(Unedited) Podcast Transcript 577: Find the Bus Art

This week on the Talking Headways podcast, we’re joined by Stephanie Dockery to discuss the Bloomberg Philanthropies Public Art Challenge. Stephanie discusses how a bus art can get a cult following, how artists are creating attention in their cities with temporary art, and what happens after the projects disappear.

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Below is a full unedited transcript of this episode:

We are currently working with eight cities but have supported 17 cities to date since 2014. Million-dollar grants to have mayors apply to work with artists, nonprofits, and create these temporary public art projects that create public-private partnerships and create economic impact and economic benefit for cities, bring people together, and really center artists as civic leaders.

So I really come to this work with the focus on arts and culture, working in arts organizations, building partnerships with nonprofits, whether that is to support, like funding or programs, supporting culture workers, and supporting artists. That’s my personal passion, and I’ve been lucky to be at Bloomberg Philanthropies for about seven and a half years working on this project.

And these projects or these programs have a two-year term. Right now we have eight cities, so 154 mayors applied, which is very exciting that that many mayors saw arts and culture as a way to bring people together, bring their cities back specifically after COVID, and to affect change in their communities.

Art has a great way of obviously creating beauty, and we’re able to create beauty in public space, but because of that, people get involved in a civic issue that they may not be focused on. They may not be willing to have the conversation about the environment or public health, but through art, that helps stimulate the discussion, but also brings people together and beautifies our public space and helps us reclaim our public space.

So as I said, we’re working with eight cities in this current round, which is round three. We started in 2014, so the prior round had five cities and the first round had four cities. This work comes out of Mayor Mike Bloomberg and our CEO, Patty Harris, who was deputy mayor for City of New York, and Kate Levin, who leads the arts team and was the commissioner for the Department of Cultural Affairs.

So they did 500 public art projects throughout their 12 years running the city, and that was launched with Jeanne-Claude and Christo’s The Gates in 2003. And that was seen as a really successful project, not only because it was beautiful, but it was one of the first projects to get great press about New York City in a post 9/11 world, and stimulated about $254 million of economic benefits where people were coming back and spurred tourism for the city and brought people together in public space in Central Park.

And so that spurred the 500 subsequent projects and then brought that project, um, the ethos of public art and what it can do in cities.

But my best friend and I in college were studying art history, and we saw it, a beautiful photo, orange gates, the background of white snow in Central Park, and we thought, “What is this? This is incredible. We have to go to New York to see this.” So we did a road trip and, you know, came to the city and saw Avenue Q, you know, saw Broadway shows, ate dinner.

So all of those things that we talk about, all of those positive impacts of supporting local economies when you travel for culture. I’m proud to be one of those data points looking back.

And those are the parameters. And then we do deep internal review. We have a jury who assesses the projects, you know, uh, feasibility, creativity, and we interview the project teams, the city teams, and then we announce the finalists. So last round we had 17 finalists, the prior round went 14, so the mayors get really excited about it and we, we make it very public.

And then, uh, we announce this round at CityLab, which is a global conference we do with mayors, and that was announced October 2023 at CityLab in DC. And so our current cities, the cities we’re working with, Atlanta, Georgia, Baltimore, Orlando, Houston, Honolulu, Philadelphia, Phoenix, and Salt Lake City

I love it. I’m also curious if some of those projects, you know, you, you announce all of the finalists, but not everybody gets chosen. So do some of those folks that don’t get chosen, do they go on to try to continue doing the projects that they’ve come together to propose, or is it something where they come back maybe the next time and ask again?

And sometimes it’s multiple city departments attached to a project. There may be an artist attached to a project, and local nonprofits. And so you’ve gotten these entities that don’t typically work together to think really creatively about how they can continue the city’s current great work in solving problems and bringing people together.

And just to go through the application process, they start building a team and start identifying who they need to work with and spaces they need to work in as part of executing a public art project. You know, the cities are crucial in getting permitting. Nonprofits are really critical in oftentimes being the fiscal sponsor for the project, bringing the artists on board.

We work with all manner of city departments on security and getting, you know, the Department of Public Works to allow us to work in certain spaces. So just to go through the process of putting together a really strong application, the cities have done a lot of the work. And so that’s an exciting part of what we’re trying to achieve, just making these partnerships come to life and bringing all of these various people who would not typically be working together.

Now they’re sitting at the table together. And even if they aren’t, you know, quote unquote, “winners” of the public art challenge, city government is now aware of great nonprofits in their community or great artists in their community, and so can do work similar or different together in the future.

Like, ’cause finding people generally is like a needle in a haystack a lot of times, whether you’re looking for somebody to do some sort of a mural or something along those lines that reflects the neighborhoods that they live in, et cetera, or do social media to like, you know, promote a cause or something along those lines.

It’s always hard to find people that you get along with or, you know, have the same visions as. So I’m curious like if you heard any stories about how some of these groups came together to pitch for some of the funding, because I find that really fascinating to like figure out where some of the folks come from or how they come together.

Like, do they have a strong curator on board who can shepherd that process? Sometimes there’s an artist attached to the project. In many cases this round, they did a call for artists, and so local artists filled out an application, and that was great for the cities because they discovered a lot of incredible and talented local artists in their community that they hadn’t had the pleasure of yet working with, and now they’re part of, you know, the city’s Office of Arts and Culture knows this new group of local artists.

Salt Lake City, their project was addressing the decline of the Great Salt Lake, and so they did a call for local artists to do projects in their seven city council districts. They had 13 artists total. 12 artists were local and in Salt Lake City, and they’re artists that the city now knows very well, and they’re a part of a cohort of artists.

The artists came out to support one another’s openings throughout the last years, which was incredible. And then they just had a signature commission, which was done by the internationally renowned artist Olafur Eliasson, who’s Danish Icelandic artist, and he created a 40-foot orb that was a light and sound installation in a major park.

And to have that at the end of the two-year period and see all of the local artists come out to celebrate that work and then to see Olafur Eliasson be able to meet all of these artists, that was an incredible community of artists that the city of Salt Lake really shepherded and stewarded. And so now they’ve created, like, a new artist community that they want to keep going.

The city of Phoenix did a project, Sombra, which addressed shade. Uh, you know, over 100 days in City of Phoenix are over 100 degrees. And so they have been coming up with really creative ways to create shade, particularly in parks that someone under-invested in and don’t have other shade structures or a lot of trees.

And so they also did a call for artists. Um, and so a new group of artists who the city’s able to support, we saw the same thing, artists coming out to support one another, and the Office of Art and Culture at the City of Phoenix stewarded that process. So we choose partners who are capable of selecting a strong group of artists.

We wanna make sure that they have, you know, their own strong application process, if not, uh, an artist already attached. But there’s a myriad of ways that artists have come to the project, but largely stewarded by curators, the partner arts and culture nonprofits, and in some situations, the community is also part of that selection process alongside a jury.

But the partners are in charge of selecting those artists. So we work very closely with them. We provide a lot of guidance and stewardship as we’ve done a lot of public art projects. There’s a lot of knowledge at Bloomberg Philanthropies on how to do public art projects in cities, so we are able to share that knowledge with our partner cities.

But they direct the application process and the selection process and of course, we give guidance and support.

Oh, wow. So the, the sticker what you get after you vote. And so from there she’s done- Full circle. Yeah, I know, right? It’s really cool. And then she’s done, like, street art. She’s done murals, and then she’s also, like for my soccer team, which you can see this bus behind me, this is my soccer team- Nice … SF City FC, and she did the jersey, the Pride jersey one year.

You know, her style was part of that. So she’s become, like, part of the city, and so I feel like that’s a really exciting proposition that some of these artists might actually end up being found in this way, and then also become something bigger, uh, and mean something more to their city.

Our artists this round, we’ve had a lot more projects that work with transit. And so in Honolulu, which is our Wahi Pana project that’s addressing native Hawaiian stories in over-touristed areas, one of the 12 installations is a bus. It’s a city bus wrapped by a vinyl mural by the artist Corey Tom. And the Wahi Pana bus has become kind of, it has like a cult following in the city, and people tag it on social media when they see it en route, and it doesn’t have one specific route, which is really nice because a larger group of people are able to see it, and they never know when they’re going to see it.

So the Wahi Pana bus, and now there’s a handy van which goes into neighborhoods and provides, you know, greater accessibility. Both of these transportation methods have this great social media following and, you know, Corey Tom has a new presence in the city. So yeah, it- it’s exciting to see people really organically adopt these installations and respond to them and see them as theirs.

That’s such a win when they see an artist project as theirs. And I would say also in Phoenix with the Shade Project, because many of the artists were working in parks that were attached to community centers or adjacent to schools, a lot of the artists did a really great job of working, and of course, the City Office of Arts and Culture shepherded this, working with local organizations by the park so people would come to workshops and, you know, help build, help fabricate the work.

One work by Bobby Zokaites in Phoenix called Botanical Canopy created this beautiful canopy structure over a bridge that’s used for, like, fishing and, you know, just pedestrian walking and people hanging out on a really hot day. And he taught people how to loom and weave these gorgeous petals made out of vinyl and a lot of more organic materials.

And so he had these great workshops where just hundreds of people he was able to work with, and that’s always such a win when you have that community engagement. Another installation was Rincon de Color in another park in Phoenix, and they were able to work with high school students. And, you know, the high school students were really excited, and they came to the workshops, and they were painting and, you know, to be able to work with students and work with youth and get kids out of their shell, especially at that age, like junior and senior year, it’s such a win and really exciting.

And then you go out, and it’s a solar-powered installation where if you’re standing under it- Water mists on you. And so that’s incredible that you’re in this major park without a lot of shade, and you’ll be able to get cooling. And these installations provided up to 45 degrees of reprieve from the heat, like 45-degree impact, ranging from 18 to 45 degrees alongside the nine installations.

So there’s a lot of excitement about the projects, which of course are all temporary. But yeah, we’re really excited that local artists are able to participate and, you know, continue to do other types of work in the city.

And I find it really great that instead of just the ability to put advertising on your bus, you could actually put an art installation on your bus. There’s some frustrations also with, like, covering the windows, which, uh, I know a lot of transit advocates have. But the Hawaii bus was actually done very tastefully in terms of, like, not covering up all the windows.

So now we have murals in a space where there’s typically advertising. So to your point about what, yes, we should absolutely be using art, and it was so smart of the teams to identify that as an opportunity for them.

A lot of folks are trying to advertise, and, and for good reason, obviously. The transit agencies need money. But at the same time, like, maybe that’s why the buses have maybe a little bit more of a following because it isn’t- Hmm … the typical bus covering that you usually see because of, you know, the advertising or other things.

I’m wondering how much of the art we should expect people to, like, understand right away versus how much should be explained. I’m curious about how people come to it or how they experience it when they see it.

People go to the work on purpose. We are doing So much work with all of the teams to help promote, whether it’s on their website, on our guide. We have, um, we have created maps for all of the cities so they can share those with their constituencies so they can actually see all of the site. We have signage at all of the sites that explicitly talks about what the project is, what the installation is.

We have to be really deliberate and not expect, not assume that people know what work is, and that’s kind of the great thing about public art, especially if it’s in a vacant lot in a place where you’re not expecting to see anything, let alone something beautiful. And people get arrested by the installations and question why they’re there and, you know, start questioning why we don’t have more, which is a great question.

Excellent

So just really communicating those timelines, what the work is, who the artists are, and expressing that this is a collaborative team. People should know that this is great work that their cities have done for them. So the cities are behind us and have brought together these nonprofits and artists. We also have an app called Bloomberg Connects, which is a free digital guide available to cultural organizations.

And on our Public Art Challenge guide, we have all of the cities listed and have built out their projects, both images and descriptions. So that’s a place where the projects can live in posterity since they are temporary in nature.

Um, I could never pronounce the names like they could in the videos. Yeah. But I’m, I’m glad to hear them do it. Mm-hmm. I’m always impressed by kind of the presentation of it as well, like in, in the videos and the way that people talk about it. It was really fun to kind of experience that through them.

And so absolutely we want to tell native Hawaiian stories to tourists, to visitors, but it’s also very important that this community sees their culture reflected and it’s a, you know, a reclamation of their culture and their spaces and the communication of that incredible history.

Um-

This project is a way to employ this group and also get them into hopefully permanent housing and economic resources through, you know, job opportunities. So this, you know, again, unlikely group of partners has come together and identified sites in Midtown which has struggled with homelessness as many, you know, cities around the world have, and they identified their transit areas, so bus shelters and underpasses, um, and the facade of actually Career Recovery Resources, which is located in Midtown Houston, to create really vibrant, colorful spaces that have been done by local artists and in partnership with the cohort from Career Recovery Resources.

They have done workshops. They’ve done site cleaning and maintenance, so lots of skills building and job training for this unhoused community, and also an opportunity for them to be part of the creative workforce. And these projects have really illuminated the Midtown area. As you said, the colors are super vibrant.

They’re competing with Midtown, which is a cacophony of- … sirens, which are going off outside of my … my apartment right now, and bus and car transit. You know, Houston is, of course, a car transit city, but they’ve been really successful in identifying areas that whether you’re walking, there’s a lot of walking tours that are happening to show off the bus shelters, or driving under the underpasses.

They are illuminated in a new way. And one of the underpasses is at The Spur, which is a major underpass area and- They were successful in getting lighting. You know, they talked to the Department of Transportation and were very grateful to the State Department of Transportation for allowing that site to be used.

So the metro is a partner, so worked with them on the bus shelters, but then the state allowed for the underpass murals to happen. So again, great partnerships happening because of this project. And hopefully we’ll just advocate for more projects like this.

And it’s not like the ideas disappear or the people disappear, but sometimes the visibility of it disappears. I’m curious, like, what that impacts about the projects afterwards.

The fact that they are temporary in nature creates a lot of excitement around the projects, so people are spurred to go see them while they’re up for a short time, so you must go see it now. And it helps us get public art up in places that most likely have really strong permitting processes, and the temporary nature of the projects allow for more public art to take place.

And of course, it hopefully builds will for cities and, you know, local entities to do more public art and to also support the arts because once it’s up and we are able to support it with the million dollar grant, that helps the city build a case that there should be more art. Also, the teams are able to hire artists as part of this project, build partnerships, and so that is something that stays with the project.

I’ll also say, you know, part of the building the public will for the projects, some of the projects have become permanent because people loved them so much. So a past project in Coral Springs and Parkland, which was done in the wake of the Parkland massacre, one of the artists collectives, The Lab Brothers, uh, conducted a project called the Squallathon, so they brought- People, they worked in Marjorie Stoneman Douglas School, they worked in local schools and hospitals and senior centers, and brought people together to tell their stories and have art therapy heal while helping to create a collaborative installation that’s a series of dozens of fabric scrolls that they bring together.

That was on view for a long time in the park, in Parkland, and then is now on view in the Coral Springs Hospital. Our Tulsa Greenwood Art Project, which commemorated the centennial of the Tulsa Race Massacre in 2021, brought together 32 artists, uh, led by Rick Lowe, the City of Tulsa, and the Tulsa Race Massacre Centennial Commission.

That project had some permanent lasting impacts, such as the bridge, the highway that bisected Greenwood. So not only was there this horrible massacre that killed hundreds of people, but then 1950s and ’60s urban infrastructure further decimated the Greenwood neighborhood with a highway that was driven right through the neighborhood.

Worked with the State Department of Transportation who provided funds to reconnect the neighborhood with a pathway to hope. So lots of landscaping and a walkway so you could actually get from one section of the neighborhood to the next, which you were not able to because of this highway. And Rick Lowe and his partner, artist partner William Cordova, curated that pathway, and there are a series of photographs on what was before just, like, a highway bridge.

And so there’s a lot of, a lot of projects. Our project in Camden that cleaned out brown fields, not only were they able to attract tens of millions of dollars in city, state, national grants to continue to clean up brown fields, they were able to continue commissioning some of the artists for other projects.

One of the high schools loved the, uh, invincible cat, which was like a black panther sculpture. It resembled their mascot, so they took that on. Their rival high school got jealous, and they wanted a mascot- … very similar. So the artists, DKLA, were commissioned to do another sculpture. So, you know, we see examples like that where more art commissions happen, artists get more business, and there’s more public art in these spaces because once it’s there, people want to keep it, and it really encourages the additions of new creative interventions in communities.

It was such a big deal, right? But, like- A big deal … if you had… What if, like, every bus had a different, like, character or something to connect with? And so, like, you could chase these buses all over the city. It’d be interesting to see, you know, what that means for, like, the continuation of… And, and the, the high school example that you gave is interesting, too.

Just, like, the rival high school wanting, affording-

So they did two murals, a big festival, and have now done 76 equitable dinners, which are community dinners with a play about the disparities in healthcare, and then there’s a facilitated conversation afterwards by an expert. So people all over the city of Atlanta, and they worked in neighborhoods that…

Well, they worked in every neighborhood, but also largely focused on the neighborhoods that are historically under-invested in. So bringing more permanent beauty with the murals, so that’s an example of two permanent installations that the National Black Arts Festival and the city will oversee going forward.

And then the community dinners brought people together in conversation about what it looks like for different communities to have different types of care, particularly healthcare. And they developed this play by working in schools and hospitals and religious organizations and community centers all over Atlanta, iterated the play for a year, and then kind of debuted a final version of the play at the festival that was done September 2025.

And it was just very… It’s very special for them to be able to work so deeply in communities, to have people, they call them movable middle, so people who may be aware of healthcare disparities, particularly for Black and brown populations, but are not aware of what they can do to help, or they’ve heard of it but haven’t gone far beyond that.

So this play really personalizes the experience that has been taken from many stories and synthesized into a 10-minute play. Extremely personal, and then that opens people up to then have a meal and then a conversation about what they’ve experienced in healthcare or how they didn’t know that this was happening.

Also, of course, wanting to do that with students and with families is amazing. Also, they’ve done it with healthcare providers, so they’ve done it in hospitals and, you know, sharing this with every side. Like, this is how people are feeling when they come into your spaces and you’re, you know, you’re providing care.

They’ve also been successful in working in universities and with people who work in hospitals, but maybe not as a medical provider, but maybe in the accounts and billing department. So they understand how their interactions with patients affect people’s ability to reach out and get care when they need.

So it’s definitely a project that has spurred a lot of conversations and really helping people feel more seen and cared for. As part of our local evaluation and national evaluation, we share data on civic pride and how people are feeling about the civic issues, and we have a hypothesis that these projects really improve that, and our data shares that and confirms that.

So to be working in Atlanta and talking about healthcare disparities is huge, and that is actually my hometown, so very excited to be a part of the support and help that team has in helping people in Atlanta.

As you can see, we have a wide range of… We have geographic diversity in the projects, different types of cities all over the nation, and I’m able to see the work happen in all these cities. So I, I traveled to all these cities, and it’s just incredible how many people are doing incredible work to just make their neighborhoods better, to make their communities better, and doing it through art.

So as a, as a culture worker myself, it’s incredibly inspiring. All of our partners are just really brilliant, and they’ve been successful at identifying the right partners to work with because these projects are… As you can imagine, doing anything in public space is difficult, and then it’s over a two-year term.

So having the right partners who are already embedded in the community and help bring people to see the work is really important. Having the right people inform the work is really important so it is received correctly. That was really important, I would say, when we were working in Tulsa for the centennial commemoration.

It’s just a project that you absolutely have to get right, and so being able to work with local artists telling their family stories. Part of what made the centennial commemoration really unique was that we were- Addressing a suppressed history. So though it was 100 years later, it was the first time any of the stories had been shared.

So Rick Lowe, the artist who led that project, said, “A conversation needs to happen.” And in many ways, this biennial style, 32 artists sharing their work was a citywide conversation about what the Tulsa Race Massacre actually was, what the Black Wall Street Massacre was. So it’s a commemoration, but also the first time people are really publicly sharing the story and telling that story from local perspective when the world is watching, and having it be their project, their voice.

Many of them were descendants of people who lived in Greenwood and on Black Wall Street, so it’s just really important that, you know, we could help provide the space for them to do that. So when I travel to these places, many of the places I’d never been before, before this project, I learn so much from the cities and the, the nonprofits and the artists and the residents.

I mean, you see residents come out again and again for the same projects and, you know, there are new communities being built in each of these cities through these projects. You know, the teams are successful. They have… They’re broadly reaching communities. They’re broadly reaching an audience. But there’s often a core group of people who come out for exhibit after exhibit, installation after installation, performance after performance, and they’re a part of the work, too.

So I think that watching people come together and art being the vehicle for bringing people together and beautifying, you know, vacant spaces, spaces that are not visited with these entities, having the power of a city behind that, it really is thrilling and such a privilege to be part of that type of work.

So that’s, that’s what I take away.

And so I am particularly attuned to the before and after the change of the projects. So I think a lot of people see the work and it’s very exciting. They get very inspired. But I’m also very focused on the incredible improvements that the work brings to the sites because not only is there artwork there, the teams have done a lot of work in preparing the site.

So they may have done a lot of landscaping, and so what was- Previously, say in the case of Baltimore, our Inviting Light project that is bringing creative lighting to the Station North Arts District. Ekene Ijeoma just opened an installation in a residential neighborhood that was two vacant lots, and it’s something that you wouldn’t pay attention to.

And so now you see the work, beautiful light pole installations with landscaping around them. But I’m particularly attuned to, like, how far the team has come in making that happen, and how much work it takes for these partners to come together. It’s also incredible that they’ve taken this on on top of the very difficult work of running a city or running a nonprofit.

Like, that job is still happening, and they’ve taken this on, so that’s also something that stays with me, just how dedicated all of these partners are and working, you know, nights, weekends, mornings. I also think it’s really important, you know, I think the idea that everything is temporary comes up a lot, and that’s by design.

But I think the lasting impacts of the projects are so important. You know, our project in Coral Springs and Parkland, those two cities started working together after this project. So the city departments, they knew each other because of this project. And so I think a lot of the work that is maybe unseen to the public but, like, will make someone’s city better is really important.

Our partners in Philadelphia, the Healing Verses Germantown project, which is a poetry project providing healing after gun violence, Deputy Commissioner Massey, Majer Massey, the deputy commissioner of police, is extremely involved in this project. One of their 19 installations are poems that are given to city police officers that will be worn in their hats, and it was really important for her to get police involved and for people to understand, you know, that she comes from a community policing background.

And so that’s incredible to hear the deputy commissioner of police talk about how art is really important in healing, um, also for police officers, and have them participate in one of the installations. And so again, like, unseen work, that there’s a poem in their hats and that they’re keeping that with them and hearing those poems read at their roll calls, real important.

So there’s a lot of work we’ve also been seeing with the projects that is the build-up to the actual installation. The projects have been, the teams have been really smart at bringing people together with workshops and events, and a lot of those conversations, uh, with the artists and the team listening and hearing feedback from the community has informed the ultimate- artwork that you see.

So, you know, like I said, the Equitable Dinners in Atlanta, that is a victory in and of itself, but also helped inform, you know, it created a final play that was performed around the city and performed at the festival. The Greenwood Art Project in Tulsa brought all of those people together for the commemoration, but for the two to three years leading up to the commemoration, Rick Lowe, the City of Tulsa, Tulsa Race Massacre Centennial Commission, been talking to entities throughout Greenwood about what the centennial meant to them.

And so that, you see the installations, that’s the tip of the spear. But there’s been so much community work that goes into these projects, and I think that really strengthens them. I’ll also say our, our Jackson project, Fertile Ground, they did a documentary that launched on PBS, and that project was addressing food insecurity, uh, in Jackson, Mississippi.

And of their over a dozen installations, one was the first organic urban farm. They had a series of murals that were in response to COVID so people could social distance, and they were so savvy at speaking to community members that they built more and more partners. So what originally started out as three installations in their downtown area then was over a dozen installations throughout Jackson because they were being responsive to the community’s needs.

And their five murals that were open during COVID, that was a response to a horrific global, uh, pandemic that we were all experiencing together. And then the urban organic farm that they had developed was then able to help feed people during COVID, which of course exacerbated food insecurity. And then the work they did in developing their documentary that launched on PBS allowed them to discover, and the evaluation process allowed them to discover that one key element of food disparity is that people don’t have direct access to fresh food grocers.

And if you don’t have a car, you’re reliant on the bus, and the bus routes were not going directly to fresh food providers. So then the City of Jackson rerouted all of the JTRAN buses, and each bus has a direct route to a fresh food provider. And, like, that’s an incredible change for that community, where people are able to access fresh food and still take public transportation to do so.

So there’s a lot of, like, before the installations are open, but also the after effects of the installations that I think are incredibly important. And- Art is incredibly powerful and art for its sake absolutely beautifies communities. And then also look at the incredible benefits that the art has created, whether it’s feeding people, providing awareness about health disparities, and providing access to fresh food.

And sometimes I make a cameo on there, but Everyone should just really follow Bloomberg Philanthropies. Awesome. And of course, all of our eight cities of projects, and you can find out more about their social feeds on the Bloomberg Connects app.