The Baltimore Love Project worked for several months to gain permission to paint our iconic image on the side of Rite Aid. We first stopped by the store to find someone who could give us permission. As expected the clerk directed us to the manager. The manager offered words of support but had limited resources, and knowledge, to ink a deal. We proceeded up the ladder. We called corporate! It took a few calls to find the right department, but eventually we reached a sympathetic ear in marketing. Even with an advocate inside, it took several more months to have our one page contract converted into a signed sixteen page document. I am not certain, but I may have lost the naming rights to my first child.
After a three month journey through an organized institution we were ready to paint. We made one more phone call to the district’s city councilwoman. At the time we were not certain if a mural required a permit from the city. It does not. We also wanted to let her know of this great thing we were doing in her neighborhood.
She promptly told us to stop everything. She informed us that “this neighborhood has a process for murals.” Nebulous would be a compliment to the structure of the process that we walked into. We weaved our way through a myriad of community meetings, main street meetings, conversations with stakeholders, and email chains. After two months we did not know if we needed a permit (the permitting office feared making the correct legal decision based on political repercussions) or if the store up the street would call the cops on us. We pushed the councilwoman to act. She said “let’s put it to a vote”. Flyers were placed around the neighborhood and emails were sent to community lists. After a defined voting period the tally was in. 100 percent of the voters wanted the love mural in their neighborhood. 95 percent wanted the mural in the location we had worked to get permission. The councilwomen allowed us to paint, and we learned a valuable lesson.
The community does not have to be a liability. The community can be an asset.
The experience drastically changed our perceptions of engagement. If a work of art truly is about response, not just self expression, invite the audience to the entire work of art. Process is a significant part of the art. Process is also a point in which context can be experienced and understood by others. Context is how the audience gains access to a work of art. Context and process can be shared with the audience before the work exists. In so doing, the artists increases the opportunity to reach the desired goal of completing the work, which is now a shared experience with the audience, AND the artist can ask “what do you think” much earlier in the conversation. The audience can be a valuable resource to the two main objectives of the artist: creation and exploration.
Love wall number 6 at 3133 Greenmount Avenue was a turning point for our project. It gave us confidence about our ability to execute. We signed a contract with a multinational corporation. It gave us confidence as artists. We had a powerful idea that was accessible even before it was completed. And ultimately it improved our practice as artists to express ourselves AND explore new philosophies with others.
