Artists Talk with LVA: February 13, 2025

Tonight (February 13, 2025)t Louisville Visual Art unveils the SPARK Sculpture and its designers, Laura Haddad & Tom Drugan joined us to talk about it live in the studio. Tune in to WXOX 97.1 FM/Artxfm.com each Thursday at 10 am to hear Artists Talk with LVA.

Laura Haddad & Thomas Drugan specialize in conceptually driven public art that is often integrated into large-scale infrastructure projects. Past and current work includes art for roadways, bridges, transit stations, public utilities, architectural facades, industrial artifacts, museums, libraries, and urban plazas and parks. Working in the public realm, the artists pursue their interest in using site conditions as inspiration for art concepts. Haddad|Drugan strives to create poetic one-of-a-kind artworks that on one level act as place-making icons but on another are layered with subtler complexities that unfold over multiple viewings.

The studio’s site-specific approach to new projects includes research and investigations about a site’s physical, functional, natural, social, and historical aspects. 

From this the artists establish a conceptual framework for the art and develop specific forms and materials that best express the idea. Haddad|Drugan operates at the scale of both sculpture and planning and approach the thematic or sequential linking of individual artworks as a form of conceptual art unto itself.

Artists Talk with LVA: April 20, 2023

Shepard Fairey is an American contemporary artist, activist, and founder of OBEY Clothing who emerged from the skateboarding scene. In 1989 he designed the "Andre the Giant Has a Posse" (...OBEY...) sticker campaign while attending the Rhode Island School of Design (RISD).

Fairey designed the Barack Obama "Hope" poster for the 2008 U.S. presidential election. The Institute of Contemporary Art, Boston has described him as one of the best known and most influential street artists. His work is included in the collections at The Smithsonian, the Los Angeles County Museum of Art, the Museum of Modern Art in New York City, the Museum of Contemporary Art San Diego, the National Portrait Gallery in Washington, D.C., the Virginia Museum of Fine Arts in Richmond, and the Victoria and Albert Museum in London.

Louisville, Kentucky native Eddie Donaldson moved to Los Angeles in 1986 and became involved with the graffiti movement as an alternative to the turbulent gang activity of his generation. Immersed first as an artist amongst diverse L.A. crews like TCF, AWR, and The Seventh Letter, Donaldson had the vision to develop their homegrown graffiti movement into something beyond the streets. His loyalty and business sensibility transformed the graffiti scene and he evolved into the point person for producing art events and exhibitions that inspire and spread the stylistic of southern California art into the world. In 2000, his groundbreaking website GuerillaOne became the first online graffiti portal, uniting the growing subculture globally and changing the landscape for connection amongst artists, fans, and collectors. By inspiring value in artists as influencers and activists, he has the unique ability to put together the right artists with the right projects to promote next-level visual expression. Communicating through fine art online, in galleries, at events, and on the street, Donaldson inspires his culture to grow and shine all over the world.

Artebella On The Radio: June 17

The (Un)Known Project is a collaborative, two-year initiative led by IDEAS xLab to tell the stories of both known and unknown Black men, women, and children that were formerly enslaved and hidden figures in Louisville, Kentucky. This week we talk with old friends William Duffy & Dave Caudill, the two sculptors working ion this project, which will be unveiled Saturday, June 19.

William Duffy was born and raised in Louisville, Kentucky. Always having a special talent for painting and drawing, Duffy graduated from the Louisville School of Art with a BFA in painting.

Duffy’s work can be found in numerous private, corporate, and public collections, including Phillip Morris USA, Brown-Forman Corporation, Kentucky Fried Chicken (now YUM! Brands, Inc.), Humana Inc., The Louisville Orchestra, and the J.B. Speed Art Museum.

David Caudill creates artworks for public, corporate and private collections. His larger public works are found at Louisiana’s Rip Van Winkle Gardens, East Tennessee’s Horizon Center park, the University of Kentucky’s Singletary Center for the Arts, and the University of Louisville School of Music. Corporate collections include Brown-Forman Corporation and Fire King International. Individual collectors across America have acquired his work.

He is also one of the few sculptors in the world who have created an environmental undersea sculpture. Caudill’s artwork was placed on the seabed near Nassau, The Bahamas.

The {Un) Known Project’s first public art installation "On the Banks of Freedom" gets unveiled June 19 as part of Juneteenth: Past, Present, Future.

Artebella On The Radio: June 25, 2020

Public art and public spaces are an important part of the changes happening in our world right now, and Curator Eileen Yanoviak and Artist Brianna Harlan will be talking about these issues this week with Keith Waits. Tune in to WXOX 97.1 FM, or stream on Artxfm.com each Thursday at 10 am to hear artists talk about their work.

Dr. Eileen Yanoviak has sixteen years of museum experience in development, marketing, curatorial, education, and guest relations. She has worked at the Speed Art Museum and Kentucky Museum of Art and Craft (also known as KMAC Museum), both in Louisville, Kentucky, and the Arkansas Arts Center in Little Rock. She has had a parallel career in higher education as a teacher and administrator for more than a decade at the University of Arkansas at Little Rock and the University of Louisville, among others. She received her doctorate in Art History from the University of Louisville in 2017. Her area of expertise is nineteenth-century American landscape painting, and she is particularly interested in environmental history, American studies, and museum studies. She has presented and published her research nation-wide and is a regular contributor to Burnaway: The Voice of Art in the South.

Brianna Harlan is a multidisciplinary artist and organizer. She works conceptually in multiform, socially engaged art. Her work is driven by an obsession with interpersonal culture and how that influences quality of life, health, and habits. Brianna is a Hadley Creative and Kentucky Foundation for Women Fire Starter awardee. Her most recent residencies were at Oxbow School of Art and Artists’ Residency, Materia Abierta in Mexico City, and Makers Circle in North Carolina. She also leads community experiences and presentations, has been a speaker for organizations like For Freedoms, 21C Museum Hotels, and the KY ACLU. She is currently pursuing her MFA in Art and Social Action at Queens College, CUNY.

Feature: Sarah Lindgren

Sarah Lindgren

Raising The Ante On Public Art

Sarah Lindgren is a government employee, which makes her, almost by definition, a bureaucrat - a terrible word with little positive association. Yet, as Public Art Administrator at Louisville Metro Government, she is the top authority on public art in the city, a job description that sounds anything but monotonous.

In conversation, Lindgren speaks of the issues surrounding public art with detail and confidence, but she also effectively illustrates the complexity of the topic. With substantial experience in museum administration with The Speed in Louisville and the St. Louis Art Museum, she clearly has the bona fides for the job.

Public Art Administrator is a job that never existed before 2014, a creation of the long in development Louisville Public Art Master, which in turn gave birth to COPA, the Commission On Public Art. Part of Lindgren’s role is to, in effect, head up COPA. But what does a commission on public art do exactly?

“COPA was established to advocate for all of the recommendations in the Master Plan, which included a position for Public Art Administrator,” explains Lindgren. “My job is to help artists and arts organizations navigate their way through the bureaucracy of public art. What permits are needed? What is required to site artwork in the right-of-way?”

So COPA is an advisory body making recommendations to Mayor Greg Fischer and the Metro Government on such questions as how to adequately archive and maintain the rich history of public art in the city. How much does the general public know about the significance of sculptures that have been a part of the fabric of the city for generations? How often do you drive past the Daniel Boone statue at the entrance to Cherokee Park with any thought to the fact that it was created by one of the most important women sculptors in the United States, Louisville-born Enid Yandell (1869-1934), who studied with Auguste Rodin? How many of us know with assurance where to find all of the Barney Bright statues in the city? Or works by Ed Hamilton?

That archive was one of the first tasks implemented from the Master Plan, with the help of Kristin Gilbert, Lindgren and photographer Luke Seward, who took fresh pictures of many of the pieces. But there also is a need to build consistent public policy towards public art, both old and new.

Beneath the Surface by Mary Carothers. Part of the 2015 Connect/Disconnect: A Public Art Experience.

COPA is what Lindgren calls “a nexus for various areas of expertise to come together to address public art policy.” In some instances, city and state government might cross paths, and if the topic involves an institution such as the University of Louisville, the paths between action and accountability can be difficult to chart. “We also work with city departments and overlay review committees. Depending on the project, it can be a lot of moving parts.”

Most cities have requirements in place for new construction that demand developers include initiatives public space and/or public art, and so does Louisville. “We have a unique formula in the Land Development Code,” explains Lindgren, “which stipulates outdoor amenities or focal points be included in building plans for large-scale developments, or the developer can choose a fee in lieu of the amenity or focal point which goes into a restricted fund for public art.” The result is the establishment of a funding opportunity that will be offered in the next fiscal year, a grant application for funding new public art. The size and availability of this opportunity will, of course, vary depending upon the volume of new construction each year and developers that opt for the fee-in-lieu to support public art. “The fee-in-lieu option was added to the Code in 2010, but the recession slowed down construction. By 2016 with an increase in new development projects, there is also an increase in this type of funding for public art.”

The funding opportunity is just the latest initiative that Lindgren has brought to the Metro Government’s renewed attention to public art. In 2015 she managed Connect/Disconnect: A Public Art Experience, the inaugural project of COPA and Louisville Metro Government’s Public Art, which featured outdoor installations by five artists – Simparch, Jean Shin, Mark Reigelman, Jenny Kindler, and Louisville artist Mary Carothers. The pieces were only in place for a few months, but several have received national recognition. Other projects in various stages of development include:

River Monument (glomus) by SIMPARCH (Steven Badgett and Matt Lynch). Photo from Develop Louisville.

The Louisville Knot

A project to install public art and lighting features to enhance the Ninth Street underpass, it is being developed in coordination with the Louisville Downtown Partnership. A multi-disciplinary team led by Interface Studio Architects (ISA), based in Philadelphia, and includes Shine Contracting, Louisville; Core Design, Louisville; Element Design, with offices in Lexington and Louisville; and LAM Partners, Cambridge, MA, would seek to turn the area under the 9th Street I-64 ramps into “an engaging and enticing public space tied together by local influences and traditions, providing a destination for exploration, commerce, and play.”

Love In The Street

An initiative by local poet and artist Lance Newman to curate a selection of poems by local poets and stamp them in a newly laid concrete sidewalk on 4th Street, between Chestnut and Broadway. The poems are intended to be love letters to the city. The project has a target completion date in spring 2018.

"Opportunity Portal" by Don Lawler & Meg White. Photo courtesy Meg White.

Bike Sense Louisville

Bike Sense Louisville is a public art project designed by Todd C. Smith. By providing sensor units to 100 Louisville cyclists (Citizen Cyclist Volunteers), data will be translated into helpful maps online as well as drive a public sound composition on the pedestrian Big Four Bridge. The resulting dataset will be open to the public and used by the city at the project's end to help in developing further improvements in bike infrastructure and planning.

Marquis Marie de Lafayette by Jean-Antoine Houdon (after). Photo by Michael Popp

It’s fair to observe that the creation of a Public Art Administrator position and the formulation of COPA represent a renewed focus on arts and culture that accompanied Greg Fisher into office, so given the shifting political landscape that characterize America in the last few years, how long can Louisville expect an arts professional such as Lindgren to have a seat at the public policy table?

“Well, my job is as vulnerable as any to a change in administration, but COPA is a public commission without salaries or budget of any kind – members are appointed by the Mayor and serve as volunteers, so it would be difficult to imagine why any new administration would not see their value.”

The recommendations are not limited to the benefit of the current administration or the city of Louisville but also extend to the uncertainty and lack of protections for individual artists. “As an artist, you deserve to work under a proper contract, to be paid appropriately and on time, and, when necessary, to have liability insurance in your project budget provided by your client. I want Louisville to raise the ante in advocating and implementing for best practices creating art in public spaces.”

Public Art Database: http://louisvilleky.pastperfectonline.com/
Explore Public Art: https://louisvilleky.gov/government/public-art/explore-public-art

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This Feature article was written by Keith Waits.
In addition to his work at the LVA, Keith is also the Managing Editor of a website, www.Arts-Louisville.com, which covers local visual arts, theatre, and music in Louisville.

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Entire contents copyright © 2017 Louisville Visual Art. All rights reserved.

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