The Chronicle of Artistic Failure in America

Two recently published stories by artists raise the issue of artists struggling to find space to sustain their practices.

Sharon Butler, in this month’s Brooklyn Rail, writes:

…in spite of reduced expectations, the compulsion in even unseasoned artists to secure dedicated workspace has persisted…. But circumstances have diverted the obsessive quest for the studio. Today, large inexpensive spaces in acceptable proximity to Manhattan are rare, and artists, both emerging and mid-career, have adapted their art making strategies to meet the challenges of the post-studio era.

Her article surveys some of the constantly shifting realities of artists seeking space, and posits a future (and present) in which artists find ways to work without a true work-space.

As if in response, a concurrent article by Christine Wells this week on mnartists.org posits that “work space doesn’t always correlate to a particular address or piece of real estate.”

It can be a fluid arrangement or, sometimes, even a virtual one. Gabriel Combes [yes, the same self-destructing artist I wrote about several months ago] is an artist who recently lost his home; when we spoke a couple of months ago, he was on the brink of eviction from the apartment where he lived and worked. … Even in the face of impending homelessness, Combs was not particularly concerned about finding a new living space, preferring to crash with friends for awhile. As he pared down his belongings, he remarked that it led him to contemplate how his identity has been reflected in his possessions. As he readied himself for the street, he had to come to terms with letting go of the things that have identified him as both a person and as an artist up to now… Combs indicates that he would still like a studio space that’s “cheap, with lots of light and big windows” if he can find it. He’s looked at a few spaces, and is considering them with an attitude that can only be considered ‘chill.’ If he can find the right space at the right price, he’ll take it, he says; but, until then, he implies that any spot where his stinky paints are accepted will do. For Combs, a more important space consideration seems to revolve around getting his virtual “shop” in order. He uses the web to display, catalogue and sell his pieces online… straight to the audience, eschewing the idea of offering and displaying his work via traditional gallery spaces.

Here’s a study in contrasts that reveals something about the extreme conditions facing the arts and arts organizations these days.

In Minnesota, where governmental arts funding has been flat for the past six years or so, and other forms of support are slowly shrinking (such that most arts organizations that I’m aware of are having financial problems; some severe), lobbyists and advocates have hit on a novel (and controversial) way to prop up the state’s struggling arts orgs: A new constitutional amendment to levy a new sales tax. And even stranger, they’re doing it in partnership with environmental protection advocates.

“This November, the things we treasure here in Minnesota are on the ballot,” said Ken Martin, director of the Vote Yes Minnesota campaign, a coalition of 200 environmental, conservation, outdoors and arts organizations. “This [amendment] will protect our waters, land and way of life. If we don’t act now to protect these great natural and cultural resources, they will be lost forever.”

The theme of the campaign is “Protect the Minnesota you love.” …

“This state is on a directional course that is no longer acceptable,” he said. “We have to convince people that voting for this amendment is not only the right thing to do, but it’s also the legacy that we want to leave to our children and grandchildren.”

The estimated financial impact on each Minnesota family (because of the 3/8 percent increase in the state sales tax) is estimated at $56 per year. A number of prominent Minnesota figures and politicians have already endorsed the measure, which goes to vote in November.

At the same time, in Arizona, a bill intended to protect arts education from looming budget cuts (along with PE classes), was vetoed last week.

The governor [Janet Napolitano] noted that course cuts already are typically decided upon by local school boards during public meetings. …

Napolitano also called the measure “an empty promise” because it offered no additional state funding to help school districts provide programs teaching the arts, vocational education and PE.

[Bill sponsor Rep. Mark] Anderson countered that the bill had “broad, bipartisan support,” and said its intent was simply to send a message to school districts contemplating course reductions.

It’s been awhile since we’ve looked at what’s going on–funding-wise–across these art-hating United States. Shall we have a quick look-see?

Florida – You’ll Have Your Budget Cut by 50-80 Percent, and You’ll Like It

This quote, by Rep. Carl Domino (R-Jupiter), pretty much says it all: “The bottom line is at least they weren’t zeroed out,” he said. “That shows continuing support for history and culture.”

In a May 6 story titled Florida Legislature OKs cuts to cultural affairs, historic resources, the Palm Beach Daily News reports, “State funding for culture and historic preservation will fall sharply under the belt-tightening budget approved Friday by the Legislature. The Division of Cultural Affairs, which administers grants to cultural organizations, will get nearly $6 million — down from last year’s $12.5 million — while funding for the Division of Historical Resources, which oversees grants for history museums and historic preservation, will drop from $7 million to nearly $1.2 million. That’s a plunge from two years ago, when the state earmarked $32.7 million for culture and $18 million for history.”

According to one arts administrator, Florida’s arts groups will have to be “resourceful” to survive the economic downtown. “It will be survival of the fittest companies,” he said.

New Jersey – Things Even Worse Than During the Great Depression…

Favorite quote: “…the ideal [is} that art, with a capital A, should be incorporated into public buildings, as a high-ceiling barometer of culture in a civilized society. The irony is that the Statehouse Annex was built in the earliest days of the Depression. Still, art was not sacrificed. Not then, and not when the building underwent extensive renovation in the mid-1990s… [NJ Secretary of State Nina Mitchell] Wells seemed pained to explain why the arts and history funding under Gov. Jon Corzine’s proposed budget was being cut anywhere from 25 to 100 percent from a variety of programs.” –Mark Di Ionno, in a Star Ledger column titled “The irony here is art itself”

According to the story, “The New Jersey State Council of the Arts will lose nearly $6 million of last year’s $21.5 million in funds, a cut of 27 percent. The Newark Museum will see $2.3 million disappear from last year’s $4.7 million in funding. The Historic Commission will lose all $189,000 it paid out in project grants for history teachers and researchers. It will also lose $1.1 million from its supposed stable funding source, the hotel/motel tax, reducing its grant budget to $2.7 million. That’s 30 percent less than last year for the hundreds of volunteer-supported local history museums and societies around the state.”

And Let’s Not Forget Pittsburgh…

According to this story in the Pittsburgh Tribune-Review, the Hempfield Area school district, facing budget shortfalls is eliminating world language at the elementary level, and limiting middle school art and music to one nine-week instructional block per school year, and cut the daily activity period high school students use for club participation.

According to the story: “At a special meeting Thursday night, administrators said their primary goal is to provide a ‘rigorous curriculum’ that meets the needs of all students, but a review of existing programs was necessary to put the focus on early intervention to ensure proficiency in reading and math and increased instructional time in the core content areas.

“The proposals outlined last night would affect four world language positions, three art positions, 2 1/2 music positions, two guidance counselor positions, two assistant middle school principals and one librarian.”

Gerald Prokop blogged yesterday, in response to my previous post on These Regressive Times (for the arts), about something I’ve often thought about. I’m talking about the ironies of a city growing drastically poorer while having to support big and greedy art institutions–like the Guthrie Theater, MacPhail Center, and Walker Art Center–which have recklessly built multimillion dollar new buildings in recent years even as artists and average American workers and families and wide swaths of the community are left to suffer and decline and disappear in silence.

As he put it: “In these dark times, why are these places growing and getting better?”

Well, not to fear GP, according to a recent Associated Press article, big arts institutions are also beginning to feel the pinch of failed economic policies, poor public policy decisions, and just plain bad government.

Like homeowners and stockholders, museums, concert halls, dance companies and other arts organizations are feeling the pinch from the faltering economy.

Museums and symphony halls that financed renovations with seemingly safe municipal bonds saw interest rates spike in recent weeks; other arts institutions are suffering from low returns on investments; and some arts executives are worried that recession fears could take a bite out of donations and ticket sales.

“What turns my stomach every time I turn on the news is the current perception of what’s happening in our economy and whether people will get nervous and cut back on their charitable contributions,” said Charles Thurow, executive director of the Hyde Park Art Center in Chicago, which used a $5 million fundraising campaign to renovate in 2006 an old Army warehouse into its first permanent home since opening in 1939. “That would affect our annual operating budget.”

According to an April 13 story in the Atlanta Journal-Constitution, that city is facing a looming $119 million budget shortfall. And of course, as any good CAFA reader would expect, the city is poised to make an assault on its cultural institutions.

“When city budgets get tough,” the story begins, “arts and recreation programs are typically among the first to get cut…

“If the City Council approves the across-the-board cuts, an Atlanta Journal-Constitution analysis of the city’s current budget shows that the Parks, Recreation and Cultural Affairs department will lose more money than any nonpublic safety department — $8.1 million.”

Said one commentator: “The arts are generally the service to get cut because many people don’t see the value.”

A recent article from Florida, one of the few recent growth zones for the arts in this country, further indicates the struggles facing arts organizations and the art infrastructure that underpins and supports organizations and artists in this country.

In the April 3rd edition of the St. Petersburg (FLA) Times, an article by John Fleming called “In troubled times, arts funding teeters” describes the current desperate budget situation in that state and the likely looming fallout for the arts. The Florida state legislature is dealing with a shortfall in tax revenue that may reach $3-billion, and “naturally the state’s arts programs were among the first times on the chopping block.”

The Republican House Speaker declared at one point that the whole Division of Cultural Affairs may have to be eliminated, marking a “new extreme” according to the article. “Not even in the uncertain economic conditions after 9/11 did anyone suggest doing away with arts funding entirely.”

And while it seems savvy arts advocates were able to lobby to have the Speaker’s proposal curtailed, cuts to the arts in Florida are projected to be between 30 and 75 percent of the most recent budget (to between $3 and $8 million), and this after a 61 percent arts budget cut in the budget from two years ago. The article concludes:

We’ve fallen far from 1990-91, when the division gave out $19-million in grants, making Florida a leader in underwriting the arts and its peer review evaluation system a model of smart administration…. Scapegoating the arts — which employs roughly 156,000 people in Florida, according to a study released last year by U.S. Sen. Bill Nelson, a Democrat — is no way to strengthen the economy. It doesn’t make any sense, even while acknowledging that the state has huge budget problems

But since when did sense have anything to do with what happens in Tallahassee?

The Belfry Center, which calls itself a “radical Social Center in Minneapolis,” and cites as its mission “to foster democracy and build community through the arts, activism, media, and education,” has claimed in a recent myspace bulletin that it is under attack by the city of Minneapolis.

They claim: “We have been ordered to cease nearly all all of our events because we do not have entertainment or food licenses… When we reached the office that issued our letter we were told that the zoning of our location makes getting those licenses for all intents and purposes impossible.”

If you’d like to help the Belfry Center, you can check out the list of donations they’re seeking on their wishlist, you can inquire about donations, volunteering, or membership here, or you can email them regarding support at belfrycenter(at)gmail(dot)com.

Here’s the full bulletin: 

A recent story by Scott Russell called Setting standards, cutting funding for arts education that appeared in the online news aggregator Twin Cities Daily Planet reports that once-vaunted local arts education standards are currently being threatened. 

For many Minnesota art students, the author writes, “arts seem to be a thinning palette.”

This is because while Minnesota state standards in education focus on the value of art in the curriculum, the actual requirements for art, starting this year (and perhaps due to the No Child Left Behind laws) in a student’s education are minimal: only one art credit is needed to graduate from Minnesota high schools.

“Unlike reading, math and science,” Russell writes, “there is no high-stakes state arts test. Each district sets its own measure of art success. If students pass the art class that could be enough to meet the graduation requirement. That means arts can get the brush-off in the budget process, as schools focus resources on reading and math where success is measured by highly publicized, quantitative test scores.”

This means that statewide, according to Michael Hiatt, director of professional development and research at the Perpich Center for Arts Education, in “traditional schools” art teachers are “getting stretched to cover more and more students.” “It is more of a case of the haves and have nots,” in arts education, he said. “The gap is widening.”

Mary Schaefle, executive director of the Minnesota Music Educators Association, studies equity in arts education. From 2000-2006, she found, the number of “public school students dropped 1.5 percent” while the number of “public school music teachers dropped more than 11 percent”–indicating a drop-off in quantity of music lessons provided. In addition, the story sites the replacement, over this time period, of regular school arts instruction with more supplementary guest artist programs. “Obviously it saves some schools some money,” said one such instructor, “rather than hire a full-time teacher.”

One high school art teacher suggested that currently in Minnesota arts funding is “hit and miss, depending on what district you happen to be in, what part of the state you happen to live in, what the resources happen to be at any given moment.” The results, predictably, are a decline in talent levels among kids as they move through the education system, an ongoing deterioration in equipment and facilities for the arts in schools, and a resulting deterioration of interest among students in these subject areas.

Before I complete my thoughts on one Minneapolis artist who is currently skirting the abyss, a few more words on the topic of how poorly Minneapolis treats its arts community and its less fortunate despite its entrenched self-image (and deep amounts of supporting propaganda to support the image) as a place particularly enlightened and progressive on these issues.

A few weeks ago I quoted a local artist who had blogged that Minneapolis was not all that friendly to artists. After my post, the blogger responded with this: “Minneapolis shouldn’t feel bad about not supporting artists. Lots of places can’t support their artists. But Minneapolis should stop making out with itself in the mirror and take a look at itself instead.” He also wrote: “I think this place is a fine spot for a middle class, well adjusted, creative person with a descent backup plan to get a good start. I believe that I have personal issues that keep me from realizing my goals, specifically in this place.” And he vowed to leave Minneapolis soon: “Come 8/31, there’s nothing keeping me here. Unless I start a fun dance band, or find my calling in middle management, or give myself a labotomy, I’m moving.”

Barbara Ehrenreich, in her exposé about the working poor in America, Nickel and Dimed, famously exposed Minneapolis as being among the least friendly places for people without money. In Minneapolis, the ”living wage” was calculated to be $11.77 an hour, and Ehrenreich got a job at Wal-Mart paying $7 an hour. Because of the poor layout of the city and the inadequate public transportation, she had trouble getting to work on time (she went carless for the duration of her experiment). And because of the lack of affordable housing, she could not find a decent apartment and had to stay in a barely adequate rattrap motel—like many of her co-workers. While she wondered at first how her co-workers could even think of paying $40 to $60 a day for a dive of a room (totaling up to $1500 a month), she soon realized that low-wage earners had to deal with a double-edged sword—they could not afford to pay the large sums (a full month’s rent, plus a down-payment, plus bills, etc) needed to rent a more cost-effective apartment and so had to live in more expensive, less suitable conditions.

Earlier today, meanwhile, the artist Combs made final preparations for walking away from his modest apartment—writing on an artist forum: “i quit existing on paper soon. hidden place in which to land and radiate art, incognito in society, unseen and silent… i feel like moving like a shadow down between the cracks of society and back again. lost and unlost. whole and broken hearted. pulling something out of the self that has craved the foreground, albeit bringing a new lonliness with it…”

I once quoted the Minneapolis gallerian Thomas Barry on how he felt about the city after running a gallery there for nearly thirty years: “In general, [local support] is nowhere near what is necessary to make it a vital place for showing and making art….It was better in the Eighties, most definitely. Art was a fashionable thing and people bought into it….But it’s pretty much been flat for a long time now. A lot of talented people can’t continue to make art because they can’t afford to.”

Were Minneapolis a better place for the working poor—be they artists or non-artists—it might be easier to forgive the place for patting itself over and over for its wonderful self-image. But in addition to the fact that the poor can barely survive here, and artists (who come from all over the region to be in the place that constantly extols itself as an artistic Mecca) often flounder here to get established and to thrive, as I described in 2006, in reality, at best, Minneapolis/Minnesota ranks below average nationally as an art center. Among the failings of Minneapolis in the art realm: in 2003, budget cuts of 30-60 percent decimated the State Arts Board, and while much of the budget was restored for the current biennium (after four years of struggle among arts orgs and artists), that money is likely to go the way of the dodo yet again next year—owing to yet another brutal state budget deficit; arts employees in Minnesota are generally paid 30-50 percent less than their counterparts in other places, leading to large rates of job attrition in the arts worker corps; neither Minneapolis nor St. Paul has a cultural affairs officer, a public arts plan (though St. Paul has a modest non-profit public art org), a functioning arts and culture plan, a cultural tourism initiative or plan, or any of the other features of other cities/regions serious about their arts community; and, of course, all of these factors trickle down and lead to continuing despair and hopelessness among the artists on the ground.

When downturns happen, when people are shocked out of their regular ruts, when the bombing starts and buildings are knocked down–whenever something bad happens on a large scale in the country, the arts are the first thing that goes out the window.

Case in point for today (March 4, 2008), as the collective economic hand-wringing mounts to a deafening pitch:

• Critic Sasha Anwalt, on the NAJP blog, yesterday pointed out that the L.A. Times is canning its long-time dance critic Lewis Segal. Anwalt writes, “this signals a gigantic disconnect between the people and press…. and his loss is worth protesting on many fronts.”
• Last week, Douglas McLennan wrote on the same blog about the Hartford Courant’s buyout of its television critic. McLennan also posted, a few days ago, an analysis of the ongoing failure of newspapers in this country.
• Andrew Taylor, on his Art Journal blog on arts management, wrote about the need for nonprofit mission-driven organizations to consider when to close their doors. (This relates to a story CAFA has been following out of Boston, where the Boston Foundation has suggested that the directors of “struggling arts groups” should perhaps begin seeking “exit strategies.”)
• The arts & architecture blog of the Guardian Unlimited recently posted about the inevitability of suffering for artists, and, appropriately, about the British Arts Council’s painful upcoming funding cuts to arts organizations.
• And, to top it all off and tie it all together, a recent story in the New York Times examines the quaint American habit to eschew all things intellectual. To quote the main subject of the story, Susan Jacoby, author of several books on this subject of American anti-intellectualism: “Now… something different is happening: anti-intellectualism (the attitude that “too much learning can be a dangerous thing”) and anti-rationalism (“the idea that there is no such things as evidence or fact, just opinion”) have fused in a particularly insidious way. Not only are citizens ignorant about essential scientific, civic and cultural knowledge, she said, but they also don’t think it matters.”

Be wary of walking under windows, lest you be hit in the head with all the art and culture we’re tossing out.