We recently had the chance to connect with Jill Weisberg and have shared our conversation below.
Jill, a huge thanks to you for investing the time to share your wisdom with those who are seeking it. We think it’s so important for us to share stories with our neighbors, friends and community because knowledge multiples when we share with each other. Let’s jump in: What do you think is misunderstood about your business?
I am in the business of curating and managing large-scale exterior mural projects. I think the general public sees murals as exciting, inspiring, and very much of the moment. What people don’t always realize is that the art world can be ego-driven, and some individuals take advantage of artists by pushing them to work for less than they deserve. There isn’t an official industry standard for mural pricing, even though there are general averages for what artists should be paid. Because of that, the average person who admires a mural might not fully understand the struggle artists go through to be compensated fairly and earn a living wage. This isn’t the case for every project, but it does happen often. As an advocate for artists, I do everything I can to make sure they are able to charge what they feel their time, talent, and creativity are worth.
Can you briefly introduce yourself and share what makes you or your brand unique?
Hi! My name is Jill C. Weisberg and I am an artist, curator, educator and public art advisor based in Hollywood, Florida. My work exists at the vibrant intersection of art, community, and the built environment. I specialize in curating and producing exterior murals—partnering with property developers, cultural organizations, and cities to bring compelling public art projects to life. Over the years, I’ve curated and managed more than 100 murals, always with the goal of creating opportunities for artists to showcase their vision while helping communities connect with art in meaningful and lasting ways.
For over fifteen years, I’ve been curating, advising on, and project-managing contemporary mural projects that infuse neighborhoods with energy, identity, and connection. One of my proudest achievements was curating the Downtown Hollywood Mural Project, a program that grew into Broward County’s largest walkable mural initiative and showcased regional, national, and international talent. Now, working independently, I collaborate with clients such as WXLLSPACE, the Miramar Cultural Center, Cultural Planning Group, the City of Pembroke Pines, and a range of property developers across South Florida.
What makes my approach unique is that I see myself not just as a curator or project manager, but as an advocate for artists. Public art is powerful—and behind every mural is an artist who deserves fair compensation and respect for their work. I work to ensure that artists receive the support they need while helping property owners and communities benefit from inspiring, engaging public art. Additionally, I serve as Vice Chair of the Broward Cultural Council, where I support policy and funding initiatives that benefit artists and cultural development across our region.
Beyond curatorial work, I continue to make my own art—creating mixed-media works and large-scale installations. My piece She Comes First—a type-based exterior installation—was supported by a 2016 Creative Investment Program grant from the Broward Cultural Division.
My studio practice often incorporates holographic, metallic, and iridescent materials, drawing on feminist themes and the sun-drenched vibrancy of South Florida.
When I’m not immersed in public art projects or studio work, I live in Hollywood Hills with my partner and our three cats. Right now, I’m working on several new projects across South Florida that continue to build meaningful connections between artists, audiences, and the spaces we all share.
Amazing, so let’s take a moment to go back in time. Who taught you the most about work?
The people who have taught me the most about my work are the artists themselves. Every single artist I’ve worked with approaches a mural in their own unique way—whether it’s the way they design, prepare, or physically get the work up on the wall. Each artist brings their own techniques, rhythm, and creative process, and being able to witness that up close has been invaluable.
Working alongside so many different artists has given me a deep understanding of the business of contemporary mural curation—everything from timelines and logistics to how to support an artist in realizing their vision on a large scale. It’s also shaped how I advocate for artists, because I’ve seen firsthand the challenges they face and the dedication it takes to make public art happen. In many ways, my role has been built by learning directly from artists, and that’s something I carry with me into every project.
Is there something you miss that no one else knows about?
Something I miss that people might not know is South Florida before it became such a major tourist hub. I grew up in Hollywood, and back then the area had a small-town feel—quieter streets, fewer people, and a sense of community that feels harder to find now. People seemed more polite, more present, and interactions felt genuine. I also grew up before the internet and cell phones, so I have a lot of nostalgia for that slower, simpler way of life. While I love that South Florida is now an international arts destination, I still miss those more personal, grounded times.
Sure, so let’s go deeper into your values and how you think. What are the biggest lies your industry tells itself?
One of the biggest lies the industry tells itself is that if an artist works hard, opportunities and jobs will naturally follow. That’s simply not true. Hard work is important, but in today’s art world, connections, visibility, and advocacy often matter just as much—if not more. Artists who want to succeed need to actively advocate for their work, build relationships, and engage directly with communities and potential clients.
The alternative—hiring expensive PR or marketing teams to do that outreach—simply isn’t realistic for most artists. So much of success in this field comes from persistence, networking, and understanding the business side of art, which is rarely taught in school. It’s not enough to be talented; you have to actively navigate the industry, protect your worth, and make sure your work is seen and valued. That’s something I’ve learned firsthand working with artists and curating public art projects over the years.
Okay, so before we go, let’s tackle one more area. Are you tap dancing to work? Have you been that level of excited at any point in your career? If so, please tell us about those days.
Before I entered the field of public art, I ran my own graphic design company for about ten years. While I enjoyed the work, I never felt that spark of excitement I was looking for. Public art, on the other hand, energizes me in a way that graphic design never did. There’s something incredible about working with artists—whether local talent or internationally recognized names—and helping bring their vision to life on a large scale.
Every project has moments that make me feel genuinely thrilled to be doing this work: seeing a mural come together, collaborating with an artist on creative problem-solving, or watching a community interact with a space in a new way. That sense of excitement and purpose is what keeps me going—it’s the reason I’ve dedicated my career to public art and to advocating for artists. I feel extremely grateful every day that I get to work in the field of Public Art and working with artists fuels my passion for this industry.
Contact Info:
- Website: https://www.jillcweisberg.com
- Instagram: jill_dubbleyou
- Linkedin: https://www.linkedin.com/in/jill-c-weisberg/
- Facebook: https://www.facebook.com/JillCWeisbergArtAdvisor/
Image Credits
Img_5832.jpg taken by Diana Larrea
