►
From YouTube: Open Spaces Info 480
Description
Information session about Open Spaces 12/19/17 with Cheryl Kimmi, Dan Cameron, Lea Petrie and Consuelo Cruz
A
A
So
this
project
started
originally
as
a
three-day
event
and
Dan
will
explain
in
a
little
bit
how
we've
morphed
from
a
three-day
event
to
a
62
Day
event
which
I'm
thrilled
about,
because
it
provides
so
much
more
opportunity
for
local
artists
to
engage
and
for
us
to
gain
exposure
for
more
arts
in
Kansas
City.
There
are
four
primary
components,
so
I'll
try
to
be
as
concise
as
possible,
because
there's
so
much
happening
there
will
be
an
exhibition.
That's
visual
arts,
public
visual
arts
installations
and
to
participate
with
that.
A
Then
you
submit
a
proposal
and
dannegan
will
expand
more
upon
that
in
a
minute,
then
there
is
the
village.
There
will
be
a
village
for
those
who've
been
to
the
ethnic
enrichment
festival.
The
footprint
of
the
village
will
be
in
close
proximity
to
that
footprint.
There
will
be
a
stage,
and
in
that
stage
there
will
be
performances
and
collaborations
presented
there
every
weekend
throughout
that
duration.
There
will
also
be
a
and
we're
still.
A
We're
also
providing
an
opportunity
for
creative
partnerships,
so
this
is
being
done
on
a
tight
timeframe,
and
so
many
of
our
performing
groups
and
museums
performing
and
visual
staples
here
in
town
already
have
seasons
planned
and
an
exhibits
planned.
So
we
want
to
cross,
promote
and
provide
opportunity
for
people
coming
to
open
spaces
to
learn
about
all
the
other
amazing
things
that
are
happening.
A
So
we
will
be
providing
creative
partnerships
with
the
existing
entities
here
in
ten
ways
you
can
participate,
the
curated
selection,
the
applications
for
Visual
and
Performing
Arts
are
due
January
31st
5
p.m.
Central,
Standard
Time
and
those
are
for
proposals
within
swell
Park
and
for
site
specific
proposals
outside
of
Swope
Park
cultural
partners,
folks
that
I
just
mentioned
that
already
have
existing
programming.
At
this
point
in
time,
whisky
design
has
created
our
splash
page.
That's
up
right.
Now
we're
going
to
be
having
it.
We
will
soon
have
an
expanded
website
with
much
more
information.
A
So
if
you
have
questions
about
cultural
partnerships,
reach
out
to
lea
shell
touch
a
base
about
this
again
in
a
minute
and
then
makers
market,
which
will
also
be
in
this
in
the
Swope
village
in
the
village
ATS.
What
park
will
have
more
details
coming
for
the
maker
village
after
the
first
of
the
year,
and
that
will
also
be
a
jury
process.
B
My
focus
for
the
last
I
would
say:
three
decades
has
been
really
on
kind
of
global
art.
I
think
my
first
large-scale
global
exhibition
happened
in
Madrid
at
the
Reina
Sofia
Museum.
It
was
called
cocido
a
crudo,
and
that
was
really
a
very
ambitious
project
and
I
found
that
being
able
to
bring
artists
from
many
places
together
to
one
place
was
found
to
have
a
positive,
dynamic
impact
on
the
place
that
this
was
taking,
that
this
was
happening
and
I
began
to
see
cities
as
sites
more
and
more.
B
So
just
last
year,
I
did
a
similar
project
in
cuenca
in
Ecuador,
where
again,
artists,
from
really
everywhere
kind
of
converged
on
this
really
rather
small
colonial
city.
In
the
highlands
of
Ecuador
and
transformed
14
cultural
institutions
in
the
city
into
again,
a
city
wide
project
I
think
that
maybe
the
project
that
I
did
it's
the
most
pertinent
was
Prospect
New
Orleans,
which
is
something
launched
after
Katrina
to
kind
of
bring
the
contemporary
art
world
into
the
cultural
rebuilding
of
the
city.
And
that
was
a
very
fortunate
coincidence
for
me.
B
So
shortly
after
Katrina,
when
really
the
artists
in
New
Orleans
were
looking
for
a
way
of
finding
a
connection
to
the
outside
world
to
making
sure
that
they
that
the
art
world
outside
of
New
Orleans
knew
that
they
existed
and
when
I
was
also
hearing
that
the
contemporary
art
world
wanted
to
participate
in
the
cultural
rebuilding
of
New
Orleans,
but
that
the
two
sides
and
sides
needed
to
come
together.
I
realized
that
that
was
also
sort
of
part
of
what
I
did
as
a
curator
was
trying
to
make
things
connect
in
a
space.
B
B
Prospect
is
going
on
now
and
it's
now
in
its
fourth
edition
and
I'm,
really
happy
that
it's
had
a
significant
role
to
play
in
culturally
repositioning
New
Orleans,
not
just
as
a
place
where
you
go
to
have
a
good
time
and
hear
music
and
eat
good
food
and
maybe
study
architecture
from
the
19th
century,
but
also
a
place
where
you
can
seriously
engage
with
contemporary
art,
which
means
the
contemporary
artists
in
New.
Orleans,
now
have
an
automatic
connection
to
the
outside
world.
B
Needless
to
say,
I
was
never
part
of
this
process,
but
oddly
enough,
I
had
another
conversation
going
on
at
the
same
time
with
the
gentleman
who
I'm
sure
you
all
know:
Scott
Francis
who's,
a
local
arts
and
culture
philanthropist
in
in
many
other
areas
as
well
and
Scott
had
a
dream
about
doing
a
large-scale
art
exhibition
here
in
Kansas
City,
it
came
after
seeing
Documenta
in
Germany,
particularly
documented.
It
was
curated
by
an
African
curator,
which
kind
of
presented
this
globalist
vision
that
we
were
all
so
invested
in
and
Scott
came
back
and
said.
B
This
is
what
we
need
in
Kansas
City.
So
he
and
I
had
been
talk.
We've
now
been
talking
it
next
month,
we'll
mark
three
years
that
he
and
I
have
been
having
this
conversation,
so
my
phone
sort
of
rings
in
March
and
it's
Meaghan
Krieger
calling
from
the
mayor's
office.
So
you
can
imagine
that
I
was
assumed,
I
assumed
that
she
was
calling
about
the
project
that
Scott,
Francis
and
I
had
been
caught
talking
about,
but
it
wasn't
that
it
was
this
plan.
It
was
the
idea
of
doing
a
cultural
festival.
B
It
was
not
an
easy
fit
automatically
and
I
wasn't
sure
how
this
was
going
to
work,
but
I
said
well.
I
would
love
to
participate
in
the
envisioning
sessions
and
see
what
we
come
up
with
so
after
two
days
of
kind
of
jamming
ideas
for
a
while
I
proposed
that
it
seemed
to
me
that
the
solution
was
sort
of
right
there
in
front
of
us.
B
One
thing
the
reason
I
think
that's
particularly
interesting
right
now
in
my
field,
is
because
museums
are
moving
closer
and
closer
to
performance
as
a
generator
of
content
and
programming.
I'm
very
involved
with
the
number
of
performing
arts
organizations,
including
the
Brooklyn
Academy
of
Music
in
New
York
bamm-bamm,
has
been
stepping
up
their
collaborations
with
visual
artists
and
filmmakers
to
a
dramatic
extent
over
the
last
five
or
ten
years.
B
So
I
really
feel
these
two
worlds
are
coming
together,
but
there
is
not
any
place
or
occasion
in
which
the
possibility
of
visual
and
performing
arts
existing
together
on
an
equal
plane
is
currently
happening
in
this
country.
So
I
thought,
maybe
Kansas
City
would
be
a
great
place
to
innovate,
would
be
a
great
place
to
pioneer
a
new
form
of
a
cultural
experience,
which
is
what
we're
calling
it
or
an
arts
experience.
It's
neither
festival
nor
exhibition
or
its
kind
of
both
together.
It's
it's.
It's
a
as
we
used
to
say
in
New
Orleans.
B
It's
a
gumbo
and
I
think
that
works
really
well,
because
one
of
the
things
that
happened
again
with
New
Orleans
was
it's
a
signature
event.
So
it's
it's
meant
to
attract
people.
It's
meant
to
generate
cultural
tourism,
find
collectors,
find
museum
groups,
find
art
lovers
around
the
country
and
other
countries
and
say
this
is
just
a
moment
to
come
to
Kansas
City
these
nine
weeks.
These
62
days
are
a
unique
opportunity
for
you
to
come,
see
these
artists,
but
also
hear
these
artists
watch
these
artists.
B
Painting
and
botany
I
mean
it's
it's
it's
up
to
you.
We're
not
giving
preference
to
introduce,
apply
nary
projects,
but
if
you're
the
kind
of
an
artist
who
has
you
know
sort
of
a
practice
going
on
in
your
studio.
But
there
are
other
things
that
you
want
to
do
and
that
you
think
you
could
do
and
get
together
with
collaborators
in
the
next
eight
months
and
six
days
propose
that
to
us,
if
you're,
an
artist
who
makes
objects,
submit
your
objects
if
you're
a
dancer
or
musician
or
a
spoken
word
artist.
B
If
you
have
a
site-specific
angle
to
your
work
by
all
means,
tell
us
where
and
tell
us
maybe
a
little
bit
about
what
your
relationship
to
that
site
is
and
how
you
selected
that
site
and
beyond
that
I
would
say
you
know:
wewe
want
information
about
budget.
We
want
information
about
projects,
project
production,
but
there's
a
certain
degree
in
which,
when
work
is
selected
for
open
spaces,
we
become
your
producing
partner.
B
We
are,
if
you're,
a
sculptor,
for
example,
we
are
going
to
make
your
work
you're
going
to
work
with
us,
but
we're
making
it
so
our
commitment
is
to
do
it
and
present
it
and,
of
course,
at
the
end
of
the
at
the
end
of
open
spaces,
all
ownership,
an
intellectual
property
rights
for
everything,
goes
completely
reverts
back
to
the
artist.
All
we
are
doing
is
co-producing
with
you
and
then
being
presenters.
We're
not
at
this
point
generating
a
whole
lot
of,
for
example,
new
performance-based
content
ourselves.
B
B
That
was
open
to
the
public.
Yes,
sorry,
a
very
important
part
of
open
spaces
is
that,
with
the
exception
of
two
things,
one
is
the
ticketed
events
for
the
weekend
of
October
3rd
12th
and
13th
and
14th,
and
any
performance
project
that
won't
be
able
to
take
place
on
the
stage
that
we're
erecting
in
Sewell
Park
but
need
to
take
place
in
a
rental
facility.
B
We
will
very
likely
have
to
charge
tickets
to
recoup
the
cost
of
the
rental
of
the
facility,
so
we're
investing
in
a
performance
venue
and
we're
investing
in
the
presentation
of
all
the
visual
works,
but
we
know
that
there
will
be
performance
works
that
just
can't
be
presented
on
an
open
stage
in
the
middle
of
the
afternoon
without
any
walls
or
lighting
or
you
know,
particular
equipment.
So
we
don't
want
to
exclude
those.
So
we
have
resources
set
aside
to
make
that
happen.
B
B
So
we
really
believe
that
when
you
make
art
accessible
to
people,
especially
when
it's
just
sort
of
popping
up
in
their
neighborhoods,
let's
say
suddenly
the
distance
or
the
purported
distance
between
people
and
contemporary
art
that
that
just
disappears
and
I
feel
like
open
spaces
in
a
way
is
in
a
way
as
it
symbolizes
this
idea
that
not
only
are
we
trying
to
break
down
distinctions
between
performing
and
visual
arts,
we're
also
trying
to
break
down
distinctions
between
popular
arts
and
contemporary
arts,
which
are
often
considered
elitist.
I've.
B
Never
personally
accepted
this
idea
that
what
contemporary
artists
do
is
in
any
way.
You
lead
us,
there's
just
specialists
in
the
way
that
you
know
your
orthodontist
is
a
specialist
or
your
neighborhood.
Physicist
is
a
specialist.
So
we
want
to
make
sure
that
when
you
encounter
the
art
or
when
people
encounter
the
work,
that's
part
of
open
spaces
that
they
do
so
in
a
way
that
doesn't
incur
a
particular
commitment
on
their
part
of
of
money.
For
example.
The
other
thing
that
I
should
really
emphasize
is
the
creative
partnerships.
B
So
we
want
to
very
much
present
the
image
of
Kansas
City
as
a
place
where,
if
you
are
looking
at
film
and
listening
to
concerts
and
going
to
exhibitions
all
day
long,
you
can
just
keep
doing
it
and
doing
doing
it
for
seven
eight
nine
10
days
and
never
run
out
of
things
to
do
and
that
that
would
be
true
throughout
the
entire
run
of
the
exhibition.
That
also
helps
for
Kansas
Citians
to
to
see
their
city
as
this
sort
of
cornucopia
of
countless
bounty
in
terms
of
cultural
offerings.
B
So
the
ability
for
an
artist
to
connect
with
their
public
to
connect
with
their
viewer
or
their
listener,
I
think
is
the
greatest
gift
that
a
curator
can
give
to
them
and
I
think
with
all
the
other
things
that
are
going
along
with
that.
I
believe
that
that
open
spaces
will
win
enough
confidence
and
support
in
the
community
so
that
we
can
come
back
again
in
2020,
and
do
it
all
over
again
this
with
two
years
to
plan
it
instead
of
just
the
one
year,
so
I
think
I
have
covered
everything.
C
B
We
don't
know
what
the
number
is.
The
number
we
throw
around
internally
is
100,
but
we
then
decide
we
shouldn't
say
a
hundred,
so
I'm
not
actually
saying
it
right
now,
because
we
might
get
quoted
about
it
later
and
say
you
said
a
hundred
there's
only
89
or
why
is
there
170?
You
know
like
I,
don't
know
right,
I
mean
we
I
am
I,
am
yeah.
B
E
E
B
B
I
G
I
G
H
F
If
that
speaks
to
you
or
it
could
be
an
18th
and
vine
in
a
thing,
it
just
depends
and
we,
as
as
your
facilitators
to
make
this
happen,
we'll
also,
if
there's
a
place
that
you're
thinking
of
or
an
environment,
will
help
if
you're
selected,
we
will
help
you
locate
that
place
or
work
with
the
venue
owners
to
secure
that
space,
and
that
is
our
commitment
to
this
process
too.
So
it
really
is
up
to
you
as
artists,
where
you
see
your
work
being
the
environment
in
which
you
see
it
being
presented.
That's.
B
I
I
wouldn't
go
that
far
at
all.
First
of
all,
anything,
even
if
it's
in
a
shelter
requires
security,
and
it
also
requires
docents.
So
we
part
we
need
to
make
sure
that
the
artists
work
is
protected
during
the
entire
nine
weeks
and
that
the
public
who
shows
up
if
they
have
a
question
that
there's
some
of
you
do
they
can
ask
the
question
too.
So
those
are
commitments
that
have
the
exhibition,
making
a
happy
exhibition,
but
a
lot
of
the
exhibition
will
neither
be
in
Swope
Park
nor
outdoors.
J
J
H
H
J
K
K
Because
of
what
I
do
it's
not
so
detailed?
That's
visual
I
see
the
budget
and
I.
Think
of
Cheryl.
Who
knows
a
lot
of
what
I
do
I
don't
have
a
huge
budget.
I
can
very
self-contained
I
bring
my
own
equipment.
I
can
set
up
anywhere,
I'm
gonna
do
sterling
entertainment
stage,
entertainment,
so
I'm
trying
to
forgive
how
should
I
better
formulate
my
application
to
do
my
show,
in
addition
to
I,
would
love
to
do
workshops
and
get
the
city
more
involved
with
service
style
workshops.
K
B
B
L
L
G
K
F
B
Thing
that
was
it's
very
appealing
to
all
of
us-
is
kind
of
devoting
each
week
to
a
different
chef
and
having
a
culinary
area
where
that
chef
is
kind
of
demonstrating
and
leading
I,
because
I
see
that
program
in
on
the
stage
in
the
park
as
being
connected
to
the
visual
program,
I
think
would
be
really
nice
to
be
offering
the
public
a
lot
of
food
options.
We
don't
really
know
how
that's
worked
yet.
M
I
B
N
The
healthcare
context
like
si
di
fergie,
the
spiders
she's,
like
you,
know
different
the
five
thousand
seven
thousand
dollars,
but
there's
I
know
four
other,
like
our
cues
and
stuff.
Your
certain
like
project
like
$10,000
projects
to
thirty
thousand
dollar
project,
a
hundred
thousand
dollar
project
of
like
what
materials
might
cost
or
you
know
whatever
about
my
teeth.
Kinda
curious
should
be
have
a
certain
tear
in.
N
Like
fifty
thousand
dollars,
they
want
to
see
it.
They
believe
in
this
front.
I'm
like
I,
wasn't
sure
like.
Is
this
a
set
budget
or
is
you're
working
with
donors?
I
know
it's
like
a
different
type
of
kind
of
relationship.
Personally,
it's
just
a
question
of
like
there's
different
stages,
right
like
if
you're
bringing
in
you.