Public Art in Process: Eric Wright (3 of 3)

From concept to completion, artist Eric Wright will overview preparing his recent public art commission for the Oklahoma Turnpike Authority in three blog posts. See the first post here and second post on Wednesday.  

Commissioned artists (l to r) Dan Garrett, Eric Wright, &
Eric Baker with Mentor Lynn Basa (2nd from L).

Guest author: Eric Wright
If the Barrier Relic project was not part of a public art mentorship provided by Oklahoma Visual Arts Coalition (OVAC) and Oklahoma Art in Public Places (OAIPP), I probably would have never applied.   Both agencies strongly advocate for Oklahoma artists and provide so many things to help us succeed as professionals.  I knew it could be a great learning experience and seized the opportunity with both hands.

OVAC and OAIPP didn’t just bring anyone in as a mentor.  They brought an experienced public artist who literally wrote the book on the subject – “The Artist’s Guide to Public Art: How to Find and Win Commissions.”  Lynn Basa definitely fulfilled her role throughout the entire process.  She pushed hard in the beginning to get all of us on the same page and ready for the demanding first steps.  As the project(s) unfolded, she was there to provide advice and support – many of my e-mails had replies within a half hour!  She held nothing back, either.  If something wasn’t good, she would say so and then offer advice on whatever next step was necessary to correct it.  She rode the roller coaster with us the entire time.

The most important thing I have taken away from this mentorship is that things truly are what you make them.  I had never really engaged teachers throughout school and got by okay, yet have learned in my adult years to jump in and take advantage of opportunities that present themselves.  The process of making my first public artwork was a blast!  While it might have been daunting, everyone involved was extremely supportive and did what they could to make it a success.


The project, with its processes of working with various agencies and contractors, has strengthened my belief that something scary gives you all the more reason to do it.

See a full slideshow of images from his process here: 

Learn more about the Oklahoma Public Art Mentorship, other artists' projects and Wright through this Art Focus Oklahoma article or on this page. 

Public Art in Process: Eric Wright (2 of 3)

From concept to completion, artist Eric Wright will overview preparing his recent public art commission for the Oklahoma Turnpike Authority in three blog posts. See the first post here. 

Concrete contractor slices Jersey Barrier for Eric Wright's sculpture

Guest author: Eric Wright

The “Barrier Relic” is constructed from two – very heavy and very strong - Jersey barriers and over two thousand pounds of concrete (it’s not going anywhere!). The skills required for its construction were beyond my use of concrete in my studio work, so contractors were necessary to bring it to life.

Concrete contractors pour the base for Eric Wright's sculpture

Concrete contractor grinding the base for Eric Wright's sculpture

It took two fellows, with a truck full of tools, two days to slice one of the barriers into twelve pieces.  It then took another crew two weeks to create the nine foot circular base. Concrete is a physically demanding medium, and it was a great experience to watch professionals turn it into a piece of art.

Fabricator building base for Eric Wright's "relic" 

When the onsite base was complete, the relic became the focus at the fabricator’s shop.  A three week steady pace came to an abrupt slow down as the fabricator is a full time oilfield welder who does other jobs after his regular seventy to ninety hours a week.  Still, talented professionals who know what they’re doing can get things done!

Eric Wright's relic with patina

Once the relic had its patina and was delivered, a less than enthusiastic response from site personnel revealed the dull, rusty relic did not match the smooth, shiny base.  Yikes!!  Thankfully, this project is a mentorship, so Lynn Basa did a great job guiding me toward a solution of making the relic’s surface match that of the base.  Getting that done was really a couple hours’ work, yet it took about a month and a half to fit into the busy contractor’s schedule.

Medallions ready for placement at Eric Wright's sculpture

After the artwork was complete, Oklahoma Turnpike Authority personnel and the concrete contractor created the short approach with granite medallions for Oklahoma Turnpike Authority, Oklahoma Highway Patrol and the State of Oklahoma.

Throughout the project, I was thankful for a prior career in commercial art, since the artwork is really for someone else besides myself.

See a full slideshow of images from his process here: 

Learn more about the Oklahoma Public Art Mentorship, other artists' projects and Wright through this Art Focus Oklahoma article or on this page. 

Public Art in Process: Eric Wright

Eric Wright, completed sculpture, photo by Gary Thomas

From concept to completion, artist Eric Wright will overview preparing his recent public art commission for the Oklahoma Turnpike Authority in three blog posts.  Wright was a part of the Oklahoma Public Art Mentorship, a partnership of the Oklahoma Art in Public Places and Oklahoma Visual Arts Coalition. The mentorship allowed Wright and two other artists with no large-scale commission experience to work in mentorship with national public artist Lynn Basa.  Basa came to Oklahoma to meet with the artists, trained them in the logistical and business considerations for their projects. She also offered ongoing feedback and advice to help them make their way through the multiple steps of the public commissioning process.  The other commissioned artists were Dan Garrett and Eric Baker. Read more about them in this article. 

Wright kept meticulous documentation of each stage of his project since it began in 2009.  I asked him to reflect on the conceptual, logistical and technical development he experienced.  

Eric Wright, Concept Sketch for OK Turnpike Authority project, 2009

Guest author: Eric Wright

For my first ever public artwork, I decided to limit myself to the Jersey barrier.  The what?  If you drive a car, you’ve seen it practically everywhere you go.  It’s that ugly concrete barrier lining construction zones and dividing highways across the country.  If you didn’t know it’s called the Jersey barrier, I didn’t either when the project began.

Why the Jersey barrier?  The agency receiving the artwork is the Oklahoma Turnpike Authority, along with the Oklahoma Highway Patrol.  The site is on the H.E. Bailey Turnpike – near Chickasha - and the overall concept for the artwork is one of safety, as the turnpike tends to be a dangerous work environment.  The Jersey barrier lines the middle of the turnpike, and is one element that does its job very well at keeping people safe.  Whenever you see tire marks and scars on a dividing barrier, it has more than likely prevented a cross over collision.  Because the barrier is so ubiquitous and utilitarian, it is easily overlooked.  That is why I decided to restrict myself to only use it in the work.

Eric Wright, Jersey Barrier slices laid on dry ground

I quickly saw that the profile of the barrier might lend itself to a nice design if it was repeated in a circle.  After making a small clay model and moving on to Photoshop to refine the design, I discovered it created a beautiful star.  A circular base created from the slices would make a nice foundation for a used section of this unattractive piece of concrete.  The concept is to present the barrier in a way for the viewer to reflect on the importance and beauty that can be found in this mundane, everyday piece of concrete.

All I had to do now was get a Jersey barrier and slice it like a loaf of bread.

See a full slide show of Wright's process here: 

Learn more about the Oklahoma Public Art Mentorship, other artists' projects and Wright through this Art Focus Oklahoma article or on this page. 

Business of Art Book Reviews: Must Have Practical Guides

2010 Artist's and Graphic Designer's Market
Edited by Mary Cox, Writers Digest Books
Amanda Hall: For aspiring illustrators, cartoonists, & designers, lists companies taking freelance submissions like publishers & greeting card companies
Sue Clancy: for artists wanting to published in books, magazines, on products; like phone book of contacts & how to approach, helpful art business info

Studio Protector: The Artist’s Guide to Emergencies
Craft Emergency Relief Fund
Julia Kirt: Beautifully designed, resource-packed readiness kit, what artists need to know BEFORE fire/tornado/flood, etc. Avoidance= Not Professional
See also review on Alyson Stanfield’s blog: http://www.artbizblog.com/2009/12/studioprotector.html  
Legal Guide for the Visual Artist
Tad Crawford
Amanda Hall: For the legal jargon-challenged, provides model contracts and copyright law info. Covers many scenarios faced by artists at career stages.
Julia Kirt: Buy it.
Liz Roth: Every artist must own and read this book. Taxes, contracts, sample legal forms, dealing with lawyers-- this book has it all. All of his books are great.


Graphic Artists' Guild Handbook of Pricing and Ethical Guidelines
Graphic Artists’ Guild
Sarah Atlee: The HPEG answers all my questions about the business of illustration and design. It's essential for a freelancer in any visual field.





The volume of books about art businesses is pretty overwhelming with many titles and concentrations. I have read close more than a dozen business books targeting artists and sometimes get confused which is which, not to mention which ones to recommend for whom. This is part of a series of feature brief reviews and recommendations of business of art books by several knowledgeable artists. I hope the reviews will help artists know which books are most useful for which topics and career stages.

Feel free to add your own reviews and/or book ideas!

Opportunity: National Public Art Program

Reposted from the Americans for the Arts monthly Wire to members:
ART-IN-ARCHITECTURE ARTIST REGISTRY
Deadline: July 31, 2009. The General Services Administration (GSA) Art in Architecture Program commissions the nation's leading artists to create large-scale works of art for new federal buildings. These artworks enhance the civic meaning of federal architecture and showcase the vibrancy of American visual arts. Together, the art and architecture of federal buildings create a lasting cultural legacy for the people of the United States. For more information, visit the website and type “art in architecture” into the search bar in the upper right-hand corner.

Opportunity: Norman Public Art

Request for Proposals:
The Norman Public Arts Board, on behalf of the Norman Arts Council and the City of Norman, seeks an artist (or team of artists) to create a permanent, public outdoor work of art for the center island of the East Main Street Roundabout, which will be located on East Main between Porter/Classen and NE 12th Street at the intersection of Main, Acres, and Carter. Project budget: $60,000, Deadline December 15. Check the Norman Arts Council's website for a full prospectus.

Opportunity: $350,000 OKC Public Art

RFQ: Deadline October 31
Leadership Oklahoma City is seeking an artist to create a permanent, public outdoor work of art for a municipal park known as "Bicentennial Park," which is located in downtown Oklahoma City between two of the city’s most important buildings, the Oklahoma City Municipal Building and the Civic Center Music Hall, both outstanding examples of Art Deco WPA projects. This significant outdoor feature can include sculpture, light, water, and landscaping elements, unique or alternative art media, or any combination that is appropriate for the site and the concept.

A full prospectus can be found here: http://www.lokc.org/News/tabid/98/Default.aspx