As part of our commitment to fostering a more vibrant city through bold public art, we strive to build culturally responsive relationships through our partnerships and participatory programs. This year at Lot Lab is no different; we are connecting with the community of Charlestown and beyond through dynamic programming of performance, spoken word, theater, workshops, and much more.
Fresh off the incredible feat of bringing Simone Leigh’s spectacular artworks from Boston to Venice and then to Boston, Kate Herlihy brings to Now + There balanced respect for artists’ vision with planning rigor. blu prinston, N+T Communications Assistant, chatted with Kate about how early access to arts education, mentorship, and teamwork make her ready to “pay it forward” as N+T’s Managing Director.
As a veteran of two Chicago Architectural Biennales, Marguerite Wynter brings FOMO-inducing stories of events we all missed out on—did we hear joy riding through the South Side?—and a deep commitment to engaging community in the co-creation of public art. Learn more about Marguerite and drop her a line to welcome her to a new event, space, or idea!
Now that we’re getting ready to launch Lot Lab in the Charlestown Navy Yard on June 7, I’ve been reflecting a lot on my Now + There journey, which began with me becoming a Public Art Ambassador two summers ago. If you’re considering becoming a Public Art Ambassador for Lot Lab, I hope my reflections about my time as a PAA can help to guide you!
Talking to artists and community members--listening and learning from them--brings life to all our projects. This year of Mending looks at stories of innovation, global connection, individual perseverance, and tenacity, weaving together the impossible and offering opportunities to amplify what is most delicate (collective joy), transient (dreams), or everlasting (love) in our interconnected world.
The first post from N+T's 2018 Critic-in-Residence, Leah Triplett Harrington explores how UrbanArts has became Now and There and how bringing Bostonians artwork considering place, ecology, and gentrification relates to public artwork presented in Boston in the 80s. Is Boston’s public art - permanent or temporary - a way that we can make sense of the enormity of economic and political “transactions” happening globally?
