In 2008 I wrote Le facteur C (later translated as No Culture, No Future) because I felt an urgent need to respond to a troubling trend: a growing chasm between the art experiences that were being offered by arts professionals and those being sought out by an ever-growing portion of the public. My book argued that for the arts to thrive and to be a force in our everyday lives, the professional arts sector needed to do more and differently to engage people in the arts in meaningful, life-enriching ways.
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Beyond Price: Value in Culture, Economics, and the Arts; Edited by Michael Hutter and David Throsby; Cambridge University Press, 2007, 324 pages
The art that matters to us … is received by us as a gift is received. Even if we have paid a fee at the door of the museum or concert hall, when we are touched by a work of art something comes to us that has nothing to do with the price.
— Lewis Hyde
— Lewis Hyde
Remix: Making Art and Commerce Thrive in the Hybrid Economy
Penguin Press, 2008, 352 pages. ISBN-10: 1594201722
Historical data do not mean anything in this situation. There is no blueprint and there is no network. We are doing the best we can with a combination of hard facts and intuition. Every line item is up for grabs; every $1,000 is material. How we feel about it all depends on which newspaper we read that morning.
Managing Director, large performing arts group
Introduction
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.
Arts and education grantmakers at an historic gathering in Santa Fe in October of 2007 agreed on the need to forge a new vision for public education in the United States and to collectively explore how the arts can help shape and realize that vision.
Convened by Grantmakers in the Arts and Grantmakers for Education, more than 100 foundation representatives met formally for the first time under the aegis of their two affinity organizations to debate and discuss the role of the arts in education.
This article was originally printed in Ford Reports, No. 2, 2007. Reprinted by permission.
On March 7, 1997, the Los Angeles County Arts Commission, in conjunction with Community Partners, ARTS Inc., and the California Assembly of Local Arts Agencies, convened a workshop titled "Arts Incubators: Building Healthy Arts Organizations and Healthy Economies." The seventy-plus participants included representatives of arts organizations, local arts agencies, municipalities, and foundations.
I still remember my first sight of New York. It was really another city when I was born—where I was born. We looked down over the Park Avenue streetcar tracks. It was Park Avenue, but I didn't know what Park Avenue meant downtown. The Park Avenue I grew up on, which is still standing, is dark and dirty. No one would dream of opening up a Tiffany's on that Park Avenue, and when you go downtown you discover that you are literally in the white world. It is rich—or at least it looks rich. It is clean—because they collect the garbage downtown. There are doormen.