for nearly 17 years-how I paid for school/living- so I got to work with them medically just not in the Flipper kind of way), a jockey (I was waaaaay too tall), a circus equestrian (do you see a pattern here?) – I grew up surrounded by animals and riding horses so when I was a kid I just thought my career would be critter-related. I almost went to vet school instead of scad. And of course when I was in highschool I wanted to be a Mythbuster. Art was never it, because art had always been integrated into everything, it never felt separate.

If you could have lunch with any woman from history who would it be and what would you want to talk about?
Wilma Mankiller. She was the first female Principle Chief of the Cherokee Nation in the modern era. She was a pioneer for native women’s rights, tribal sovereignty, and healthcare. She was a planner and program manager, and rose to fame by fighting for, and bringing running water to Cherokee homes in the Nation. She won the Presidential Medal of Freedom in 1998.
I would love to talk to her about her activism, battling oppressive regimes and what it takes to make lasting change happen.

Who has been the biggest influence in your life?
I think each season of our lives sees different influential figures. But my mother has by far been the greatest influence on me. From teaching me to listen to trees and bottle feed baby deer, to how to do carpentry and plumbing, my mom is a rockstar. All the cool things about me are because of her.

How is art a passion for you?
It is in everything. The most beautiful art is math and our whole universe is mathematical. Aristotle thought the best we could do as humans is mimic nature. And we do, we make art about big nature around us, the small natures in us, and the spaces in nature we share.
I love those stories we make and share, and I want to elevate them, explode them, and grow them

What are your thoughts on equality and the representation of women in the creative workforce?
We have so much work to do. And our numbers are so skewed. Even if we see women in leadership roles in the arts-how many are BIPOC? How many are queer, trans or 2spirit? I think there are a lot of allies out their but folks gotta graduate to accomplices. Make and hold space. What does your board look like? Who are the artists you are hiring/commissioning? If you are a curator are you decolonizing and decentering your aesthetic pallet? If you are an artist getting a lot of work, how are you uplifting and supporting talented and skilled artists who are getting overlooked because they don’t have your brand recognition?

What most excites you about the arts in Atlanta?
I like seeing the brave and new conceptual/contemporary work that is starting to emerge. It speaks to a savviness that Atlanta desperately needs. I and THRILLED to see Spelman’s new curatorial curriculum, it is fucking fire and they are gonna graduate an incredible class of brilliant curators and arts admins.

What do you hope to contribute to the Atlanta arts community with the work you do?
Setting barriers on fire. I want to make it easier for folks to understand and get consistent and big commission work. Navigating governmental grant systems is a nightmare and very prohibitive for a lot of folks, especially people who do not have a euro-centric arts education. Bias in our processes can really damage accessibility. I want to change that.
I want to leave a legacy for this city and change how the world sees us in terms of public art and our creative class.

Where can I learn more about your organization/business and work (websites, social media, etc.)?


First Amendment Rights with Georgia Lawyers for the Arts

Street musician with guitar
Image by artist Coffee.

In Atlanta, there has been a lot of interest lately in art in the public realm. What is and is not allowed in the public sphere has been brought further to the forefront as the interest in public art, political art, and performance in public space grows.

I would be remiss not to mention several very visible controversies over an artist’s rights to freedom of expression lately that prompted an interest in sharing this topic. One of the most well known examples in the city are the two murals painted in South Atlanta by international artists Hyuro and Roti that sparked interest in Atlanta’s mural art permitting process in Atlanta. C4 staff also learned anecdotally through our personal circles of musicians arrested for playing in public spaces. And within the last month, artist Kyle Brooks (Black Cat Tips) posted an account on his blog of the citations he received as a result of displaying his own work on his privately owned property. All three of these instances deal with artistic expression in the public right of way and in some way relate to the artist’s ability to exercise freedom of expression.

For artists confronted with these issues, Georgia Lawyers for the Arts (GLA) is a tremendous resource.  If you aren’t familiar, GLA provides everything from general education on issues of relevance to artists to low/no cost legal council for artists. They are an incredible resource to the artistic community, and one that every artist should know about.

C4 Atlanta recently partnered with GLA to offer a free workshop to the arts community around First Amendment Rights when working in the public right of way. GLA Executive Director Meredith Raigins, Esq., and Director of Operations Matthew Goings, Esq. presented the free workshop at 7 Stages Theatre on May 9, 2017. The contents of the presentation are available for download in the PDF below. Additionally, we have included other helpful links for more information.

Download 1st Amendment Rights Presentation by Georgia Lawyers for the Arts

**Disclaimer: The resources provided are for educational purposes only and do not constitute legal council. They should not be viewed as a substitute to working with an attorney or law professional.

Additional helpful links:

Atlanta Mayor’s Office of Cultural Affairs Public Art Information (includes information on permitting for public art)

A Guide to the Visual Artists’ Rights Act (VARA)


Sign The Letter to Mayor Reed

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:


Our Funding Distribution Model:

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.

What you can do:

From these links you can:

— View the Letter and Proposal
— Add your name to the letter here, and a notice will be sent to Mayor Reed
— And view the Article on ArtsATL that was published today
What else you can do:
— Share this with others!
— Help us spread through social media. See the C4 Atlanta Facebook Page for posts you can share.
— 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: