Originally posted on Boston.com
Posted by Devin Cole February 23, 2012 03:55 PM

About a Pear: Boston and the Business of Public Art

By Donna Dodson, Artist

Laura Baring-Gould, John McColgan and the Clapp Pear

Arts and Culture dynamically contribute to Boston’s business community. The New England Foundation for the Arts, NEFA, recently released its 2011 annual report, New England’s Creative Economy: Nonprofit sector impact. ‘In 2009, the spending of these 18,026 organizations amounted to nearly $3.7 billion, and they provided jobs for over 53,000 people.’ This sector has grown substantially since 2002, and these organizations have a track record for being a steady reliable industry, not susceptible to the ups and downs of the market economy.

NEFA’s study also demonstrates that direct spending results in significant indirect and induced impact on the region’s economy. ‘Nearly every dollar spent becomes sales to suppliers and income to employees. These businesses and employees, in turn, spend that money to buy goods and services to meet their own needs.’ Therefore, the $3.7 billion of art and culture spending has an indirect impact of $2.2 billion and an induced impact of $2.5 billion, providing a total of $8.4 billion in the New England economy. Within the workforce, the 53, 270 individuals employed by art and culture industries result in an additional 12,960 jobs as an indirect impact and an additional 17,000 jobs as an induced impact for a total of 83,330 jobs.

The last and perhaps the most important impact of nonprofit arts and cultural organization is ‘more than economic.’ The NEFA study highlights ‘visitor attraction impact’ where those who come to an art museum, historic site or cultural festival spend money on food, lodging, shopping, etc. in the local economy. These nonprofits also help ‘attract new residents and new businesses’ by providing key dollars and vitality to a community. The Fenway district in Boston exemplifies this where key cultural institutions such as the Museum of Fine Arts and the Isabella Stewart Gardner Museum, are accompanied by teaching institutions like The Massachusetts College of Art and Design and the School of the Museum of Fine Arts that jointly bring visitors and students to Boston, provide key jobs across economic spectrums and greatly add to the vitality of Boston. This pattern is repeated across New England where museums, historic organizations, art and performance centers, gallery districts, artist’s housing, art schools and community centers contribute to the human capital of the region. The impact of this on the economy is significant and far reaching.

An interesting case study of the economic impact of art is told through a 17-year effort to bring public art to Edward Everett Square, in Boston's Dorchester neighborhood. Organized in 1995 by historian and archivist John McColgan with a network of dedicated residents, civic associations and historic organizations, the group advocated for public art to celebrate the historic legacy of the community. Recognizing the importance of urban planning and design, the community successfully enjoined the city of Boston to provide $2.2 million in public works capital funding to redesign and renovate Edward Everett Square, transforming traffic and pedestrian safety, green space and creating a pedestrian plaza for public art.

In 2003, Somerville Artist Laura Baring-Gould was commissioned to create the artwork with the important goal of celebrating history and place within a diverse community. Baring-Gould seized upon the area’s history as a 300 acre pear orchard, where a hybrid pear was first cultivated by the Clapp family. Clapp’s Favorite pear was renowned for it tough skin, but sweet and juicy fruit -- an apt metaphor, Baring-Gould felt, for the tenacity and good will of the community. The artist added ten additional smaller sized artworks to the design to celebrate modern aspects of Dorchester history, and led a community initiative to inscribe bricks with quotes and dedications celebrating contemporary Dorchester stories. In 2007, the 12 foot tall Clapp pear sculpture was installed in Edward Everett Square, along with the ten additional artworks. In addition, comprehensive text panels describing the project and area’s history were installed in 2011. Each event was magnificently celebrated by the community, local business, city and state officials.

When asked if the project met its stated goals John McColgan replied, ‘The Edward Everett Square art project has achieved the community vision, conceived in 1995, to reclaim this place as one of historical significance expressed through public art. The vision has now evolved and focuses more intensely on Edward Everett Square as an important cultural asset - one that may be used to promote awareness of art, culture and history, and to celebrate personal, community and national connections to Dorchester and Edward Everett Square.’ Laura Baring-Gould adds, ‘public art, when done well, can be a great addition to a community. Not only does the artwork create a landmark, but it contributes to a sense of importance and well being. All great cities have great art- several residents told me how much they feel the neighborhood has improved with the artworks that benefit us all.’

Coming up with the concept is perhaps the biggest challenge of the project, but in truth, the success of the project hinged upon the cooperation of all the players, and upon all the pieces falling into place. Project Artist Laura Baring-Gould worked closely with the community while John Mc Colgan organized civic involvement of many neighborhood associations. The City of Boston provided financial support, as well as tangible support from the Parks Department, Department of Public Works, Boston Art Commission and the Public Improvement Commission. Local businesses also supported the project as did many local elected officials at all levels of government. Private firms were contracted for the design of the project and labor was contracted from local companies and donated by the Bricklayers & Allied Craftsmen Union Local 3 Training Center. Finally, Corporate Sponsorship was committed by Waste Management Corporation for maintenance.

In other words, it was a true community effort, brought to bear with support from stakeholders throughout the neighborhood and city.

As a result of the Clapp Pear project and the Edward Everett Square renovation, the community has experienced tangible results such as increased property values, a changed sense of place and a renewed identity as diverse community which shares a common sense of history and experience. This artwork illustrates the role art can have in improving civic space, community pride and the overall experience of a neighborhood/important Boston gateway. The Clapp Pear made a place into a Place with history. It was the stimulus that mobilized $3 million of indirect and induced spending in Dorchester whose trickle down and ripple effects will continue to impact the future of the local businesses, and the people who live there, for many years to come.

Donna Dodson graduated cum laude from Wellesley College in 1990 with a Bachelor of Arts. Since 2000, Dodson has been honored with solo shows nationwide for her wood sculptures. Dodson enjoys public speaking, and has been a guest speaker in conferences, panels and forums at museums and universities in North America.

Artists Face the Economy

Artists use the tools of business to meet the market challenges of the economic slump.

Artists Andy Moerlein (L: Yearning) and Donna Dodson (R: Cardinal) are building a market for their work despite the slow economy. They are proving that they can succeed in the creative market by applying the tried and true methods of commercial enterprise: build name recognition, seek clients outside the familiar gallery setting, keep the attention of their established collector base, look for overseas opportunities, and encourage brand loyalty.

For the past two years the artists have been showing at Gallery Ehva in Provincetown MA. Dodson had an established reputation in this vital arts community, but Moerlein was a newcomer on the scene. To assure the newly established gallery was frequented by the important eyes on the cape, gallery Director Ewa Nogiec invited Moerlein to install several of his large outdoor sculptures in front of the gallery. These notable marks on the roadside art scene drew attention and sales.

Both artists recognized the value of the Provincetown Art Association Museum to the culture of the community and became members, adding their work to the annual shows and contributing to fundraisers. To enrich her familiarity with the collector base on the cape that frequented Gallery Ehva, Dodson took regular trips south from her home in Jamaica Plain for receptions and networking opportunities. She made over a dozen trips to meet interested people, be with peer artists and contribute socially to gallery events. Print ads by Dodson and Moerlein increased foot traffic inside the gallery. Each of these very active investments contributed to the artist's recognition in the community and generated an interest in their work.

Both artists have blogs and maintain extensive email networks They actively seek out interesting community leaders and engage them in conversations about art. Dodson is a connector for Boston World Partnership and Moerlein created a large scale art installation as part of the Concord NH Chamber of Commerce dinner. A fan of her work, businessman and designer Joseph Knight created a line of jewelry based on Dodson's elephant carvings. This relationship has lead to social and exhibition opportunities in the fashion centers of major cities. Exposure to a nontraditional art clientele has proven to be an education for both the artists and the fashion enthusiasts encountered.

Dodson and Moerlein sought opportunities overseas and were invited to a sculpture residency in Verbier Switzerland. The trip was an exceptional opportunity to experience how a small but dynamic mountain village invested in art. Community visionaries recognized that internationally acclaimed artists building sculptures in the heart of downtown could serve as an economic engine to awaken a quiet early summer season. This region of the Alps is known as a destination for alpine skiing, trekking and the renowned Verbier Music Festival. The residency is seen as a cultural draw for the quiet early summer months, as well as an all-season tourist attraction. This vision has resulted in the worlds highest mountain sculpture park.

Upon their return from Switzerland Dodson and Moerlein had a rich body of experiences they hoped to share with other artists, their collectors and curious curators. They invited eight artists who had traveled to make art in similar settings to a panel discussion on international residencies and symposia. The aim was not only to build a deeper dialogue about art as an economic and business catalyst, but also to connect diverse art interests in one room. Attendees included a representative from the state arts council, board members from a variety of nonprofit arts organizations, educators and business leaders. In a quiet economy, this diverse population of interests needs to gather and share information on how the arts can prove to be an catalyst for community growth. Moerlein and Dodson felt the outreach kept their international activities on the radar of people in the community who could most impact future opportunities.

Currently Donna Dodson and Andy Moerlein each have solo shows at the Boston Sculptors Gallery, 486 Harrison Avenue. Boston Sculptors Gallery is a cooperative gallery. Each artist plans their shows and publicity with only limited structural support. The single part time gallery employee helps with ideas and address lists, gallery members share in the gallery web site and press dissemination, but individual artists are tasked with making their show as success.

In the lead up to this show the artists have put together an ambitious series of incentives aimed at reaching a deep audience. To meet their business goals Dodson and Moerlein presented a teaser exhibit at Gallery Ehva in Provincetown MA this summer. They advertised both on the cape as well as in the broader New England art market covered by ArtScope Magazine. This exposure caught the attention of art critic Elizabeth Michelman who wrote an article about the couple's solo reputation and collaboration works. By fall there was good attention on the upcoming shows. The goal is to draw a familiar crowd out by assuring that they are aware of the shows and curious about the new body of work these two artists have spent the past two years creating. In a debut show, sales are very important to growing the reputation of an artist such as Moerlein whereas for Dodson, repeat sales on the heels of a successful first show solidify the market value of the new work.

A Facebook presence was key to their plan. The artist community is active. Images of their work in progress drew lively commentary that contributed to the ideas the artists were developing. These social network contacts often grew into dialogue and friendships. Both artists also use email notice to keep a large contact base informed of their concepts and works in progress.

Moerlein's home studio in Bow NH draws an audience from a very different network than the one Dodson has cultivated in Jamaica Plain. To draw their fan base close in the lead up to the show, the artists began a series of dinners and brunches. As with the audience of their panel discussion, the invited guests were selected from a diverse spectrum of community leaders. Increased sales were not a direct goal of these social events. Increased dialogue within these often isolated studio practices was important to the artists and they trusted that using a business model of increased visibility would have increased yield. The reputations exposed by their panel discussion, news articles and several visible commissions allowed the artists to send invitations to well established artists, important museum curators, busy collectors and generate a generous outpouring of well designed social events. The six meals were attended by over seventy five dynamic arts invested community leaders, most of who met together for the first time.

As part of one of these gatherings a bank president suggested that he would like to organize an event in the gallery, featuring the artists. He offered to bring notable clients from his community if Moerlein and Dodson could bring an interesting group of fellow sculptors for an exciting mixer. This event is an unexpected consequence of the pre-show social gatherings.

This week the artists set up their work in the gallery. They are both satisfied that they have laid the solid foundation for a successful show. Their preparation included the usual press releases to all the important news venues, but they also used the tools of good business:

1. Name recognition: Preview show, ads and articles in news venues, blog and Facebook presence.

2. Seek clients outside the familiar gallery setting: Invite creative arts board members to talks and meals. Travel overseas and build friendships/creative communities. Identify arts friendly business people and engage their interest and enthusiasm. Attend events such a fashion previews so they can learn from a similar, yet unconnected business model.

3. Build brand loyalty: The diners and brunches were well attended by collectors who owned the artist's work and by curators who had featured the artists in shows or collections.

4.Create a buzz: The artists understand that in the current economic climate an exciting preview and full frontal presence on social media are required to leverage reluctant investors. Their email lists are broadly selected and their postcards were mailed to an audience that has been chosen for reputation growth as well as future cultivation.

Donna Dodson and Andy Moerlein have made a determined effort to create a show that is not just an opportunity to present their work, but is also a vehicle for success beyond the sculpture shown. They are inspired to awaken a fan base that will take notice and grow with them as they build a career in a most unstructured creative market during an unsettled economic present.

Reshaping Reality at Brattleboro

Reshaping Reality at the Brattleboro Museum and Art Center, curated by Carol Seitchik,Boston Sculptors Gallery, on view from July 24 - October 24 2010. Artists featured in Reshaping Reality are features the work of 11 artists associated with the Laura Baring-Gould, Benjamin S. Cariens, Rosalyn Driscoll, Laura Evans, Christopher Frost, Peter DeCamp Haines, Michelle Lougee, Nancy Selvage, Jessica Straus, Leslie Wilcox, and Andy Zimmermann. The opening reception, with artists in attendance, will be August 6, 5:30 - 8:30.

The Little Gallery under the Stairs Proudly Presents:
Work by Men, juried by Haig Demarjian featuring new BSG member Andy Moerlein. The opening reception is Saturday, July 31, from 3-6pm at 25 Exchange St., Lynn, Ma.

Moose Myth by Donna Dodson & Andy Moerlein will be featured in a walking tour on July 29th at 5pm, Market Square, Portsmouth NH. The artists will be present.

Ellen Wetmore will be showing new video work at the University Film and Video Conference at Champlain College in Vermont, August 9-14.

Donna Dodson on Snow Sculptures

Celestial Elephant, 8' tall, snow sculpture, 2010 by Donna Dodson & Andy Moerlein, Black Mtn Ski Resort, Jackson, NH. [Invitational-Snow-Sculpting-Event]

This was my first event making a snow sculpture. I worked with my friend and fellow sculptor, Andy Moerlein on this piece. We heard about the event from Anne Alexander, a Maine sculptor and we consulted with her partner from last year, Sandy Moore who has inspired many people to try their hand at making snow sculptures. The event takes place from noon on Friday-noon on Sunday. Each team starts out with an 8ft cylinder of snow that was packed into a round form on site that measured 4 ft diameter. No colorants, power tools or armatures are allowed in the sculpture but the finished piece can be of any height and can spread out to 12 ft diameter. There were 12 teams- some novices like us and some experienced snow, ice and sand sculptors as well.

The snow this year was made on site at Black Mtn ski resort since there was not enough natural snow to hold the event on the common in the town of Jackson. The snow was soft to carve. We used hatchets, snow saws, and finished our piece with rough grit sandpaper belts. We worked on ladders as well as on our hands and knees. Keeping warm in the 0 degree weather was one of the biggest challenges but we had perfect sunny weather all weekend long. We experimented with water, slush and ice details as well. Snow does not hold fine details well but the surface is very dynamic and working at a monumental scale was very exciting. There are snow sculpture contests all over New England, North America and the world. We might try another snow sculpting event or an ice or sand sculpture event in the future.

We decided to create a white elephant out of the snow, so we did some research...

A white elephant is an idiom for a valuable possession of which its owner cannot dispose and whose cost is out of proportion to its usefulness or worth.

To possess a white elephant was regarded as a sign of justice and power, peace and prosperity. The tradition derives from tales which associate a white elephant with the birth of Buddha, as his mother was reputed to have dreamed of a white elephant presenting her with a lotus flower, a symbol of wisdom and purity, on the eve of giving birth.

Because the animals were considered sacred and laws protected them from labor, receiving a gift of a white elephant was both a blessing and a curse: a blessing because the animal was sacred, and a curse because the animal had to be retained and could not be put to much practical use.

In the Pali scriptures it is duly set forth that the form under which Buddha will descend to the earth for the last time will be that of a beautiful young white elephant, open-jawed, with a head the color of cochineal, with tusks shining like silver, sparkling with gems, covered with a splendid netting of gold, perfect in organs and limbs, and majestic in appearance.