Art In Transit

Artist Opportunities

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the Charlotte area transit system or cat
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has an art and transit program to bring
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artists architects engineers and
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community members together to create
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transit facilities that are vibrant and
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neighborhood oriented
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[Music]
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we have an interesting procedure in our
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transit program whereby the art is
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involved within the context and the
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texture of our project it is interwoven
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in what transit is and it expresses the
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identity of the surrounding area as well
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as the purpose for which you're gathered
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at that spot and it's intended to make
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the public feel like the light rail
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system and in places are there and the
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art is about Charlotte this community
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these neighborhood and so we want a
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direct relationship between the transit
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rider and the art it's a way to to take
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your take your ideas to the public and
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have more people build to appreciate it
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[Music]
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state and local government along with
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the federal transit administration helps
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fund transit projects the FTA encourages
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trans system to dedicate money to public
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art the Metropolitan Transit Commission
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Katz governing board supported using one
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percent of the design and construction
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cost to integrate public art throughout
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the transit system
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professional artists who are involved in
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or interested in public art are invited
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to apply for art and transit projects
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the call is open and ongoing for each
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project an artist selection panel made
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up of our professionals works with
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community members to select an artist
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who will create art relevant to the site
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and the community a seven-member art and
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transit advisory committee made up of
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art professionals oversees the art and
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transit programs each artists must
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present a proposal to the committee
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before the artwork can go into final
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design
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seems to me I answered an open call the
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registry is pretty straightforward to
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ask for slides I lift trying describing
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your resume your package I call it your
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hardest package if you will art must
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meet certain criteria to be considered
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for the art and transit program
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artistic excellence is the first
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criteria considered the art must also be
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relevant to the site and the community
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and be durable and easy to maintain I
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would like to say that about about this
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project and about public art it's it's
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hard to work collaborations are always
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hard I think you have to I think that
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you will a true collaboration is one in
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which you come to the table and are
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willing to learn something and you're
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all or you come to the table and allow
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yourself to learn something and you come
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to the table and you allow yourself to
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share some things the interaction with
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with Katz with the architects with the
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various engineers and so forth is it's
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very foreign to me I mean I'm a studio
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artist I go in the studio I work by
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myself I don't answer to anyone I mean
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that's the thing about public art you
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present to everybody your ideas have to
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go through incredible scrutiny they all
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have their ideas of what should be and
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so it's a long road from start to center
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with artists and with architects there
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are some three big egos involved I think
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sort of what we've all had to do on this
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project is it's kind of step aside and
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let me that's a project be the driving
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force rather than
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and anyone you know opinion or idea it
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was great to finally see the piece
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installed and and on and on a wall my
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studio I didn't create it or ever see it
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on a wall it was always on the floor
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spanned out in a big piece small space
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and to be able to get back and look at
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it and people were able to see the the
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interactive quality is a kinetic
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visually kinetic part where it changes
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color and we walk back and forth so it's
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not typically what the public thinks of
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that painters and sculptors do so it's
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an outdoor environment and the art is
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more difficult to create and to
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integrate into these outdoor settlement
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while they're always constrained always
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they have to be doable they have to take
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wear and tear I'm a colorist so I'm
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trying to integrate some color into this
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design that's not easily accomplished
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especially when the material is concrete
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but as an artist my continent limits are
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really something to work with and
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something to work again and they don't
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really inhibit creativity but let's just
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say inspire creativity with a public art
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projects a major concern is archival
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that it's going to last a long time and
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that vandalism is considered that we
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could possibly change it alter if we
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needed to and of course the cleaning
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though well I think that the a gives
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identity that's one of my concerns
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giving identity to a particular group if
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I'm representing a particular group
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reflecting values that are important to
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that group aesthetic appealing making it
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appeal to the environment to the people
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that use it
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you know make it a nice space that's the
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bottom line trying to make it a pleasant
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beautiful comfortable environment
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transit centers train stations and
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parking ride lots are part of the
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community artists integrate history
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culture landscape and the needs of
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people who will use the facility into
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their design one of the things you do as
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a as an artist involved in public art is
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to work and with your team get to know
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the site get to know what the community
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is about and try to drive a concept that
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truly meets the needs of a community and
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reflect they're very diverse flavor I've
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gone out into the community and asked
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some of the people in the community
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about the history of Matthews how
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everything that's a site looks like
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[Applause]
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I want to see what it looks like from
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this perspective I help I think it gives
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the community a sense of ownership about
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their art it makes the community unique
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different from everywhere else
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as plans for future corridors in transit
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facilities develop capsule continues to
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integrate public art and transit and
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invite artists to submit materials for
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the permanent roster and slide registry
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so I hope it continues I hope its
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flourishes cities that do have that are
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usually very beautiful cities make it
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more inviting and appealing to visitors
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the arts community living artists are a
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valuable part of the community as a
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whole and I think it shows a good deal
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of foresight for a city or municipality
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to use the work of living artists and to
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be able to support living artists and
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make it possible for living artists to
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continue to to make art by this use this
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kind of sport I think what appeals to me
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what pleases me is that and I feel
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honored and having a piece of artwork in
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a public place like this yes as well as
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for the number of people who see it I
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think it will help a lot of people
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understand how artwork enhances our
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space and how it warms the space and
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makes it feel of livable
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a lot of public works become
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just a lot of scrutiny a lot of negative
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feedback initially but after given a bit
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of time and people are allowed to live
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with it
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I'd say most cases it becomes like an
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icon for that site and those same people
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that hated at the beginning once they
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got to know it and perhaps appreciate it
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would would miss it if er gone and would
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maybe be just as upset suddenly they
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were taken away
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Oh
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you
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[Applause]

Artist Selection Process

Eligible Artists
All professional artists in the U.S. who have been involved in public art, the visual arts, as well as professional artists new to public art are encouraged to submit their credentials for future Call to Artists and/or Artist Teams.  When a Call to Artists is initiated in the future, it will be posted in CAFÉ www.callforentry.org.  Professional artists registered in the Art-in-Transit Email Database at that time will be notified by email.  Calls are open for approximately six to eight weeks.  CAFÉ is free to artists.

Artists who wish to be considered for future projects and have not previously registered their email and mailing address, please send both to clange@charlottenc.gov​ and ask to be added to CATS Art-in-Transit Artists Email Database.

Art Committees
To ensure meaningful community involvement in the Art in Transit Program, CATS invites members of project communities to participate in the artist selection process.
 
Neighborhood representatives, business owners, planners, historic society representatives, transit users and supporters work with the art panelists, station architects, engineers, lead artists on the design team, urban planners, and CATS staff to compile information about the project architecture, neighborhood, demographics, history, and users to assist panelists in choosing artists.  Artists use the information to create art relevant to the design and project community.

Art Panel
The Art in Transit Advisory Committee recommends art professionals to serve on artist selection panels.  It is the responsibility of these panelists to select artists capable of creating high-quality public art appropriate to each project. 

Art panelists include artists, museum professionals, designers, art educators, public art administrators, conservators, and other art professionals with a broad understanding of contemporary art and the contributions artists can make to transit projects.

Art Criteria
In keeping with Federal Transit Administration (FTA) guidelines to incorporate art into mass transit, CATS subscribes to the following criteria when artists are involved in planning and designing of transit art projects and/or when artists are commissioned to create works of art:

  • Quality of art or design
  • Impact on transit users or other public audiences
  • Connection to site and/or adjacent community: art that relates, in form or substance to the cultures, people, natural and built surroundings, or history of the area in which the project is located
  • Appropriateness for site, including safety and scale
  • Durability and resistance to vandalism
  • Minimal maintenance requirements

Art in Transit Advisory Committee
 
The seven-member committee of art professionals is appointed by CATS' CEO to guide and oversee the Art in Transit Program.  The advisory committee meets quarterly, or as needed, to advise on commissioning public art, recommending art selection panelists, reviewing artists' proposals, art plans and budgets, ensuring community involvement, public education, and program promotion to keep the community informed.  Members serve for three-year terms, and are nominated by regional and national art professionals knowledgeable about public art.


 
 
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