The Americans for the Arts Emerging Leader Network works to identify and cultivate the next generation of arts leaders in America. It is an ideal way for new leaders to share their interests with others as they continue to develop their skills and their commitment to the arts. The Emerging Leader Network targets professionals who are either new to the field, with up to five years of experience, or are 35 years of age or younger. Visit AmericansForTheArts.org for more information on the Emerging Leader Network.
Artists and their art are as diverse as our communities, but arts administrators are not. After reviewing the Local Arts Agencies Salaries 2013 research report, one thing jumped out at me: The arts administration field has a diversity problem. It’s not shocking to me that the salaries of arts administrators are not commensurate with their skills, education, experience, and responsibility (I have friends working at a utility company as coordinators who make more than Art EDs) but the demographics, although somewhat expected, are disconcerting. Ninety-two percent of the report’s respondents who identified as Executive Directors or CEOs are white. Eighty-six percent of the overall respondents are white.
The American for the Arts national convention gave me a lot to ponder about race and demographics, particularly Manuel Pastor’s presentation and the numerous conversations I had with my fellow Emerging Leaders on the National Committee for Responsive Philanthropy report Fusing Arts, Culture and Social Change.
Growing up in the Boyle Heights neighborhood of East Los Angeles, a working poor Latino neighborhood, I did not know any white people (aside from those on television) until I started college. Even in college, I never felt like a “minority” because there were always plenty of people with backgrounds similar to my own. It wasn’t until I began working in the arts field that the label “minority” seemed appropriate for me. In the subsequent years at many of the arts meetings, conferences, and events, I was the only Latino attending. I found it very strange. In Los Angeles, where whites make up only 27% of the population, they made up the vast majority of the local arts administration field. I came to understand that when the cultural diversity of a community is not reflected in the individuals attempting to serve the community, the very act of communicating becomes a barrier, which limits the knowledge of needs, wants, and opportunities. Read the rest of this entry »
The greatest biodiversity in the world occurs at the fringes between two ecosystems. That’s what I heard last month when hearing a panel discuss the intersection of arts and natural resources. The panel included a nature photographer, an education expert from Zoo Atlanta* and a landscape architect amongst others. It was fascinating to hear about people’s work at the spaces between the arts and other fields. It was a technical and ecologically specific fact, but one that likely resonates with all those working at the fringes of very different worlds.
Planning for Diversity
Last summer, the board of our metropolitan planning organization, the Atlanta Regional Commission (ARC), voted unanimously to add arts, culture and creative industries into their scope of regional planning. Arts and culture were brought into a dialogue with transportation, land use, aging services, natural resources, workforce development and other regional planning priorities. The integration of arts into the functional areas of planning means the incredible resources and tools available at the commission are now being leveraged to help create solutions to the challenges that exist within the cultural community.
The creativity of my colleagues never ceases to astound me. While I thought it might be a challenge to talk about the fringes between the worlds of watershed protection and the arts, my peers who work to protect the Chattahoochee River Corridor, for example, were full of ideas about where these intersections occur. Land use planners, those who work with lifelong communities and transportation experts have all articulated what is unique about bringing arts and culture to the table, and what their field will be able to do with these new tools that they would not be able to accomplish otherwise. Diversity thrives where the fringe between ecosystems overlap.
Biodiversity in the Arts Ecosystem
The biggest challenges exist for our work not when we discuss where the creative industries meet other sectors but where we try to find the common ground within our own sector where areas of the creative industries overlap. Read the rest of this entry »
This is my 149th ARTSblog post as a writer. It’s also my last—at least as a staff member here at Americans for the Arts.
I have been with the organization for almost six years and started blogging four years ago (after becoming ARTSblog editor a little over two years ago).
In those two years, I have tried to write, recruit, or find at least one relevant post per day to publish on the site. Some weeks were easier than others, but it is pretty amazing to see the depth and breadth of the quality of the posts that I have had the pleasure of adding to the site.
And, of course, I can’t help but think of the 20 Blog Salons I have worked on along with the fantastic program staff at the organization who work hard to find the bloggers, gather the posts, pictures, and profiles, and send them along to me for editing, formatting, and social media promotion.
While those weeks are some of the more stressful due to the work that it all entails, I think the fantastic collection of resources in the right side bar speaks for itself.
I’m leaving ARTSblog in the perfectly capable hands of our marketing and communications staff members, but I wanted to take the opportunity to thank you for visiting our little corner of the web to read, comment, and share the amazing work of our bloggers.
Americans for the Arts represents a diverse group of interests—from arts administrators to marketing professionals to advocates to arts-education-supporting parents—and I hope that my work on the site has represented you at one point or another. If it hasn’t, I hope you will consider adding your voice to the mix sometime soon.
Until next time…
We recently launched a new series on ARTSblog that spotlights the staff at Americans for the Arts that I call “Ten Questions with…”, in which I will ask everyone the same questions and see where it takes us.
This time I have turned to Valerie Beaman who currently serves as Private Sector Initiatives Coordinator.
1. Describe your role at Americans for the Arts in 10 words or less:
Program planner, council wrangler, seeker of speakers and bloggers, herder
2. What do the arts mean to you?
In my family it was an anomaly if you weren’t involved in the arts in some way. We are all a bunch of introverts and eccentrics who’ve managed to stay sane by participating in the arts. My first stage experience was as a fairy in A Midsummer Night’s Dream at the Redlands Bowl at age 3 ½. I still get goose bumps when I hear Mendelssohn’s music for the entrance of the fairies! Experiences like that never leave you. It’s very important to me to that children everywhere have an opportunity to connect with the arts. They’re a lifesaver. Read the rest of this entry »
Once again, the Emerging Arts Leaders Symposium (EALS) at American University has proven to be a smashing success. The EALS is in its sixth year of existence. The event is an annual meeting of students and young professionals who work in the arts that is held at American University. As national partners with Americans for the Arts, EALS is the official kick off for Arts Advocacy Day, and is held the day before.
It is an opportunity to engage in quality discussion about issues, unique or universal, that affect arts organizations with students, peers, and experienced leaders in the field. Past keynote speakers have included Rachel Goslins, Ben Cameron, Bob Lynch, and Adrian Ellis. All symposium activities and planning is organized and executed by a selected committee of American University Arts Management students.
The framework of EALS 2013 was “Looking to the Horizon.” Each speaker and panel discussed the new and innovative strategies and ideas coming down the road in each of the topics addressed that day. These topics included international arts management, marketing, audience engagement, career advancement, innovative organization models, and fundraising.
As the Executive Chair, I am elated to report that EALS 2013 was by far the largest and most successful Symposium ever. Counting the speakers, attendees, staff, and volunteers, 225 people walked through the doors on Sunday, April 7. That proved to be well over double last year’s number, a record growth for the Symposium. Read the rest of this entry »
Having been engaged with the Emerging Leaders Network for several years now, I remain thoroughly impressed with those whom this network connects me to. These individuals represent a group of next generation leaders filled with great capacity, innovative approaches, and a strong vision for how to strengthen their organizations, the arts field, and their communities.
Over the course of the Emerging Leaders Blog Salon these past five days, we had the privilege to meet 22 more of these arts leaders, each filled with insightful and passionate approaches to what they feel would make where they live a better place or bring it to the next level.
In a time where we are both witnesses and participants to massive change on local and global scales—both in the arts & culture field and in the general landscape of our communities—we as arts administrators need to be ready to tackle the challenge of using art as a catalyst for the betterment of the places and the people we belong to.
And after reading through these posts this week, I’d say we’re up for the challenge.
We’ve heard a wide range of ideas, including incentivizing an arts district and cultural planning; the challenge of making an arts and culture identity known when it sits in the shadow of a major city or a large tourism industry; and ideas on how we can create social bridges, claim public space, and enable the ability of a community to tell their own story. Read the rest of this entry »
My headline was intended to be something of an eye-catcher—who can resist a story about crime and scurvy, right?
Best of all, my claim is true. The thinking goes something like this:
- Scurvy, the clinical manifestation of vitamin C deficiency, is on the rise in developed nations. In the United Kingdom, for example, reported cases of childhood scurvy rose 57% between 2005–2008.
- Public health studies indicate that poverty is driving the re-emergence of the disease.
- Access to free, fresh, vitamin-c rich foods will reduce incidents of scurvy.
Ergo: planting fruit trees and vegetables in public spaces will reduce scurvy.
And what about crime, I hear you ask? Well, since 2008, a project in Todmorden, UK, has been growing fruits and vegetables in seventy public beds dotted around the town.
The produce is free to whoever chooses to pick it, and, as Incredible Edible co-founder Pam Warhurst explains: “The police have told us that, year on year, there has been a reduction in vandalism since we started.” She continues: “If you take a grass verge that was used as a litter bin and a dog toilet and turn it into a place full of herbs and fruit trees, people won’t vandalise it.” Read the rest of this entry »
What would make where I live a better place?
I want Broome Country, upstate New York to value its own commitment to the local arts. Own it! That is, I don’t want to have to have to feel the need to convince my graduate students and other community members—friends and colleagues—that the arts in Broome County, are diverse, vibrant and, yes, cutting edge.
The evidence is out there. In practice, the community—my students included—of Broome County supports and attends arts and cultural experiences and events, but I am finding we don’t always value this commitment we have for the local arts. Let me explain.
I first started noticing this with my students. I teach a nonprofit administration graduate class in a Masters in Public Administration program. In the class we emphasize capacity for community-based practice and discuss various policy areas such as social services, work development and yes, the arts. When I asked my students who had recently (in the last two weeks) attended an arts and cultural event, all—every single one of my students—confirmed they had. Activities and events shouted out were attending a local history museum, participating in the city’s monthly Art Walk, going to a local theatre production, screening an independent film at a local nonprofit organization.
While certainly not a representative, scientific sample, it surprised me. It surprised me because I consistently feel I need to convince my students of the cultural aliveness of our community. As I am trying to convince my students, they brush me off as being just easily excitable. Meanwhile they are actively participating in this cultural aliveness and don’t even realize. They don’t value the arts community that they are creating. Essentially they don’t value what they value. Read the rest of this entry »
It was during my third year as an undergraduate art student (Go Slugs!) that I met Frank, my abstract painting professor.
I’d never been more frustrated with a syllabus or a teacher in my whole life as I’d been with Frank. He gave us rules by having none. “Paint like you mean it,” he would say. “But don’t think about it. And don’t really mean it.”
The careful, thoughtful, planner inside me cringed every day in that studio. I didn’t understand what I was supposed to do, so I constantly monitored what everyone else was doing and followed instructed suit.
The bi-product: A six-foot tall canvas spread wildly with a cake frosting texture of Alizarin Crimson and Flake White oils. It took me over a month to create and countless two a.m. sessions to perfect.
I hated it. Truly—I gutturally despised it. It didn’t get better when I squinted my eyes. Or when I turned it upside-down. Frank loved it the moment he laid his eyes on it. “This is the best thing I’ve seen this year,” he gushed, hands literally clasped to his cheeks. Read the rest of this entry »
Imagine, if we saw social media more like an artist’s studio or cafe and less like a marketing channel?
While walking through the exhibit, Building: Inside Studio Gang Architects at the Arts Institute Chicago last November, I felt like I was seeing into the private design space of the architect.
The exhibit was an installation of an architect’s studio with concept drawings, full-scale project mockups, material samples, and photographs of completed work that now form part of the Chicago city skyline. This exhibit was a celebration of the work of the artist behind their city stage.
The work of the artist backstage, however, many don’t experience. The space is unorganized and cluttered; the work in progress, being constructed, deconstructed, is unpredictable and incomplete. This is why many artists and arts managers do not openly bring backstage onstage and into the public eye—because it is messy.
Imagine for a moment, however, if we did? Read the rest of this entry »
Full disclosure here: when I relocated to Silicon Valley in 2009, I told my friends and family in Ohio that I was “moving to San Francisco.”
At that point in time, the two were basically synonymous in my mind—Palo Alto was, to me, a “San Francisco suburb” that happened to be the home of Facebook, and most of what I knew of San Jose came from the Dionne Warwick song.
San Francisco’s cultural reputation is what brought me to California, and because of that city’s reputation, it took me more than a year to really connect with the artistic community in my own back yard.
Silicon Valley has an interesting dynamic. We’re known worldwide for innovation, creativity, and our DIY atmosphere. The technologies being created here are changing world culture in new and revolutionary ways.
Silicon Valley has a population of 3 million to San Francisco’s 800,000. Why is it, then, that so many of our residents feel that they need to travel north to “The City” for an artistic or cultural experience?
What can we, as an artistic community, do to build a reputation that holds up to the high bar our tech industry has set? Are we destined to be known San Francisco’s cultural suburb? Read the rest of this entry »
I am a fairly recent transplant to a city with a vibrant arts scene chock-full of healthy arts organizations, beautiful parks and architecture, wonderful public art, a squadron of young professionals getting involved, and our very own culinary smorgasbord: a signature chili (you either love it or you hate it), mouthwatering ice cream, and questionable breakfast meat.
Where is this cultural mecca, you might ask? It’s Cincinnati, OH.
Cincinnati’s varied offerings come with an equally diverse community of people. But like many cities, Cincinnati could get to the next level by seeing art and artistic involvement that connects all of us, not just the arts-prone.
The Cincinnati ethos is evolving, and many organizations are doing great things to get engagement that is more reflective of our community and encourages we locals to put our personal stamp on the Queen City.
Recently, after two years of living in Cincinnati, I fell in love. With Cincinnati.
It happened in the most unlikely of places: the concert hall. Read the rest of this entry »
There are a few things I have come to believe are true: Justin Bieber’s monkey is more famous than I will ever be; there are more self-proclaimed artists in the world than at any time in history; and the arts are the next big export—both here in Washington, D.C., and abroad.
All three of these truths lead to a problem we have in our cultural communities. We need more space.
With YouTube, an iPad, and Kickstarter, anyone can create and distribute art while sitting in front of the computer in their underwear (no…not THAT kind of art). Some artists can even launch careers from the keyboard. But it is not enough to think of art as an activity performed in isolation, behind the curtain of technology.
I have learned that many people in my community feel the same way. Sure, it’s easy to rehearse and perform a play in your living room, read chamber music in a basement, and labor over paintings in the garage for hours—but if no one sees your art, does it have any real impact?
While finding performance space is often the key stumbling block, locating adequate rehearsal (or studio) space is an equally important challenge. Without an appropriate place to cultivate art, there is no true quality control of the product. Don’t believe me? Ask a dancer. Read the rest of this entry »
You’ve probably never visited an art gallery or a classical music concert in Charlottesville, VA.
Though the area is known for its views of the Blue Ridge Mountains, historical landmarks, and local food culture, many people don’t consider it an arts destination. At Piedmont Council for the Arts (PCA), we see this every day.
Residents might know everything that’s happening in one area of arts interest, but nothing broader. Visitors tour Monticello or the University of Virginia, but rarely stay the extra day to explore our museums or see a play performed by one of our many community theater groups.
Very few people ever see the full breadth of the Charlottesville area arts community.
However, data from Americans for the Arts’ Arts & Economic Prosperity IV study in the Greater Charlottesville area showed that our arts and culture industry generates $114.4 million in annual economic activity, supporting 1,921 full-time equivalent jobs and generating $9.2 million in government revenue.
As the Charlottesville community continues to grow this arts and culture sector, we see a greater need to address this issue of coordinated cultural tourism. Read the rest of this entry »
I moved to Washington D.C. four years ago, after living in a village of 600, and I absolutely love where I live. I enjoy trying new restaurants, seeing world premiere plays, watching drummers and acro-yogis perform in my favorite public park and the proximity of it all.
Although I cannot deny the benefits of living near national cultural centers such as the Smithsonian museums, I find that most of my moments of bliss have come from time spent away from the national mall, in the city’s smaller pockets of cultural activity. Therefore, I argue that moving resources and attention from the center to other parts of the city would bring D.C. to the next level.
During a panel discussion I moderated at the Corcoran last year, I heard from D.C. arts champions on the challenges of working in a city where a small but thriving local arts scene is often overshadowed by the national centers. For those of us on the consumer side, there is also a downside when the emphasis is placed on “tourist D.C.” rather than “local D.C.”.
The prevailing value proposition in our field today centers around creative placemaking. If you buy into this concept (as the National Endowment for the Arts does), you believe that arts-related activity helps neighborhoods flourish, spurs economic activity, and broadly benefits the entire community.
Though I am skeptical of the metrics used in some of these studies, I have observed that when a cultural center such as a small music venue opens in my neighborhood, cafes, restaurants, and even other arts organizations pop up around it, drawing more visitors to the area. This influx of money and people is consistent with the vibrancy indicators used by ArtPlace. Read the rest of this entry »