Ahead of this year’s project, I’m so excited to share the results from last year’s “Collaborative Community Canvas”—a second iteration of an invitation to create in a shared site, hosted as part of Yale School of Art’s Open Studios. In its second year, 2023, I added a paper wall to exist alongside the canvas one, and stretched snippets of last year’s...
Saturday, April 9 & Sunday, April 10, 2022353 Crown St. Courtyard, New Haven CTHosted as part of Yale School of Art’s 2022 Open Studios I work in communications at the Yale School of Art by day, and as part of our first public event since COVID—Spring 2022’s Open Studios—I hosted the first in a series of projects I’m calling the “Collaborative Community Canvas,”...
From the sidewalk, you might see it from across the street. It looks like it’s supposed to be there, a bit of straightforward wooden fencing that might contain an electrical box or some other public utility. But if you look closely you’ll notice the solitary panel in deep blue, and if you cross the street you’ll see the wood is patterned and that together, the whole of this object stands as an...
Almost a decade ago and across the country, I started a journey that in a lot of ways is really just beginning today. Today, the mapping platform I self-funded and the WordPress website I built to function in tandem with it are both finally ready for public consumption. It’s already been a long road and there’s so much more I want to do, but today I can celebrate because the digital...
The following text comes from the recent ArtAround publication, Analysis: San Francisco, a 25-page report based on manually compiled and indexed data on 534 artworks documented across the 7×7 square miles of the city, in a documentary endeavor I conducted (and previously wrote about here) between June 2013 and May 2015. The report offers charts and data on the Where, Who, What, How, and When...
n February 2019, I was in Boston to see the band Dawes with my husband and brothers—but of course there was a lot of new public art to check out during the short 48 hours I’d be in the city. At the top of my list was Spanish artist Okuda San Miguel’s 2018 sculptural series, Air Sea Land, new to Boston since I’d last been there. The project was a perfect confluence of favorites:...
How a huge mistake led me to a passion project we can all embark on together.
When I visited Diana Al-Hadid’s Delirious Matter in Madison Square Park, it was hot, lunchtime, and crowded. Made more crowded by the fact that most of the lawns were off-limits, declared as “resting” and forming protective barriers around four of the six sculptures in the exhibition. I was just glad at least one of the three works I was really here to see—collectively...
Artist Mark Reigelmän shares the inspiration behind his 2017 installation in Boston, "The Meeting House."
Lindsey Mancini is an arts accessibility activist and digital strategist studying the essential connectedness—or disconnectedness—between art and community.
She currently works in communications at the Yale School of Art, and teaches as an adjunct professor of contemporary art at Eastern Connecticut State University. In 2017 she earned an MS with distinction in the history of art & design from Pratt Institute, where she wrote her 80-page thesis on street art theory. Lindsey is currently pursuing a PhD in Visual Arts, Philosophy, Aesthetics, and Art Theory from the Institute for Doctoral Studies in the Visual Arts.