National Arts & Health Day with Amanda Lovelee

Amanda Lovelee is an artist who works in civic systems as a translator between government and community with the goal of building places where everyone belongs. She creates bright, joyful, engaging and complex large-scale public art projects, partnering with arborists, planners, biologists, water resource managers, and scientists. Amanda is a US Cultural Policy Fellow at Stanford University and is part of CAIR Lab – the Cross-sector Artists-in-Residence Lab, a team that specializes in building partnerships between artists and government for creative solutions. She has served as an artist-in-residence in government at the local, regional, and state levels.

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SPEAKER_02 0:07

Welcome back to CitySpeak. I'm your host, Georgia Gempler, Program Manager on the Health and Wellbeing team here at the National League of Cities, where I lead our work around the arts and creativity. Citiespeak gives listeners an insider's view of what local leadership in America means today and features conversations with government leaders and policy experts regarding the biggest issues and challenges facing America's cities, towns, and villages. If you're a regular Cityspeak listener, you've probably noticed that we've recently featured interviews with people who make the arts come alive in our communities. And today is no different. Today I'm joined by Amanda Lovely. Amanda is an artist who works in civic systems as a translator between government and community with the goal of building places where everyone belongs. She creates bright, joyful, engaging, and complex large-scale public art projects, partnering with arborists, planners, biologists, water resource managers, and scientists. Amanda is a U.S. Cultural Policy Fellow at Stanford University and is part of CARE Lab, the cross-sector artists and residence lab, a team that specializes in building partnerships between artists and government for creative solutions. She has served as an artist in residence in government at the local, regional, and state levels. Amanda, welcome to CitiSpeak.

SPEAKER_00 1:44

Welcome.

SPEAKER_02 1:45

So Amanda, for anyone who doesn't know, can you tell us a little bit about what an artist in residence in government actually does and how these programs work?

SPEAKER_00 1:55

That's a large question, Georgia. And I think what is unique to artists and residents is they're kind of different in every place. But a key concept of an artist and residence in government is that an artist comes in, joins your team, listens, learns, shapes the work that a city is doing, collaborates, and becomes a partner. And I think at this moment in history, we need cross-sector partners more than ever. And so what an artist actually does while they're in that space really different, is different depending on what kind of artist they are, whether they're a visual artist or a musician or a dancer can really shape the work. But what they do do is shape your city and the work that you do. And I think that's pretty exciting and amazing to see all the different programs across the country.

SPEAKER_02 2:45

Absolutely. Can you tell us a little bit about how you first found yourself to be an artist in residence in government? What government or departments were you working with? And what was the goal of that original project?

SPEAKER_00 2:58

Yeah, so I was an artist in residence for the city of St. Paul. I applied for the job. I had not taken civics in high school. I instead was a volunteer ski instructor. Um, so I really knew a lot about government. I was prepped and ready. And I think when I entered, again, it was a lot about learning and listening. And so I was housed in the Department of Public Works when I started as a city artist in residence. And I shadowed different workers across the entire city and kind of learned what a city did. So I worked with a landscape architect on the parks team, I worked with libraries, um, I worked with the public works team on different projects. So really just kind of learning how a city ran. And while I was there, I created projects with all different departments, all different levels. I think what was really unique about the program in the city of St. Paul, it wasn't a term limit. So some of these programs are set up for like an artist in residence comes for a year and then leaves. Um, the program in St. Paul, I could have stayed as long as I wanted. And so I was there for seven years. So I really got to work with um, I'd say almost every department in the city in some way I touched or listened or was in a meeting with.

SPEAKER_02 4:15

That's really interesting. I wonder, you know, you were there for seven years, which is a very long time in any job, in any role. And artists and residents in government spaces have some unique challenges as part of their roles. Could you share a little bit more about what it was like at the beginning of working in that role in the city? Did everyone really understand why you were there and what you could offer them? And how did you navigate that?

SPEAKER_00 4:46

Yeah, definitely. I think a lot in civic systems artists are seen as object makers. Um, and or, you know, the mural painter is a common understanding of how maybe an artist would engage in a civic system, which are great projects. Um, but that's not what a lot of artists and residents do. Uh, and so I think it was um helping shape expectations. Like a lot of my work was less about a product and more about a process, and it was about spending time in the city. And I think, yeah, I think what was actually really nice about that amount of time and when I first started versus over the amount of time was I became far less special and unique, like in a really great way, right? Like I think sometimes artists are seen as these like special unicorns who are somehow different. But over time I became Amanda, I became a coworker, um, and a large task force, there would be the city arborist being like, well, here's the impact on trees, you know, and then it would come to me and I'd be like, and here's how public art could be integrated in or where an artist could engage. And so I was just another voice in the room. And I think once I learned my most powerful tool was my email address. Um, because again, I had a city email address. So I wasn't an outsider, I was on the inside. And so when I emailed to ask a question of a different department, I was just seen as a city employee. And I think that became my superpower. But I realized like my superpower is not being special, but being part of the team. Um, that really helped change how I got to do a lot of different work and that trust over time, I think. Um, and the program in St. Paul is one of the longest lasting artists in residence programs. So also that trust was built on past artists and happened for artists after me. And I think that long-standing program also allowed really unique work to get to happen.

SPEAKER_02 6:42

Do you have a specific project or a moment from your time with the city of St. Paul that you think really demonstrates the unique benefits of involving artists in government spaces? And maybe also, you know, since you've shared that a lot of your work was more oriented around the processes within government and how things happen, any reflections there that would maybe make the process more tangible to our audience?

SPEAKER_00 7:15

Yeah. I have a good example. So I worked on this project with the city of St. Paul called Urban Flower Field, which was actually a really large, it was a space that was in transition that was going to be a park, but the city didn't have the funding right away to use this kind of vacant lot as a park. You know, it takes time to raise money to build a park. Um, and so I worked with the University of St. Thomas and it was a temporary project called Urban Flower Field, and it was 96 plots of biodiverse flowers performing soil remediation. So we turned it into a public science experiment, essentially, but it was a really beautiful space, and it was designed on the Fibonacci sequence, and it became like a neighborhood gathering space. Um, and in it, I in one of the parks meetings was like, I would love to put adirondack chairs in the space that could move because there weren't trees, right? And so the shade would move based on where the building was. And I remember the parks like maintenance team being like, we don't do movable furniture. And they're like, it'll be stolen in the first day. And I was like, I hear you, but I'm gonna use art funds. Like, this is art. It's like we're just gonna test it. And so, like, literally, me in my like hatchback car and my intern with hers went to like a lowe's and bought plastic Adorondic chairs and then hand stenciled them with the Urban Flower Field design and like put them out in the park. So they sat there that first summer, not one chair was stolen. Second summer, every chair was there. They only slowly broke because again, they were like $15 chairs. Um, and I remember um I get this email at one point from one of the landscape architects from the city of the city of St. Paul um saying, thank you for changing our systems. And I open it and she was like, for the first time in the history of the city of St. Paul in the design of a new park, we can have movable furniture. And again, that's not like a big like New York's had movable furniture forever, many parks, but like the city of St. Paul had a rule that they couldn't do that. Um, and again, like the art got to push up against that and kind of be that tester, right? Like as an artist, I'm not as afraid of failure. Um, and uh, you know, it was a different budget than the city line item, and it was a different project. And it just uh, and I think that was like when I felt the real impact of the work is when those systems changed, when the art got to test an idea, got to be playful, got to do the thing that all the landscape architects dreamed of doing in the parks, right? And got to show that it it could work. Yeah. So I think that's one of I loved when the work changed a system beyond like that one project or that one moment.

SPEAKER_02 10:05

That's really powerful. I think there are so many ways that local governments can partner with artists who, as you've said, are really interested in testing things and taking risks in being creative and kind of seeing what happens. And that's just a really beautiful, wonderful thing to be able to tap into. It's great. So, as you and I know, artists and residents within local governments are actually pretty rare across the country, but this model is becoming more popular. So, for anyone who's listening and is curious about starting an artist and residence program in their city, where would you recommend that they begin?

SPEAKER_00 10:51

I always start with a little bit of research. Um, I think the thing I say when I meet with communities who are interested in starting programs is that it isn't new, it has happened, um, and that it there's proof that there's it creates an impact. Um, and to use that research, I think that both me and then Care Lab, as you've mentioned, we've really tried to compile research that's been produced around artists and residents and government and show that there is an impact and that it does create change. And so I think I would start with doing a little bit of that research and coming to your team knowing like this isn't new. This would be new for us, but this has happened and it's happened at all scales and sizes of cities. So it's happened um in large cities, but it's also happened in rural communities. And um I think coming armed with examples is a really helpful thing. Also on our Care Lab website, we have some like downloadable things to be like, are you ready? and like the questions to ask yourself. Um, because our dream is just more artists and residents in government. And so any free tool we can create to help people uh do that work. Um, and we also have a bunch of the research kind of pulled together on our website. So I think it's a helpful place to like begin your first exploration. Um and yeah, coming again with the knowingness that it might be new for you, but it has happened and it will change the way your city works.

SPEAKER_02 12:22

Is there something or a set of some things that cities should be keeping in mind as they think about these programs about how to work with an artist in an artist in residence and government program? What are the unique or really important considerations that can make the experience beneficial for everybody?

SPEAKER_00 12:45

Yeah. So again, many different programs are set up many different ways, but a lot of them have an arts admin relationship, um, whether that's an arts and culture department within that city or a nonprofit within the city who also can help navigate those relationships. Um, but also some programs just do it on their own. And I think the important thing is just clear expectations. Because again, I think I can't tell you the amount of times people have been like, so can you make my poster better? And it's like I'm not a contracted graphic designer. Like, those are great. I love graphic designers, but that's not me. Or like, could you put a mural on this building? And I was like, I'm not a painter, actually. Um, those are great, and here are some resources. So I think uh if you're starting one of these programs, just having a clear expectation of what the goal is and what the role of the artist is, and that there is a difference between hiring an artist to contract to do a very specific project versus an artist in residence spending time to think about the systems and how they work and to create, you know, like that takes a lot of trust on both sides to spend that time. Like I didn't come in to the city of St. Paul being like, I'm gonna design urban flower field, I'm gonna make a popsicle truck, I'm gonna do this project with libraries, I'm gonna, you know, like gonna make a pollinator monument for this park. You know, like I spent time there listening and learning. Um, so yeah, that coming in with that amount of trust and clear expectations, I think makes it a much more successful program. And having a strong ally, I think we all know that cities have power systems, and like it was really helpful to know which department and which department director was my ally. Um, so when something had to move out the system, like who I would go to to like be like, no, this is important and why, and this is how we're gonna do it. Um, because as an artist, you tend not to have that kind of leverage within a city. Um so yeah, a really strong ally, clear expectations, and a big pile of trust going both ways.

SPEAKER_02 14:56

Extremely important. Yeah. Having an artist in residence in a city is really only one way that local governments can partner with artists. There are so many different examples out there. Can you share some examples of city artist partnerships other than artist in residence programs that really excite you or you think are really powerful or effective?

SPEAKER_00 15:19

Again, there's like so many sectors within, you know, there's a bunch of different work happening in transportation. Um, you know, like we've all seen the paint the pavement to slow down cars. We've seen public art on transportation routes. Um, I think there's becoming even more work in health and in um community health. And I think a lot of artists get contracted to do engagement work, which is really exciting. I feel like artists have deep relationships within their community and are pros at translating big ideas into concepts that people can understand. I think all of our school is taking this wild idea in your head that no one else can see and making it something that I can then be like, Georgia, what do you see and feel? Um, and so I think artists are really great at helping cities do that in a lot of different ways. I also think, yeah, artists show up a lot at different events and festivals, which is another great way to bring in an artist. And then there are like, again, murals are a great way to decorate a city and to bring it alive with color. But yeah, I think my big push would be like think beyond just the object. Um, because artists really do make great thought leaders and partners and engagement buddies, and um can just transform how people think. And I think that's the work that makes me really excited.

SPEAKER_02 16:50

So, just a few days from now, on Saturday, July 25th, NLC is going to be celebrating National Arts and Health Day. That's a day where we try to highlight the important role that the arts play in community well-being. So, Amanda, if I can ask you to put your creative hat on, not that you ever take it off, um, and to help our audience think creatively about this. As an artist in residence in government, what are some creative ways in which cities might celebrate National Arts and Health Day?

SPEAKER_00 17:23

I'll go back to a project I've been working on over the last year that makes me really excited. Um, so I've been doing a project called Homecoming, where essentially I've been using the framework of a homecoming football game to bring people together to cheer for different climate heroes. For instance, cheering for a river, a lake, a tree, an endangered snail. Um, but I've been hosting these events. Uh, and I think we're at this moment of isolation and how do we come together and um across so many splits, like bipartisan, like urban, rural, um, and at this moment where the World Cup is happening and where the Knicks in New York City, and um, I just think sport is a bipartisan tool where we have pride. And so um I've had such great joy of working in large, small, rural, um, big cities doing this project and working with high school marching bands, local cheerleaders, scientists, um, always having a civic partner and um really bringing us all together to march and cheer. And um yeah, I think I think we can get real creative around what are we cheering for. I think we at this moment are pretty good at all knowing maybe what we're against, but starting to think about as a community, what are we cheering for? Uh and I think the arts can enliven that in a way that I think people can't even imagine. And it's just been a really beautiful project in a kind of darker year of to get to travel the country and host these pep rallies. So yeah, what are we cheering for? And how do we learn to cheer together?

SPEAKER_02 19:24

I love that. Thank you so much for sharing. Amanda, is there anything else that you'd like to leave our audience with today?

SPEAKER_00 19:30

I just think get to know your artists going back to, I think the core of my practice is cross-sector. We're not gonna solve the problems facing us in our country right now in one sector, and that we need cross-sector collaboration. And artists are excited and waiting at the doorstep to engage with cities and to become the partners that they need to solve some of these problems in joyful, creative, playful, imaginative ways that um I think in my experience, cities also enjoy participating in.

SPEAKER_02 20:07

Amanda Lovely, thank you for joining Cities Speak today. And if you listening would like to celebrate National Arts and Health Day in your community, there's still time. Visit nlc.org slash artsday to find details.

NLC 20:30

Thanks for listening to City Speak with Clarence Anthony. If you like this show, let us know. Share this episode with your friends, and make sure to subscribe. We're curious to hear what you think, what you want more of, and how we can improve. If you have feedback or an idea for a guest you'd like Clarence to sit down with, send us your thoughts at Cityspeak Podcast at nlc.org. Join us next month for a new episode. Like and subscribe here or wherever you get your podcast. See you next time.