51±¬ÁϹÙÍø

In uncertain times and moments of unpredictability, even one person's determination and vigour goes a long way. 51±¬ÁϹÙÍø MFA alumna is a visual artist and was one of the collaborators on the on Bde Unma/Lake Harriet in Minneapolis. She works in government and strongly believes in cross sector collaboration. In her artist statement, Amanda Lovelee says, "Practice is public and my projects sit at the intersections of science, connection, and system change.  In the 21st century we are not going to solve the problems facing us in one sector.  We need cross sector collaboration."

Speaking of what brought her to this point, Lovelee says, "Ten years ago, I made a conscious decision that I would not start a project without a partner from another field.  That I want to be part of the change in my communities and within the environment. The super power I have is making the invisible visible- translating government ideas and data into spaces and tools for conversation and gathering while making the words joy, love and art common in policy change."

We caught up with Lovelee about her life before and after 51±¬ÁϹÙÍø, the Art Shanty Project and her years of experience in public art projects.

1. Which year did you graduate and what brought you to 51±¬ÁϹÙÍø for your MFA? Could you speak a little bit about your background?

I graduated from 51±¬ÁϹÙÍø MFA program in 2010.  I came to the program because I was interested in the mentorship program and being able to work multi disciplinary.   I moved to MN from Los Angeles but I grew in Upstate New York.

2. How did your art change while you were at 51±¬ÁϹÙÍø?

I entered the program as a photographer but knowing I wanted more then that.  I really got to experiment with different mediums and realize my practice was less about the medium and more about the content. This was  a  break through for me.  That I could work at the intersection of many mediums and the content could be my practice.

3. How has your work evolved since your time at 51±¬ÁϹÙÍø?

My work is so different from when I began grad school and even once I finished.  I rarely use photo or video in my practice now.  I usually say my medium is dictated by the process and content.

4. According to you, what is the role of public art and how do you fit in as the artist? What does a public art project entail?

This question could be an essay.  Out of grad school I was really interested in how to use my skills as an artist to make change in the world.  I realized that if you want large system change you need partners.  I no  longer work alone.  On all the projects I have a collaborator and they tend to not be an  artist but an expert in another field- arbrotisbt, scientist, geographer, landscape architect, urban planner, librarian, ect.. Public Art entails a big vision, comprise, collaboration, a lot of listening, and most of all perseverance.  In the 2121st century change is not going to happen in one field, we need cross sector collaboration.

5. Is there any project that is the most memorable to you? What made it special?

I don't honestly think I can pick one project.  Each project grows the next.  There are things I love and that made each project special.  I think hands down what has made most of my project specials are the people I have gotten to collaborate with and the friendships that have grown out of those relationships.  When I think about what my favorite project is it one I have not done yet.

6. For someone early on the path to pursuing public art, would you have any advice for them?

To remember the public you are making the work for or even better with.

8. What is next? Any new projects or jobs that are in the pipeline?

Good questions.  I have notebooks full of ideas but always waiting for that perfect moment when the parters align, the funding is there and a space is available.

Photographs provided by Amanda Lovelee

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