Arts and Community Development
August 31, 2007 by admin
2007, 102 pages. RAND Corporation, 1776 Main Street, P.O. Box 2138, Santa Monica, CA 90407, 310-451-7002, www.rand.org
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2007, Americans for the Arts, 1000 Vermont Avenue, NW, 6th Floor, Washington, DC 20005, 202-371-2830, www.americansforthearts.org
Download pdf: www.artsusa.org
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2006, 53 pages. National Guild of Community Schools for the Arts, 520 Eighth Avenue, Suite 302, New York, NY 10018, 212-268-3337, www.nationalguild.org
Download pdf: www.nationalguild.org
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2006, 240 pages. New Village Press, P.O. Box 3049, Oakland, CA 94609, 510-420-1361, www.newvillagepress.net
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2007, 59 pages. Center for an Urban Future, 120 Wall St., Floor 20, New York, NY 10005, 212-479-3341, www.nycfuture.org
Download pdf: www.nycfuture.org
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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.
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As we were recruiting writers for this issue of the Reader, we learned that John Rockwell was retiring from his position as arts critic for The New York Times. It was all too tempting to ask Rockwell to reflect on the arts as he has chronicled them through his career. His response was to address the relationship between culture and classboth in history and in the presentraising questions about patronage and access, and the differences across classes in the kinds of art that are supported and accepted.
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Jeff Chang is widely known for chronicling the story of the hip-hop generation through his book Can't Stop Won't Stop and the recent anthology Total Chaos. In this Taos Journey essay, Chang looks back at the legacy of the multiculturalism movement of the 1960s and '70s; at the last several GIA conferences, grantmakers have gathered to discuss their concerns about crises in important culturally specific organizations formed during that period.
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Changing media policy has affected and will continue to shape how art is made and distributed, whose voices are heard, and who has access to those voices. To take an angle on this multifaceted subject, we invited two articulate media experts into a conversation about their workwork that has profound implications for artists and for social justice activists. Jenny Toomey, executive director of the Future of Music Coalition, interviews Loris Taylor, executive director of Native Public Media.
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