Tuning Fork provided project management for the City of Mesa’s art activation at the new City Hall in Mesa, Arizona, guiding the work from planning through installation. The project focused on three key goals: a Call for Art for the Inaugural City Artist Exhibition, plaque design, and development of a history wall to connect the new building to Mesa’s civic and cultural identity. Led by Hanley Ange, with support from Daniel Mariotti and Kara Roschi, Tuning Fork delivered arts planning, project management, design coordination, and installation oversight. The team worked closely with the artists and artworks of Zach Valent, Ivan Martinez, Tomás J Stanton, and Daniella Napolitano to align with the City’s vision for a welcoming public space. Tuning Fork coordinated timelines, communications, stakeholder collaboration, production details, and final presentation, ensuring a cohesive and well-executed activation. Documentation of the project was provided by the City of Mesa.

Tuning Fork provided arts planning, project management, and installation services for Rosie’s House Music Academy in Phoenix, Arizona, supporting the development of an exterior mural and the establishment of an art collection for the organization’s new facility. Led by Kara Roschi, the project brought together a dynamic group of artists whose work helped shape a vibrant and welcoming environment for the non-profit’s youth and communities of service. Artist Shela Yu created the exterior mural, while the collection featured artists Rafael Navarro, Tony Obr, Tiesha Harrison, Maria Rivas, Oliverio Balcells, Janet Blumenthal, Richard Booker, Ken Boe, Ulli Hain, Amy Newton-McConnel, Lucretia Torva, and Frank Ybarra. Project documentation was provided by Shaunté Glover.

Tuning Fork Projects provided project administration support for Bobby Zokaites’ sculpture practice (2018-2025), helping sustain and grow a studio centered on large-scale, colorful, interactive objects and spaces. Tuning Fork generated and tracked leads for public and private art opportunities, developed and maintained project timelines and budgets, and managed core studio communications across email, phone, social media, and web platforms. Tuning Fork trained and supervised interns and new employees while building practical tools and systems that strengthened long-term studio sustainability. This administrative and operational support allowed the studio to stay responsive to new opportunities, maintain momentum across active projects, and support the continued production of ambitious sculptural work with greater clarity, consistency, and organizational capacity.

Tuning Fork provided design and project management for the creative activations that are a part of Stinkweeds’ store remodel. The work included coordinating a vinyl graphic installation that extended up the new stairway, creating a display of vintage Stinkweeds t-shirts, and organizing a photo wall showcasing the bands that performed at Stinkweeds locations over the years. By managing these components of the remodel, Tuning Fork helped translate Stinkweeds’ legacy into a visual environment that celebrates its role as a longtime cultural space while supporting the character and identity of the newly expanded store.

For Curator Engine, Tuning Fork’s work encompassed curatorial strategy, project management, artist relations, and administrative oversight across private development and institutional art projects in the Phoenix metro area (2014-2018). The role included researching and selecting artists, shaping narratives for proposals and interpretive materials, and managing communications among owners, architects, artists, engineers, universities, and other stakeholders. Tuning Fork also developed budgets, scopes, schedules, contracts, and compliance systems while establishing best-practice protocols, vendor resources, and artist management tools. Across murals, sculptural installations, multimedia environments, and art acquisition projects, this work translated development goals into site-responsive art experiences grounded in regional knowledge and history.

For independent artist Kara Roschi, Tuning Fork supported the development and realization of If We Build It, a participatory social practice project staged on vacant parcels in downtown Phoenix. The work invited more than 60 local participants to collectively play guerrilla, forty-foot-square versions of Reversi, transforming underused land into a temporary site of gathering, strategy, labor, and public reflection. Drawing on questions of ownership, belonging, and the right to author community, the project used play as a way to examine development, displacement, and the role of artists in shaping civic space. Tuning Fork’s work encompassed project planning, participant coordination, site-based logistics, and implementation of a large-scale public action that was both visually striking and conceptually grounded in collective agency. The project created a temporary but powerful framework for community connection and neighborhood self-determination.