ArtSake

Artists and creative individuals are often asked (or decide) to make their work available for free. ArtSake guest blogger Bren Bataclan, for instance, gives away all of his Smile Boston Project paintings; playwright Charles Mee makes the full texts of his plays available online for other artists to “remake.” Others might choose to not share any work without direct remuneration.

So, where do you draw the line? Do you donate art to good causes? Share excerpts to build interest? In our conversations with artists in numerous disciplines, we’ve asked: How much art do you give away?

Jendi Reiter, poet
Good question! I hardly ever give my poetry books away, because I think it’s important for creative writers to be recognized as professionals, and unfortunately in our society that means getting money for our work. However, since the publisher of my first chapbook is going out of business, and I still care about this work reaching an audience, I plan to ask her for the right to create and distribute an e-book version for free.

Alice Bouvrie, filmmaker
I often donate a DVD to a relevant, non-profit organization to be used as a fundraiser – either as an item in an auction, or for a screening with a paying audience.

Suzanne Strempek Shea, writer
The question once could have been “How much art don’t you give away?” Early on, I used to give away a lot, between stories, talks, classes and book donations. I was grateful for anyone’s interest in my books, and appreciated any opportunity to spread the word. I’m still grateful for anyone’s interest (no readers/audience/students and I don’t get to do this for a living) and the chance to spread that word, but as I’ve been lucky enough to get busier and busier, I’ve had to pick and choose when and where to donate work and time – because I have only so much time. In recent years I’ve become my family’s primary breadwinner, so I’ve actually been soliciting more paying work to fund dog kibble and other household necessities. I do try to donate work when I can, in continued gratitude for that all-important interest from readers.

Lilly Cleveland, painter
I have given away work for worthwhile causes and fundraisers (mostly silent auctions). This always generates another request from the same group each and every year. I still donate original art work but the donation is NOT tax deductible (Ed: in MA, only the cost of materials is tax deductible for the artist). Once, I heard an interesting solution from Kathy Bitetti of the Massachusetts Artists Leaders Coalition. Give a 20% off coupon as your donation so that the art buyer can come to your studio and pick out a painting and receive the discount. Raffle off the coupon or donate to silent auction.

Elizabeth Searle, writer
“A gift;” you are “gifted.” These are the somewhat lofty terms we use to describe any sort of talent. I once heard a poet advise his students, “If you write for money, money is your God.” Or as Jon Stewart put it, talking about show biz: “You don’t go into it for the health benefits.” In the theater world, while the profit motive is strong, I’ve found there is still at heart a playful spirit of: “Let’s do a SHOW! My Dad’s got a BARN!” These days, I enjoy all the outlets – online and elsewhere – that writers can make “free” use of in today’s topsy-turvy literary world. Of course I prefer pay. But I also like jumping into the mix and giving some of my work away, sometimes in connection with a good cause or two. I have spent over a decade working (and playing) within the group PEN/New England, trying to find ways for writers to use our particular gifts to “give back.” Art for art’s sake – wisely, the MCC named this blog for that creed. Whether or not you eventually luck out money-wise, I think that’s what it comes down to, “art-wise.”

Eric Hofbauer, composer and jazz guitarist
When art became monetized it forever changed the public’s relationship to it. For better or for worse, art and especially great art gets much of the attention and respect it deserves by the price tag it wears. This was the status quo for decades and it worked in all artistic disciplines quite well until the internet flooded the world with free “amateur art” of all kinds. Now the artist must be willing to give something away to reach potential buyers, agents, venues, critics, and most importantly audiences. Personally, I give away full recordings to critics, and all other music industry people, including my musician friends and colleagues without hesitation. I also give away “teaser” or sample tracks via online outlets, like my website, soundcloud, spotify, etc. to my fan base and potential audiences. There is still a vivacious audience in the world who respect great art by placing a financial value on their relationship with it. The 21st-century artist must find ways for “free art” to reach these audiences and pique their curiosities and passions without diminishing art’s reputation by being associated with amateur art outlets.

Jendi Reiter’s most recent book is Barbie at 50; Alice Bouvrie’s film “Thy Will Be Done” screens at First Parish of Watertown on Feb. 10, 7 PM; Suzanne Strempek Shea’s most recent book is Sundays in America; Lilly Cleveland teaches watercolor painting at South Shore Art Center; Elizabeth Searle’s most recent book is Girl Held in Home; Eric Hofbauer will perform at the Lily Pad, Feb. 3, 7 PM and at Longy School of Music Pickman Hall (w/Charlie Kohlhase’s Explorers Club), Feb. 4, 8 PM.

Image: Joe Wardwell (Painting Fellow ’12), NEVER BE STRONG (2011), oil on canvas, 18×32 in.

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This January-May, a group of artist-entrepreneurs will hold a series of workshops in Jamaica Plain called Focusing Your Art Career. We’re delighted to welcome one of the workshop leaders, Jessica Burko, to share keen insights into optimizing your online presence as an artist.

Getting More Out of Getting Online by Jessica Burko

So, you make stuff.

You are an artist/designer/craftsperson/artisan. You also have a blog/website/online shop and frequently update your Twitter/Facebook/LinkedIn/Pinterest feed/page/profile/boards. You stay connected with your fellow creative professionals using your MacBook/iPad/smart phone and you feel like you are doing everything right, but the sales/press/shows aren’t increasing like you thought they would by now.

Huh.

It sounds like you are keeping up with the latest greatest technology, but not really utilizing it to its full potential to maximize your full potential. Don’t get lost in an avalanche of meaningless chatter while you engage, just be sure to update regularly, make targeted connections, and create significant dialogue. Closer attention to what you are doing online, in addition to where and when you are doing it, will help you focus and make the most of your time.

Instead of… spending all day tweeting your every move
Try… tweeting consistently but meaningfully by sharing relevant news and links about your work and the work of others in your field.

Instead of… posting photos of your nephew’s birthday party on Facebook
Try… creating a fan page that you update several times a week with new work.

Instead of… blogging about irrelevant topics
Try… publishing articles related to the type of work that you do, or a how-to article with step-by-step photos.

Instead of… friending every unknown who sends you a request
Try… just friending people you know personally, would like to know, or people who are in your field.

Instead of… following everyone who follows you
Try… to follow only those people who tweet items meaningful to you, and make sure to occasionally retweet what they share.

Having a strong online presence can be extremely beneficial to your art, no matter what type of media you explore. The key is to make the most of your time online, and not get distracted by the everything swirling around you. Falling down a rabbit hole is very easy to do with so many connections leading here, there, and everywhere. If you find that you’re spending too much time friending your pals from kindergarten, and not enough time in your studio making your actual artwork, try setting a timer so that you spend only a specified amount of time online, and the rest of your day using your hands for more tangible endeavors.

Generating opportunities takes effort, and marketing what you do to the right audience is more than half the battle. Online networking is an excellent way to increase your visibility, create buzz, gain sales, and expand your circle to lead to any number of exciting new paths. You may be the master of your virtual domain, but there are lots of other ways to market your work and develop your professional muscles while you flex your texting thumbs. There’s a new series of marketing and business workshops for creative entrepreneurs called The Focusing Series.

Developed by Boston artist Anna Koon, this series includes such pertinent topics as, How to Setup and Sell Online, Time Management for Creative People, The Art of Branding and Photo-Documenting Your Art. For a PDF with full details on this series click here.

Jessica Burko is a professional artist, independent curator, and the Executive Director of Boston Handmade. Beyond exhibiting, selling, and promoting her own artwork she has worked as a professional Arts Marketer since 1997 and since 2002 has operated Burko Design offering marketing and PR services to artists and arts organizations to assist them in achieving their professional goals. Burko is located in Boston, MA, has a BFA in Photography from the Rhode Island School of Design, and an MFA in Imaging Arts & Sciences from the Rochester Institute of Technology.

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Son of a Bug Trailer from Nicky Tavares on Vimeo.

Raising money for a creative project can be a daunting proposition. Crowdfunding sites, if matched with the right project campaigns, can provide a useful template for attracting funds.

If you’re curious about starting a crowdfunding campaign of your own, check out how some Massachusetts artists are using the site Kickstarter:

Nicky Tavares (Film & Video Fellow ’11) has a campaign to fund her next documentary film, Son of a Bug. The project has already surpassed its $6000 funding goal before its Jan. 2 deadline (on Kickstarter, projects must reach their fundraising goal or no money changes hands). The trailer (see above) might reveal why the campaign has found success; its offbeat humor is as appealing as the film’s subject, the first Pakistani rock band, The Bugs.

The Balagan Film Series, founded by Alla Kovgan (Film & Video Fellow ’09) and Jeff Daniel Silva (Film & Video Finalist ’09), showcases unexpected, experimental works of film and video. The video for the campaign (which ends Jan. 12), does a nice job laying out the background of the series, the part it plays in the local community, and the reasons to support its 2012 season.

In Fall 2011, Steven Bogart (Playwriting Finalist ’09) worked with writer Neil Gaiman, songwriter Stephin Merritt, and actors from the American Repertory Theater to develop an original play about the Grand Guignol Theatre of Victorian Paris. A documentary film project about the process is seeking to raise funds (by Jan. 21), and I like how the campaign borrows its over-the-top tone from the subject of the play.

For further research, check out other local projects:

• Thomas Oboe Lee is a prominent local composer seeking to produce a double CD of his concertos, released under the Boston Modern Orchestra Project label (by Jan. 15).
• Non-Event is a presenter of new, experimental music, seeking support (by Jan. 18) for its 2012 concert season for artists fees, venue rental, and all the other aspects of putting together a fully-realized, like-no-other performance series.
• The Charles River Swimming and Diving Team (a Cantabridgian movie-making troupe) are trying to raise funds to rent the Brattle Theatre to screen the first three episodes of The Central Square Detective Agency (by Jan. 18).
• Documentary filmmaker Alice Stone is seeking funds (by Jan. 26) to complete her documentary Angelo Unwritten, about a boy who escaped the foster care system to a loving family – but not the struggles that continue to mire him.

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Bring on the tryptophan (or, if you prefer, an equally drowse-inducing vegan counterpart). Amidst the travels/tables/tackles/toils, here are a handful of links to keep you arts-clicking from here to Black Friday.

Creative Capital has launched a blog to build the national artists community from scrappy underdog to fierce contender. Getting strong now! Read this post on must-haves for your artist website.

Meanwhile, the fine, artists-supporting folks at Pew Center for Arts and Heritage have posted some practical financial advice for artists, care of choreographer and past Pew Fellow Amy Smith.

If you’re an admirer of the Massachusetts Poetry Festival but, in your heart of hearts, harbor the feeling that the 2011 festival was missing one very specific event – yours – now’s your chance. Submit a proposal by Dec. 1 to participate in the 2012 Massachusetts Poetry Festival, which will be in Salem, April 20-22, 2012.

Former literary agent and current author/literary blogger Nathan Bransford diagnoses some common writing maladies, such as catching the Catcher in the Rye voice or being plagued by adverbs-itis. Funny stuff.

Congratulations to Jennifer Haigh (Hull), Suzanne Matson (Newton), and Sabina Murray (Amherst) for winning 2012 NEA Literature Fellowships! We humbly note that MCC has funded both Suzanne (1998) and Sabina (2002) in the past, and numerous other current NEA grantees (Amber Dermont, Tayari Jones, and Benjamin Percy) have been past reviewers in our Artist Fellowships Program.

Boston’s Grub Street, Inc. writers’ service organization is moving its HQ. Currently on 160 Boylston, they’re moving down (or is it up?) the block to the Steinway Building, adjacent to the newly christened Edgar Allan Poe Square. The move means more floor space, accommodating a “quadrupling of our programmatic offerings, and the implementation of many exciting new initiatives.”

Umbrage has shared a clip from Yabat Ida Le Lij, a film by Eric Gottesman and members of Sudden Flowers (an Ethiopian film collective started by Gottesman, comprised of children affected by AIDS/HIV). Umbrage Editions is publishing Sudden Flowers, a compendium of Eric’s work with the project, in Fall 2012.

Meanwhile, jazz composer/guitarist Eric Hofbauer shares his recent experience participating in the Penn Ar Jazz Festival in France, an experience that has “awoken a fierce confidence along with a new urgency to play and share my music with as many people as I can.” See some of that musical urgency in the clip at the top of the page, from Eric’s recent performance at Johnny D’s in Somerville.

Quip lit wit and win. Concoct a clever tagline for Carolina Quarterly and get a year’s subscription to the literary journal!

Finally, for a unique arts experience this Thanksgiving weekend, attend the Short Story Film Festival at Gallery X in New Bedford. Forty live action and animated films from 23 countries will screen on Saturday, November 26. If sweet potato overload has got you too groggy to follow long plots, don’t despair: each film is five minutes or under.

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The Massachusetts Cultural Council is crafting its strategic plan for the next five years, and we’d love to hear from artists, educators, cultural organizations, and other arts supporters for ideas and inspiration.

You can share your ideas at four public forums we’ve scheduled for early December. MCC staff will join attendees to create a shared vision for expanding support for the arts, humanities, and sciences in Massachusetts, and how to translate that vision into reality. Register for a public forum.

While you’re at it, consider filling out a short and simple planning survey (which should take 15 minutes or less; please complete by Friday, December 16, 2011). All responses will be confidential (unless you request otherwise).

Your input will be invaluable in shaping the strategic plan and charting MCC’s future course.

Image: Angela Cunningham (Crafts Finalist ’11, ’09), CONVERGENCE (2009), ceramic, 3x12x12 in. Angela was recently named a 2011 Brother Thomas Fellow.

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We’ve been exploring some of the practical issues working artists face in their creative careers.

We asked curators, arts leaders, and visual artists: What’s the first thing you’d tell to an artist looking for new opportunities to present his or her work?

Brian Crete, Creative Director and Gallery Administrator, UFORGE Gallery
It’s best to start slow and have a clear objective. I encourage artists to focus on gaining exposure rather than putting their energy into immediate financial success. Developing a proper foundation and being able to self promote is key for any serious artist. Social media and websites are important tools for today’s artist. When approaching curators, galleries and creative spaces, artists need to remember they’re on an interview, so be prepared. Learn about the organization’s mission as this will help clarify if an opportunity is good for you. Group shows, open critiques and reviews are some of the best ways to gain exposure and build your network. Be present, enjoy the experience and take risks since unknown opportunities may be on the horizon.

Paula Tognarelli, Executive Director, Griffin Museum of Photography
It is about building relationships with curators. It takes time, and success does not usually happen overnight. An artist today has to be able to market his/her work, yet at the same time be mindful and respectful of a curator’s time. I often encourage artists to keep me informed through exhibit postcards or emails. I don’t want to get an email every week but once every three months is not intrusive to me. An artist should ask how a curator would like to remain informed. I also encourage artists to take part in opportunities that provide exposure for them. Portfolio reviews, auctions and group exhibitions are good ways to begin to get work out into the public sphere. Today it is imperative for any serious artist to have a website that is current and presents work in an informative way.

Carolyn Hulbert and Stephanie Goode, Founders of the Rifrákt Artist Collective
Carolyn: Communicate with other artists and/or collectives. Do research; see where and how other artists are presenting their work, locally, nationally and internationally, through websites, blogs and art openings. This is why I love being part of a collective – everyone shares what they know and it creates immense room for rapid growth both artistically and art career wise. Something I constantly do is research other artists. If I get into a show, I look everyone up, especially when I like the work, or it’s similar to mine. I read their statement, bio and artist resume. Perhaps they’ve been part of a biennial that’s right up my alley. Or if it’s a local artist, maybe they’re part of an interesting collective or they’ve shown at a nearby gallery that specializes in emerging artists that I haven’t heard of. Sometimes it’s not about new opportunities as much it’s about your communication skills. Every showing artist needs a contact list, in short, people that enjoy your work and will show up to an event. I’ve seen artists have great opportunities and almost no one shows, and I’ve seen artists show at pizza shops/cafes have an amazing turnout and sell almost everything. Communication is key.

Stephanie: I would first think about how you want to be portrayed in the public eye. Is it a DIY underground vibe you’re after or are your eyes set on high art spaces? It’s not unattainable to aim high but it’s easier to start with more feasible venues. There are so many cafes, restaurants, and other venues to host work at besides the traditional gallery scene. I think starting there helps with the building blocks of how to communicate with your audience, the curator, and how to present yourself as an artist to strangers. You learn a lot, surprisingly.

Candice Smith Corby, Artist and Director of the Cushing-Martin Gallery at Stonehill College
I have two vantage points – one as an artist and one as a college gallery curator, and my opinions and actions are influenced by both of my positions. As a curator, I really appreciate a submission that is very organized. There should be a well-written polite cover letter addressed to the correct person with correct spelling. Artwork examples should be good images that are described well and in detail in an image list. They should not be folded and wadded up inside an envelope that is too small. I prefer to receive a physical submission rather than through email, however I do look at websites that artists refer to via email. As an artist, I think it is important to represent yourself professionally with a clear and concise submission packet. Follow submission criteria or you could be disqualified. Make sure the venue is right for your work but send as many submissions out as possible, knowing that one will eventually be welcomed. Make sure the work is consistent and the images are good representations. From both angles, quality is what rings true, even when taste wavers.

Image: Installation view of VISUAL LYRICS, the November 2011 show at UFORGE Gallery. UFORGE uses an innovative monthly assignment model to spark creativity and encourage unique art submissions.

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The Boston Phoenix has an interesting article on how microfunding is proving to be an effective alternative form of support for artists.

Boston-based groups like Feast Mass, the Awesome Foundation, and the Cambridge Center for Adult Education’s CSArt program aim to make community-sourced funding more democratic and accessible. In a cash-strapped economy where arts funding has been deprioritized, such solutions have been particularly valuable.

Read more. One friendly clarification: the article references our Artist Fellowships but suggests that their scope is limited to full-time artists. (“Traditional arts grants cater to full-time visual artists… whereas community-based micro-grants are accessible to all.”)

In fact, our fellowships are not limited to any career level. Grant decisions are based solely on the strength of the work submitted, not on the resume or credentials of the artists submitting.

In other words: yes. Yes to creative, alternative funds to support artists. Yes to continued support from the state for individual artists. Yes to new art. And, while I’m at it, yes to the Clay Pigeons by Kate Marten, included above. (Because I think they are cool looking.)

Image: Kate Martens, CLAY PIGEONS (2008), Terra cotta and underglaze, 8x4x3 in (each). Kate is one of the artists selected for the inaugural CSArt Program at the Cambridge Center for Adult Education.

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Recently, we got to do a two-part interview with Jodie McMenamin of Glovebox, an emerging artist organization that brings art to unexpected places. We do a fair amount of interviews on ArtSake, but this time around, Jodie turned the tables and asked us the questions.

It was fun to sit on the other side. Here’s a sample:

GLVBX: Dream artist interview?

KB: A roundtable discussion with Cindy Wilson, Kate Pierson, Yoko Ono, Courtney Love, Bjork, and Kate Bush to see who has the best musical scream.

DB: Since we’re dreaming, Jim Henson.

Read part one and part two.

And you can expect tables to turn (in DJ-ing sense) during the Glovebox Fundraiser for the Arts this Thursday, November 17. The event will raise money for Glovebox’s programs to support art and emerging artists with a silent art auction and all-around merriment, 6-10 PM (auction 6-8 PM) at West End Johnnie’s in Boston.

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As an artist, is it better to earn your living in a field related to your creative work? Unrelated to your creative work? Solely through your creative work?

In our conversations with artists, we’ve asked: What’s the best/worst day job you’ve ever had? Artists’ answers often provide insight to the conundrum of how to make money while thriving as an artist.

Among some of the “bests” artists have cited are jobs with some connection to their artistic practice. Elizabeth Hughey, a poet, said that her best day job was “traveling to International Book Fairs (Frankfurt, London) to sell the rights to translate books into different languages.” Similarly, Tara L. Masih said that working for Bedford Books taught her “all the skills that helped me branch out as a freelancer and then develop and edit (The Rose Metal Press Field Guide to Writing Flash Fiction).”

On the other hand, working in a related field has its pitfalls, possibly draining creative energy best reserved for the art. Photographer Paris Visone counts working as a wedding photographer as tied for worst with selling sausages (her tongue, I would guess, only partially embedded in her cheek).

Recently, I was discussing local children’s book creators with a librarian at a Cambridge Public Library, and during our discussion, I handed her a book I wanted to check out: 39 Uses for a Friend, which is illustrated by Rebecca Doughty (Painting Finalist ’10). Rebecca, it turned out, was not only local – she was, at that moment, behind the library counter. I learned that Rebecca works part-time as a librarian for the Cambridge Public Library system. She told me that she was no longer creating children’s books, at least for now. Why did she choose library work over creating children’s books – work more closely related to her painting?

“Over the years I’ve had many different kinds of jobs to support my artwork,” Rebecca said in a subsequent email exchange, “and always preferred those I didn’t bring home with me at the end of the day. It was by chance that I illustrated my first children’s book, and then being in the publishing world took on a life of its own. Eventually it was too difficult to have two creative lives, both self-generated, and both requiring all my energy. There was also the uncertainty of working contract to contract. So I had to make a choice, and painting came first. For me, life is happier when commerce isn’t involved in the making of things, and the studio remains, as much as possible, a free zone. I also missed the social aspect of going to a job outside the studio, and was lucky to find part-time work at the Cambridge Public Library. Now I work in a lively, not-for-profit place surrounded by books. It’s possible that I’ll make a book again someday, but, for now, this is simpler, and saner.”

Of course, unrelated work is sometimes too unrelated, or just plain stultifying, exhausting, or otherwise soul-crushing. Some of the “worst” jobs: picking Styrofoam peanuts out of fields of mud (William Pierce), stamping cigarette cartons (Scott Tulay), or detasseling corn (Kathleen Volp).

Often, making money solely through artistic work is seen as the ultimate goal, but this can have its own challenges, such as the potential for work to be shaped by commercial necessities or the sheer difficulty of making ends meet.

Perhaps writer Michael Downing put it best: “Writing is definitely the best/worst day job I’ve ever had.”

So, what day job has worked for you (or, what hasn’t)? What do you think makes for a good day job as an artist?

Read about the best and worst day jobs artists have discussed on ArtSake.

Image: Rebecca Doughty, DRAG (2009), acrylic on wood, 9×8 in.

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We’re interested in Massachusetts organizations that identify a specific need in the arts, then shape their programming to directly meet it. In essence, they match the right horse with the right course.

The Cambridge Center for Adult Education has an intriguing new way to grow local art and artists…

The course: visual artists sometimes lack the business training and experience to translate their studio work into career growth, while in their communities, there may be plenty of art-buyers inclined to “go local.”

The horse: Community Supported Art (CSArt), which brings local art into the hands of community members through a model based on community supported agriculture. Rather than produce, fish, or dairy, CSArt shareholders receive original works by local artists, and those artists receive business training and experience.

What CSArt Does
CSArt sells shares to community members and commissions local artists to create original works of art to be “harvested” by their shareholders. This summer, in its first iteration of CSArt, the Cambridge Center for Adult Education selected nine varied Cambridge/Somerville artists (Grace Durnford, Kate Martens, Judith Motzkin, Anne Peramaki, Christopher Poteet, Richard Sabin, Bryan Smith, Ed Tekeian, and James Zall) to create works for 50 shareholders. Within a week of announcing those artists, CSArt sold out of its shares. The program is now accepting waitlist applications to receive harvests from a future group of artists.

It’s a case of the right program for the right organization for the right community. Susan Hartnett, Executive Director of the CCAE, says the origins lie in CCAE’s internal research, which revealed that the CCAE’s “single largest program, by participation alone, is visual arts.” That participation includes art classes, exhibitions, and CCAE’s annual art fair. In the visual arts, she says, “we uncovered a real strength.”

The CCAE consulted with Springboard for the Arts, who had developed a community supported art program in the Twin Cities, to create something similar in Cambridge and Somerville. “We knew we wanted to draw on both communities,” Hartnett says. “The ties between Cambridge and Somerville are both fluid and, in the best sense, competitive – a friendly competition.” The CCAE was already involved in Cambridge Local First and sought out Somerville Local First as another organizational partner, and the Cambridge and Somerville Arts Councils helped spread the word to artists and have advised the CCAE throughout the process.

This September in Union Square, CSArt will host the first of three Harvest Parties, where a crop of the artists’ work will be presented to the shareholders. There will be three Harvest Parties in all, sharing artwork including embroidered paintings by Grace Durnford, personalized “superhero kits” by Ed Tekeian, clay works by Kate Martens (see Martens’s work and read her impressions on CSArt), and more.

So, the artists sell work and navigate the local marketplace in a unique way. What’s more, they receive entrepreneurial training through one-on-one small business coaching and a scholarship to attend courses at CCAE.

The program has been successful in making connections that build on one another. Hartnett says she suspects the partnership with Local First may have been what drew the attention of the Boston Globe (which closely follows local food issues); shortly after the publication of a favorable Boston Globe article about CSArt, the program sold out its 50 shares. Massachusetts Cultural Council was one of the program’s initial funders, with a $17,000 Adams Art Program grant in 2011. Hartnett says that the Adams grant may have impacted Eastern Bank’s decision to become a sponsor, and the support of both funders has freed up more capital for a future round of art harvests.

Most important are the connections the artists make: to their communities, to local businesses, to other artists, and between the numerous threads of their own careers.

What’s Up Next
There will be a group exhibit (running July and August) of the first nine CSArtists at CCAE’s gallery at 42 Brattle Street in Harvard Square. Don’t miss the opening reception on Friday, July 8 from 5-7 PM.

As mentioned above, the program is currently accepting waitlist applications to be among the next shareholders to receive locally-made art.

And if you attend any farmer’s markets in the Cambridge and Somerville areas, don’t be surprised if you see the hand-designed CSArt pedal-powered vehicle, which visits communities to promote the program.

What artists interested in the program need to know
If you’re interested in applying to be a CSArtist in the future, join CCAE’s mailing list to receive updates. You can find a “Get updates via email” box on the CCAE homepage. (Be sure to check “CSArt” as one of your areas of interest.)

Images: Kate Martens, HENNY PENNIES (2010-2011), Terra cotta and slips, 5x3x3 in (each); ceramic sculpture by Judith Motzkin; CSArtists, l to r: Bryan Smith, Christopher Poteet, Anne Peramaki, Ed Tekeian, Grace Durnford, James Zall, Judith Motzkin, Kate Martens (not pictured: Richard Sabin); 3-D model kit by Ed Tekeian; mixed media, painting and embroidery by Grace Durnford.

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