Theater

Background

New Year's Day, 1980, found Arlene Goldbard living in Washington, D.C. monitoring and reporting on our nation's de facto cultural policy. The fact that Arlene was doing this says a lot about the leadership role that many of us were counting on the federal government to play in leveling the field so that our many U.S. cultures would have an equal chance to express themselves, to develop, and, inevitably, to cross-pollinate. It was a substantial and beautiful vision then, and remains so today.

Artist Rene Yung's presentation of this paper generated lively discussion at a forum of the Arts Loan Fund of Northern California Grantmakers, in October 2006. It was written just as Arlene Goldbard's new book, New Creative Community, was published. Although Yung refers to an earlier publication (Creative Community: The Art of Cultural Development, by Don Adams and Gold-bard, 2001), she touches on many of the same themes discussed by the authors of "The Art of Social Imagination" (page 27 in this Reader) and reveals how the ideas have been adopted by an artist in practice.

Over the past forty years, several hundred legal frameworks have been established for cooperative action by governments on ecological issues — treaties such as the Biodiversity Convention, the Climate Change Convention, the Convention on Trade in Endangered Species, and the Ramsar Convention on Wetlands. How do these relate to art?

Outreach

Collaborative Circles: A Review

Frances Phillips

May 29, 1998, 116 pages, Theater By The Blind (TBTB), 306 West 18th Street, New York, New York 10011, 212-243-4337, ashiotis[at]panix.com

The following article is based on excerpts from a program examination by Arts Action Research.

Bimbo Rivas: Artist Profile

1996, 142 pages, National Endowment for the Arts, Seven Locks Press, Santa Ana, California, 800-354-5348

Lance T. Izumi is a senior fellow in California studies at the Pacific Research Institute for Public Policy. The following text is based on a transcript of Izumi's remarks at a symposium sponsored by the Western States Arts Federation (WESTAF). The topic of the two-day symposium was the support of visual artists. It was held in Seattle on December 4 and 5, 1997. The remarks are published here with permission of Izumi and WESTAF.

1997, 20-25 pages in each of three papers, Lila Wallace Readers' Digest Fund, Two Park Avenue, 23rd Floor, New York, New York 10016, 212-251-9800.