Visual arts

2006, 27 pages. Metropolitan Regional Arts Council, 2324 University Avenue West, Suite 114, Saint Paul, Minnesota 55114, 651-645-0402, www.mrac.org

Download pdf at The Bush Foundation website

"Harmony is not an arts destination. We seek the arts at the core of everyday lives. We simply want a more solid community, a well-rounded community, beauty in our lives." — Paula Michel, Harmony Arts Council

Imagine throwing an arts event and the entire community shows up. This is oftentimes what takes place in the towns delightfully portrayed in Bright Stars, a publication from the McKnight Foundation in Minneapolis, Minnesota. In Neal Cuthbert's foreword to this award-winning piece, it is underscored that rural communities in Minnesota are suffering in several ways due to listless econo-mies and dramatically shifting demographics.

What often is lost in cultural policy conversations or research reports about the visual arts world is an examination of how ethnic-specific cultural practices and the dynamics of non-collecting museums and artist-centered organizations keep the art world from be-ing static and dull, from being victimized by the hierarchies of taste or the technocratic aims of cultural managers. Any analysis of the sociology of the visual arts field needs to speak about the relationship between the aesthetic content of a work and the contexts in which different aesthetic inquiries are supported.

The following article was first presented as an address at "Selling Yarns — Australian Indigenous Textiles and Good Business in the 21st Century,” a conference hosted by the Australian National University and held at the Museum and Art Gallery of the Northern Territory in Darwin, Australia on August 13, 2006.

As is often the custom among Native peoples of the Americas, I want to share a story with you that serves as deep background for everything I will be talking about today.

As arts funders, we often perceive our capacity to direct financial resources to worthy arts organizations as the most valuable tool at our disposal. That's probably correct and, indeed, as it should be. After all, most of our institutions have been established by donors for the core purpose of grantmaking, and the law mandates that we award grants for public benefit.

Background
The cultural sector does not exist in a vacuum. It is being challenged by major demographic, economic, technological, and social factors outside its immediate control. While the commercial arts and individual artists are also struggling to adapt to these changes, for a variety of reasons the nonprofit arts sector has been particularly slow to respond effectively.

"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

2006, 114 pages. Published by the University of Minnesota, Humphrey Institute of Public Affairs, Project on Regional and Industrial Economics (PRIE). Funded by the McKnight Foundation and the Fesler-Lampert Chair in Urban and Regional Affairs, University of Minnesota.

2005, 65 pages. Institute for Innovation in Social Policy, Vassar College, Box 529, Poughkeepsie, NY 12604, 845-452-7332. For copies contact opdycke@earthlink.net

The second in a series based on a national survey (the first was 2002), this report looks at participation in artistic and cultural experiences in the US in quantifiable terms as well as in ways such experiences affect the well-being of participants. One key finding is that 78 percent of respondents "believe that attending art events helped them to see things from other people's perspectives."

2005, 78 pages. McKnight Foundation, 710 Second Street South, Suite 400, Minneapolis, MN 55401, 612-333-4220

Beginning with an honest appraisal of the way changing economic factors have reshaped Minnesota's rural communities, this elegant publication highlights artistic projects and the individuals who have helped maintain or restore cultural vitality to different towns throughout the state.