September 2015, 58 pages. DeVos Institute of Arts Management, 1300 Pennsylvania Ave NW, Suite 410, Washington, D.C. 20004. (301) 314-0963. www.devosinstitute.net.
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Despite New York City’s status as the dance capital of the United States, rising real estate prices are challenging the city’s ability to serve as a creative incubator, with space — an essential resource for making dance — in waning supply. Choreographers and dancers need to work in a large open area with a sprung floor, but as real estate values climb, long-standing dance studios are being bought by developers and converted into residential or commercial spaces.
“As this has never been done before, we have no idea what we’re doing today,” Joanna Haigood half-joked at the launch of Paseo, less a walking tour than a movable, danceable feast, a peripatetic block party that, for one delightful hour, would twist through the South Bronx neighborhoods of Hunts Point and Longwood.
2011, 332 pages, Wesleyan University Press, Middletown, CT
Liz Lerman's body of work has come to symbolize the participatory community arts movement, and this collection of essays delightfully chronicles both her artistic growth as a choreographer and the intellectual process that led her to this path that revolutionized the ways in which dance is developed, performed, and experienced.
In the past two years, several prominent foundations at national, regional, and local levels have appointed new presidents. Such leadership transitions are likely to increase in the years ahead in keeping with the larger generational shift in the nonprofit sector. Very few of the new foundation leaders are likely to come from the arts sector, and many will have had little direct experience with our field.
The following piece is excerpted from the second of a two-part article written for the Community Arts Network, “The New New Deal.” Part one, published in December 2008, was titled, “the New New Deal: Public Service Jobs for Artists.” It described some of the things artists could do with public-service jobs. This excerpt is from part two, published February 24, 2009, “A New WPA for Artists: How and Why.” In this excerpt, Goldbard takes up the question of “why,” what are all the good reasons to support a new WPA for artists.
Between 2006 and 2008, the Social Impact of the Arts Project, a research group at the University of Pennsylvania (SIAP), collaborated with The Reinvestment Fund (TRF), a community development financial institution, on an investigation of the creative sector's potential contribution to neighborhood economic and community development.
As conference co-chairs, neither of whom has lived in New Mexico, we were told that the story of art in New Mexico is a story of place, that the regionits landscape, its convergence of cultures, its sacred spacesdefines what and how art is made. We turned to a number of New Mexico artists and writers to give us their inside views of this remarkable region. Among them is Chrissie Orr, a transplant from Scotland, who makes work informed and formed by New Mexico's physical environment.
"I believe that if we can keep our values close, our imaginations open, and our stories fierce, we can and will win." - Thenmozhi Soundararajan
Introduction
America is on the threshold of a significant transformation in cultural life. There have been many cultural shifts in recorded history: Gutenberg's invention of the printing press and the rise of the reading public; the growth of a mercantile class and the birth of private art markets independent of the church and the king; the invention of gas streetlights and the beginning of urban nighttime entertainment. The most recent cultural transformation, still with us today, was set in motion on the threshold of the twentieth century.