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October 11, 2008

Ben Cameron:

Tonight's session is called Ten Reasons to Commit Suicide or Have a Strong Drink After, as we begin to turn to the state of our national economy.

Malcolm Margolin:
It's so beautiful here I wish I were a resident. And it was a joy to edit the essays and to work with Frances and Anna on it all. Being an editor gets you into other people's minds and gets you into other people's souls, and you just end up going from one spot to another spot and shaping it, and it's a gorgeous life.

“I was very aware of the land… How open it is and how open the people were. I wondered if the openness of the land made us all more open to each other.”
— Nancy Fushan

For three days in October (Oct. 19–21, 2007) members of the Grantmakers in the Arts traveled to Zuni Pueblo where, along with Zuni culture bearers, artists and community members, they experienced the rich cultural, historical and artistic landscape that defines and shapes Zuni Pueblo.

ArtsJournal founder and editor Doug McLennan talks with Andrew Taylor, director of the Bolz Center for Arts Administration at the University of Wisconsin-Madison School of Business. Subjects are community, conversation, and connection around the arts, and the emerging need for … Continue reading →

Audio and radio arts have seen tremendous energy and activity in recent years. For many young media artists, audio is accessible and has a power and intimacy that can be elusive in the film and video world. Although there are hundreds of film and video festivals throughout the world, audio festivals are rare and funding sources for this art form are just as rare. Join Chicago Public Radio's Third Coast International Audio Festival for a “listening room” session presenting some of the finest independent audio documentary work made today.

Dancing with Different Partners
Renaissance Cleveland Hotel, Tower City Center
Cleveland, Ohio
October 17–20, 2004

Major metropolitan areas - Atlanta, Cleveland, Denver, and Portland to name a few - are moving aggressively to position arts and culture at the forefront of their strategies in an increasingly competitive environment where cities vie for desirable high-tech industries and workers. Some have found a new welcome to sit at the public-policy and economic-development table, indeed to be a guest of honor. A variety of regional initiatives, some in implementation, others in formative stages, have resulted.

The hip-hop community is operating on the fringes of the for-profit and nonprofit sectors. Its aesthetics are evident in popular and underground theater, literature, spoken-word, performance, and film. In addition to developing audiences for their own fledgling institutions, hip-hop groups are being asked to partner with more mainstream organizations that wish to reach the Gen X-Y-Z constituency. How are they surviving and growing? What innovations do they bring to their fields? And what challenges are they facing in the current economic climate?

The convergence of long-term global economic factors, changes in state and federal policies and levels of arts funding, the prolonged decline of the stock market, and financial uncertainty ahead are combining to create long-term economic changes for funders and for the artists and arts organizations they support. What responses or solutions are emerging from the field?