Springblog for the Arts

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2010-03-26T12:29:00.001-05:00

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2010-03-26T08:02:00.006-05:00

Healthcare Reform Bill: What to Expect

On Sunday, the House passed the Health Care reform bill and the bill is headed in direction of becoming a law. So, what changes are likely to happen and when? Here’s a good breakdown and Q&A about the new law:

from Kaiser Health News

http://www.kaiserhealthnews.org/Stories/2010/March/22/consumers-guide-health-reform.aspx

from reuters.com:

http://www.reuters.com/article/idUSN1914020220100319

It is important to note that the healthcare reform bill is NOT a law yet. Also, we are NOT health insurers, doctors, politicians or lawyers. We are artists. (my theater degree came with surprisingly little coursework on healthcare policy.) So, with all of those caveats firmly in place, here are some things that, we think, are of particular interest for artists and other self-employed people:

Soon:

Young people will be able to stay on their parents' health plans until the age of 26. So, artists who are finishing high school and/or college, will be able to continue on their parents insurance while they get their career up and running (we know this will make a lot of parents sleep easier at night!)

Health insurers will not be able to exclude children for coverage because of pre-existing conditions

There will be a tax credit for some small businesses and nonprofits to help provide health insurance for their employees. The basic guidelines for nonprofits are that you have under 25 employees and have an average salary of under $50,000.

In 4 years:

State health insurance exchanges for small businesses and individuals will open.

Most people will be required to obtain health insurance coverage or pay a fine if they don't. Healthcare tax credits become available to help people with low incomes. Health plans no longer can exclude people from coverage due to pre-existing conditions.

Employers with 50 or more workers who do not offer coverage face a fine of $2,000 for each employee if any worker receives subsidized insurance on the exchange.

If you want to see how the reform will affect your particular situation, try this tool:

http://www.washingtonpost.com/wp-srv/special/politics/what-health-bill-means-for-you/

As you can see, much of the far-reaching measures, such as a clause that insurance companies can no longer deny adults with pre-existing conditions (although there are some stopgap measures for adults with pre-existing conditions), will not take effect for another four years.

While we can’t fix health insurance, Springboard for the Arts healthcare programs can help get you to the doctor today. The Artists’ Access to Healthcare (AAH) program gives uninsured or underinsured artists vouchers that can be used, like a gift certificate, to cover the costs of medical visits. The program currently exists at the N.I.P. Community Clinic in Minneapolis, but will soon include Doctor Sam’s clinic in Northeast Minneapolis. Our Guide to Healthcare for Minnesota Artists helps connect you to state healthcare programs, insurance providers and low-cost clinics and programs. This year, we will present a free Health Fair, free flu shots clinics and a free screening day for artists. And, if you have an unexpected medical bill, we may be able to help pay for some of it via Springboard’s Emergency Relief Fund.

For the most current info about our healthcare programs, please stay tuned to our e-newsletter, or subscribe by clicking here. If you can’t find what you are looking for, please let us know how we can help!

-laura

2010-03-16T18:00:00.002-05:00

Minnesota’s Native Artists: Raising their visibility and earnings

by Ann Markusen and Marcie Rendon

Ever wonder why Minnesota doesn’t celebrate our Ojibwe and Dakota artists the way the southwest does its Pueblo, Apache and Navajo artists? That's one of the questions Marcie Rendon asked in our three-year study of how the state’s Ojibwe artists do their work and make a living. You can download it free from our website: http://www.hhh.umn.edu/projects/prie

We found Native artists all over the state making beautiful work, sharing it with their communities and beyond. Yet they struggle to build careers. They are more apt to be self-employed than artists in general and less likely to have found formal employment. A few teach in tribal or state colleges or work in staff jobs in cultural centers or as graphic artists for their tribes. Some run their own enterprises, such as Marcie McIntire’s beautiful gallery in Grand Portage, Louise Erdrich’s Birchbark Books in Minneapolis, or Richard Schulman’s North Star Coffee Bar in Cass Lake that provides space for young musicians to rehearse, perform and get feedback.

But most make and market their own creations. Like many artists, they face stiff materials and equipment costs, lack space to work and think, and are baffled by how art markets work. Some find outlets in their own communities, like the gift shop at Shooting Star Casino in Mahnomen that displays and sells one-of-a-kind work by White Earth artists. Or opportunities to perform at tribal casinos. Commissions and sales of visual art for tribal community and social services complexes. Some score with non-Native organizations: a public art project, such as Steve Premo’s outdoor mural for Hinckley and Robert DesJarlait’s mosaic for the Minneapolis Franklin Library. Or land a book contract with a commercial or non-profit press.

We discovered many ways that Springboard and other artist-friendly organizations, including funders and educators, can nurture Native artists’ careers. A prerequisite involves understanding how Native artists work and how they bridge traditional culture with contemporary urban or reservation life. Recognizing, too, issues surrounding sacred practices and access to materials from nature, and the Native ethic of sharing and giving away work. Rather than teaching, funding and providing services structured by Euro-American notions of the artist as an autonomous creative individual, those with resources and space to share could begin by listening to Native artists.

Some gatekeepers, as we call the folks with resources, have pioneered in creating space for Native artists to present their work, share it with their communities, and get paid for it. Juanita Espinosa has done this for years at Two Rivers Gallery in the Minneapolis, while encouraging generations of young Native artists through her Native Arts Circle network. Phil Norrgard, the Director of Fond du Lac’s Min No Aya Win Clinic, invests tribal funds in contemporary Ojibwe artist work that hangs on health care center walls, generates income for artists while emphasizing the role of art as healing. Fargo’s The Plains Museum, UMD’s Tweed Museum and the U’s Weisman exhibit and sometimes purchase Native work. Minnesota funders have helped the American Composer’s Forum, based in St. Paul, run its First Nation’s Composers Initiative.

Photographer links:
Cheryl Walsh Bellville
Travis Novitsky

2010-03-01T14:52:00.005-06:00

You're an Artist, Damnit.

In the arts community, our top 3 subjects for handwringing and debate are:

declining audience participation numbers
lack of public recognition of the intrinsic value of the arts
lack of pay and respect for artists

I believe we’ve done some things in service of issue #3 that are contributing to the other two. Specifically, I think that in our effort to command greater respect for the profession of being an artist, we’ve excluded people from identifying as artists and prevented them from seeing the art in their everyday lives. We want artists to get paid, obviously, this is something I feel strongly about. But in order to do that, we’ve created all these ways of defining who is a “professional artist” and that’s usually linked to those who make their living as an artist. But what about the hobbyist? The avocational artist? Aren’t they real artists? Those who used to practice but don’t anymore? At what point do you lose the privilege of calling yourself an artist?

I’m not sure excluding people and having fewer people who identify themselves as artists is a good route towards public support of the arts.

I’ve been thinking about this a lot lately in relation to people who work for arts organizations. When I go to conferences and convenings of other service organizations, there is invariably discussion of how we find out what “the artists think” about this or that topic. While I admire my peers dedication to making sure their programs align with their clients needs, I’m always struck by how many of these administrators don’t include themselves in the category of artist. In fact, I think a lot of administrators are afraid to call themselves artists – fearful of being called out or challenged, fear of being a poser or a faker, I guess? I find myself having this conversation a lot:

Me: “So, what’s your background? Are you an artist?”

ArtsManager: “Oh, NO! Goodness, no, I’m not an artist, I’m just an arts supporter. An arts appreciator. Well, I do have a degree in piano performance, and I still play a little bit, in fact, I just played for a friend’s wedding last weekend.”

Me: “That sounds like you’re an artist.”

ArtsManager: “Oh, no, no, no. I’m not an artist.”

What?! Why are we doing this? My post a few months ago stirred up a lot of debate on this question of artist vs. administrator – but can’t we be both? Too many times, I see administrators who stop identifying as artists and artists who resist the idea that you can be both. There are some great exceptions to this – my friend and colleague Karen Atkinson refers to her work creating GYST – a training and software business for individual artists – as a large, ongoing art practice.

Being an artist is an important part of my identity and it’s important to my work at Springboard. I acted in three commercials last year and gathered props from thrift stores for my husband’s Fringe show – hardly a banner year if that’s all I think of as my artistic practice. But I refuse to give up this part of my identity, both because I do still practice (even if it’s occasional) and because I use my artistic brain and the creative process in my job every single day. I think that if, as a community, we led the way in saying, “Hell, yeah, I’m an artist!” then perhaps others would feel comfortable saying it, too.

“I’m a doctor and I’m an artist.”

“I’m a teacher and I’m an artist.”

“I’m a senator and I’m an artist.”

“I’m a lawyer and I’m an artist.”

And I really believe that allowing, and even pushing, more people to call themselves artists leads to better support for art and artists.

What do you think?

-laura

2010-02-23T16:57:00.002-06:00

What the art world can learn from food.

Comparing anything to food must be one of the highest compliments. Very few things in the world are tied as strongly as food is to the individual experience. We are dependent on it to live, it engages all five senses. (Foods make wonderful noises, they do!) It is a moveable and transcending event that is enjoyed by oneself and in mass with equal fondness and fervor. The spectrum of culinary nuance in spices, creative variation in recipes, simple pleasures of fresh fruit, and an intrinsic tradition of sharing make it simultaneously an unparalleled individual experience and a highly relevant expression of culture and community.

So what can the art world learn from food? Or maybe a better question would be, How is art food, and what is it about food that we can identify and enhance in our art experiences? Do we not experience individual and group wonderment through concerts, dance, and even the simple act of gazing in awe at a masterpiece with 20 other onlookers? Isn't our creative variation inherently bound to our interpretation and expression? Why does something as seemingly simple and pure as Yves Klein's IKB, the primary colors and grids of Mondrian, or the peculiar grace of a George Ohr ceramic work, strike us with such intensity that we want to... touch the artwork. And above all else, how does sharing and the social actions of our cultural surroundings create a sense of community?

Too many questions.

The point is there is great potential to grow the arts via models of thinking that line up with food. It has value to you, it provides meaning, it feeds strange abstract parts of you that you can't touch but know exist, it creates a vortex around which to contemplate with oneself or share with many, it moves with trends like crops change with seasons, with attention and cultivation it thrives and begs to be shared.

More questions.

How much more valuable do you find an artist you know than an artist you don't know? Certainly owning a Hirst piece is pretty valuable but how does that compare with being able to walk into an artists studio on your way home from the grocery store and pick up a pair of prints to go with dinner? How does that Silver Oak Cabernet taste when paired with the new album you just bought from a local band you just saw? When you make dinner, do you always cook for an army from New York, or do you cook for a couple friends that share studio space and bring a performance to dinner instead of a loaf of focaccia?

Think about what makes your art experience most valuable here in the Twin Cities. An abundance of highly talented, extremely creative artists, creating new works. Picking it fresh from the easel and delivering it to you, in person, pretty much like Community Supported Agriculture but in this case Community Supported Art. Stop by your local arts grower, ask how the season's looking, inquire about what's coming up in the next harvest, take a little bushel of something home. The truth about the Community Supported anything, whether food or art, is that they're here because of you and you're here because of them. Think of it like a good meal. Pick up something fresh from a local grower and invite the friends over or just look, listen, touch, smell and taste for yourself, and while you're at it make some good food too. Support. Share.

Community Supported Art

2010-02-02T16:50:00.004-06:00

Meet our new Assistant Senior Imaginologist!

Springboard had a special visitor stop in for a few hours today. The venerable Andy Sturdevant came to get acclimated with the workings of our office as he prepares to join our staff as Springboard's new Operations Assistant. Congratulations Andy and welcome to Springboard!

I took a few moments to do a brief interview with Andy, 5 Questions in 5 Minutes, the first installment in a new video/blog series we are producing. (More on this coming soon!)

Take a peek, meet Andy, and stay tuned for more 5Q interviews from Springboard.

2010-01-19T15:11:00.005-06:00

Cover Your “A’s” (Art, Assets and Archives)

Okay, I know. Life moves fast and, most of the time, it’s hard enough to think about anticipated events, yet alone the unexpected. But, unforeseen emergencies like fire, theft and flood, happen everyday. So, how does one prepare for such events? Luckily, our awesome friends at the Craft Emergency Relief Fund (CERF) are making it as simple as ever. Each month in 2010, CERF is offering one, easy-to-implement tip on how to cover your "A's" (art, assets and archives, that is) and we’ll be posting them right here on the SpringBlog. This month, CERF asks you to find a “SOL:”

Without a SOL*, You May Be “Out of Luck”
Find a *Safe Offsite Location to store copies of your images and critical records such as business documents, sketches, and process notes. A SOL is a place 50-100 miles away from your studio that is unlikely to be affected by the same disaster. Read more about SOLs and safekeeping your Artist Business online at studioprotector.org

2010-01-11T16:56:00.004-06:00

Where to Find the Goods.

Minnesota and the Twin Cities are bursting with arts and culture. Pick any day of the week and you can’t throw a snowball without hitting some kind of happening. If you’re like me, the two downsides to a thriving arts scene is 1) not being able to see and do everything, all the time, and 2) learning about a great lecture, opening, reading, etc. that wasn’t even on your radar, after it’s already over. To honor both of these rather fortunate misfortunes of our fair arts scene I ‘ve put together a little list of local sites and blogs that write about the arts, before and/or after the event.

Note: I am not Google, I can’t keep track of everything all the time [see: point #1 above] so this list is just a list. If you have suggestions, favorites or what could be seen as an obvious, and embarrassing omission from my list, let me know! We have comments, we have Facebook, we have Twitter. (You could even send something by mail! if you want to warm my nostalgic little heart with a handwritten letter, wink, wink).

More Notes: Thanks to Art Happy Hour for the blog topic (I’ll have a cold, drinkable-thank-you for you at the next AHH!)

Okay, on with the show. (In no particular order)

Quodlibetica

www.quodlibetica.com

Writing. Arts. Literature.

Surely, some teacher, somewhere in your life tried to instill in you an appreciation for critical thinking. The folks over at quodlibetic took that to heart and then put that heart on their sleave. In their words:

“Quodlibetica is a space to argue eloquently and whimsically about art, find out what’s happening in the Twin Cities art scene, and engage with writers, artists, and critics, who like to think.”

Minnesota Playlist

http://minnesotaplaylist.com/

Information and inspiration for Minnesota’s performing arts

They’ve got your theater scene pretty well cover and then some. Talent lists, classifieds, articles, blogs. Reviews, Etc. It’s hard to keep up, really, but so fun to try because it means our stages runneth over. Encore!

Life of Cyn

http://cyncollins.blogspot.com/

More than just music but definitely a place to get music scoops among many other musings from film to food and beyond.

“Author of West Bank Boogie: 40 Years of Music, Mayhem and Memories, and an arts and culture and news journalist. I provide updates, reviews and commentary of music, film, current events, politics, literature, theater, restaurants and happenings in the Twin Cities and beyond.”

Minnesota Microphone

http://minnesotamicrophone.com/

MN to the Mic to the Max!

St. Paul slam poets did something really nice for their home own last year. They won the 2009 National Poetry Slam Championship. If you haven’t had a chance to sample the slam poetry and spoken word scene in the Twin Cities you are in for a treat. If you don’t know where to find a calendar of events, articles, follow-ups, media, and interviews about what’s happening, then look no further, Minnesota Microphone is answering your call.

612to651

http://612to651.com

There are certainly more blogs about hip-hop than diamonds in Lil Wayne’s mouth, but 612to651 is unique because it takes a good hard looks at Twin Cities hip-hop and more so “immigrant, refugeee, and diasporic hip-hop in Minnesota.”, and it’s not just type flying into the digital void, keep an eye out for the the book and documentary.

CakeIn15

http://www.cakein15.com

This is a new one for me, in fact, I just heard about it last night after watching the live stream of Jeremy Messersmith’s intimate performance (check the Snoop Dogg cover) at The Cake Shop (it’s a house). Art, fashion, music, theater, photography, and interviews. I’m hooked just for the streaming music performances.

“… features short concert reviews, CD reviews, photo blogs, art & theatre reviews, as well as thoughtful insights on various multi-media.”

La Current

http://www.lacurrent.blogspot.com/

Sightings. Stories. Stuff.

Not to be confused with The Current (of our home town radio fame), this blog is what it says “Sightings, Stories, Stuff”, what you see is what La Current finds and it runs the gamut from curious, to whimsical and on down to just great.

Twin Cities Daily Planet

http://www.tcdailyplanet.net/arts

TC Daily Planet covers a lot of ground in one location. I wouldn’t make them your one-stop-art-scoop-shop just because they have more tentacles than you, but they are definitely word tossing in the blog reader. Also, if all of this makes you want to consumer more, they have this handy-dandy list of blogs that is a might bit longer than mine (but definitely comes in 2^nd on the charm factor)

Art Hounds on MPR's State of the Arts

Chris Roberts at Minnesota Public Radio would like to give you the mic.

“Each week Minnesota Public Radio News asks three people from the Minnesota arts scene to be "Art Hounds." Their job is to step outside our own work and hunt down something exciting that's going on this weekend.”

It’s fun. You get to be on the radio and tell the world what moves you. You should do it. Seriously.

There you go. A reasonable and manageable list of resources. Your mission, should you choose to accept it, is to go out and find yourself some arts. Good luck! And if you get a chance let me know how it goes.

Other blogs topics/titles rattling around in my head: Cast your vote and see what happens!

-Show me the Crit.

-Embarrassing art moments from my past (just keepin’ it real)

-Pictures of everyday stuff that looks like art… or maybe it is!!!

2009-12-07T14:14:00.003-06:00

Stepping out on a Limb

Inspired by Michael Kaiser, I've been thinking about this for a while now and I'm not sure that the professionalization of Arts Administration is always a good thing.

What?! Don't I work for an organization that is all about helping artists with business skills, helping them run their careers professionally? Yes. Springboard is all about helping artists be better business owners and better managers... for themselves.

I know there are many excellent Arts Administration programs out there and goodness knows I'd be the first to tell you that this job is one that requires some skills. Nothing gets my hackles up faster than someone referring disparagingly to "administrators" as if we were corporate fat cats pulling down the big bucks on the backs of artists. Nothing, perhaps, except when someone refers to artists as flakey, unreliable, navel-gazers. But I worry that capital "A" Arts Administration makes both of those stereotypes worse. My fear is that, as we've put more focus on Arts Administration as a career, we've driven a wedge between Administrator and Artist. It's either or. And we're losing the idea of the artist as leader.

Full disclosure, I have no arts administration or nonprofit management degree and I came to this job wholly unprepared for the challenges of managing a budget, a board and the emotional responsibility of being "in charge". What I did bring to the job was a steadfast passion for the arts, a belief that I could handle being "in charge" and experience as an artist. And I learned the rest. I'm not saying that arts managers don't need to learn those things - I'd be sunk without the excellent training that I had from great organizations, great mentors and great workshops. But there is something to be said for gaining those skills on an "as needed" basis.

I've been doing a lot of informational interviews lately - lots of people out there looking for work and trying to build their network. A couple weeks ago, I had coffee with a woman with substantial work experience and a recent degree in nonprofit management. When I asked her what kind of job she was looking for, she detailed her (many) qualifications and said "I think I'm ready to be an executive director of a mid-size organization or the second in command at a large institution." Thinking that she she misunderstood me, I said, "I mean what lights you up? What's your passion? community arts? arts ed? urban? rural? grassroots? theater? dance?..." And she said, "You know, I'm not really a passion-led leader. I just think I have the right skills for this job, I'd be happy anywhere, as long as it isn't full of a bunch of flakey artists."

Hrm. I wouldn't open with that in a job interview.

It's not so much that I think that we don't need the skills or the education to run successful organizations, it's more a question of order. Passion, commitment and dedication first; finances, networking and fundraising second. Mission first, management second. Art first, administration second.

-laura

Also, could we think of a better name for this? I hate "arts administrator", that sounds like such a boring job...one that involves a lot of paperwork. I use arts manager, but that's not much better, plus its confusing to people who think you're an agent or publicist or something. Someone called me an "arts organizer" once, which I loved. What do you think?

2009-11-25T09:53:00.002-06:00

Gratitude

A great, big fantastic thank you goes out to everyone who donated to Springboard for the Arts last week during GiveMn's Give to the Max day. We raised $9000 for our programs and the projects of Springboard's Fiscal Sponsor clients IN ONE DAY - an unprecedented experience for us! We love GiveMN and we love all of you. Thank you!

Feel like you missed out? You can donate any day on our GiveMN page here.

Last weekend we held our annual Free Screening day for artists at our partner clinic in Minnneapolis, Neighborhood Involvement Program. We were able to serve 35 artists in 4 hours! Hear what some of our participants had to say:

"Springboard and NIP staff were the best. They are why this screening worked and went so well. What a great way to support the arts in the Twin Cities. Thank you SO MUCH!"

"Just tremendous gratitude. I hadn't had a tetanus shot for decades (didn't even know I should have one)."

It is programs like the Free Screening Day that donations from our neighbors support. Your generosity is amazing. Everyone in America continues to be affected by the economic climate and we recognize the meaning of each and every gift. We are so, so grateful to everyone who believes, like we do, that this is an important time to invest in creativity, innovation and entrepreneurial spirit.

2009-10-22T08:12:00.002-05:00

Tips for Artists Looking to Exhibit at Local Galleries/Museums

On Tuesday evening, October 13, Springboard for the Arts and mnartists.org presented a Curator and Gallery Owner Panel discussion. Betsy Carpenter (Walker Art Center), Kris Douglas (Rochester Art Center), Ann Pifer (the Grand Hand Gallery), and John Rasmussen (Midway Contemporary Art) came together to shed light on how they prefer to be approached and how they choose work to exhibit in their respective museum and galleries.

I expected the panelists’ answers to vary as much as the types of artwork shown at each institution. However, I left feeling surprised and reassured by the amount of common ground. Here are five tips our panelists shared for visual artists looking to exhibit their work in galleries and museums:

Follow the Rules for Submission
Many galleries and museums have formal submission processes. Check the website first for this information before making inquiries about the submission process or sending an unsolicited artist’s packet. Direct your submission to the curator or gallery owner and articulate why you think your work would be a good fit for their institution.

Apply for Grants
Gallery and museum professionals pay attention to individuals that receive grants. While not a stamp of approval per se, these types of awards bolster your credibility and visibility and may boost confidence for the people interested in purchasing your work. In addition to the recognition, grants often bring your work to the attention of curators and gallery owners outside of the localized art market.

Get to Know People
Attending openings shows that you are interested in that institution, and it’s also a great way to get a feel for whether your artwork is a good fit for the venue. Go ahead and introduce yourself to the curator or gallery owner, but keep your introduction brief, they are on the job and have things they must pay attention to. Later, this introduction may provide context connecting your face with your submission.

Tell Your Story
If a gallery/museum is interested, they will want to learn more about your techniques, concepts and intent. They may schedule a studio visit. This is not the time to be self-deprecating about your work; nor is it in your interest to be condescending. Tell your story and be receptive to comments and criticism. Remember that the better job you do talking about your work, the better job they will be able do on your behalf.

Be Considerate of the Gallery/Museum’s Budget
In addition to making artistic decisions for their institutions, curators and gallery owners are responsible for running businesses. Sometimes artists forget this. Be conscious that they, too, are being affected by the current economy. Many institutions have had to modify their plans, including presenting fewer and/or longer exhibitions. If given the opportunity to exhibit your work, being resourceful and willing to work within a limited budget will win you friends.

In summary, it comes down to this- do your research, build relationships, and be nice. That’s not so hard.

2009-10-20T18:12:00.003-05:00

The Artist Loan Fund is looking for change…

… and Springboard is looking for your creative input.

Funny thing over here at Springboard. I think I speak for the entire staff when I say that things are moving at a healthy clip around here, as mentioned previously in Thrilled and Daunted. Which is to say that there’s a lot going on at Springboard in addition to our regular programs.

As individuals, community and country, Change has been ringing in our ears at least since Nov. 4, 2008 (but really long before that) and was resonated anew with the challenges presented by the drastic economic shifts that have impacted so many.

Despite the tendency to see only two kinds of change in the world (good or bad), there are many shapes, directions, and gravities to change that often aren’t recognized.

Change due to necessity; Change that has been coming for some time but finally arrives, sometimes a touch early and sometimes a touch late; Change forced upon us and; Change given to us as a gift.

And sometimes there is change due to vision or what I would call the artist’s need to change. Anyone that has not just heard but listened to the creative voice that makes us break routine, asks us to question the status quo, suggests something greater just over the horizon, or just gently come to rest upon our thoughts, will understand how change and creativity go hand and hand.

For Springboard this is true of our Artist Loan Fund. The program works and has worked for over 12 years, making over $800,000 in micro-loans to artists for a wide range of small business endeavors. Yet, for some reason we decided that it’s not good enough that a program merely “work”. It’s not good enough for a service organization to simply “serve”. Springboard makes loans and banks make loans, but Springboard doesn’t want to be just a bank for artists, we want to be more, so we have decided to change. The only thing we ask of you now is for your input and creativity.

As I stated above, creativity and change go hand and hand, so please join Springboard at the upcoming Artist Loan Fund Info Meetings where we will try to work toward a new Artist Loan Fund.

Oct. 21, 2009 Bedlam Theater

Nov. 10, 2009, West Bank Social Center

Dec. 8, 2009, Springboard for the Arts

2009-09-29T12:18:00.003-05:00

Art-Cation!

I returned to Springboard recently from my trek to the Burning Man Festival in Black Rock City, NV, where I’ve headed every year for the last decade. Since my return I've been getting caught up in the rigors of my many tasks in the office, but the staff here has been on me to blog about my experiences there. To be honest, it felt a little bizarre to be asked to blog about my vacation on behalf of my workplace, especially about such a now infamously counter-cultural event. But, it does remind me that, at the end of the day (and a very long and dusty drive), I went from one innovative and creative environment built by and for artists, to another.

One of the best short summaries of what Burning Man is all about that I’ve read is here. Even if you’ve heard of the event, or have participated in it and know first hand what it’s all about, it’s a good read. Black Rock City and all it is is a very difficult thing to summarize, but to me, Burning Man above all else is a community. It’s a community of thousands of artists and other creative thinkers with one of the largest blank canvases in the world. And for the nearly 50,000 people that attend the event, there are nearly 50,000 different (and valid) ways to use it.

Here are a few.

"The Man"

SOMA, close up

SOMA, distance

Wedge

Gothic Raygun Rocket

Dusty

Red Caly!

Photos by Cali Mastny and Rubin Abdi

-Caly

2009-09-28T16:24:00.002-05:00

Today’s Mental State: Thrilled and Daunted

There’s a sign in our kitchen area that Noah made that says this:

We’ve been spending a lot of time on strategic planning and developing new programs lately. After we went through the entire strategic plan from beginning to end, including specific program goals, someone asked “How does this make you feel?” and Noah said, “Thrilled and daunted.” I think this is the perfect way to describe how we all were feeling (and how I feel on a daily basis.)

We’ve made a lot of changes over the last few years - new programs, new partners, more visibility – we even completed renovated our office space last year. It’s been a really exciting time to be here, and sometimes the pace is overwhelming. On days when the needle is pointing towards thrilled, I am energized by all the amazing artists we work with, excited by the possibilities of working together with organizations and people to provide new services, and gratified that the things we know about the power and value of artists in their community are taking hold in the public consciousness. And on days when the needle points to daunted, I feel overwhelmed by the number of people who want something from us, nervous about how to articulate what we do, and worry that maybe the comments on the StarTribune website really do reflect majority opinion.

But the exciting stuff happens when thrilled and daunted are in balance. When we take on an issue or a problem that is daunting (like healthcare) and we find the people, organizations and resources that thrill us – that’s when something awesome happens.

If you’d like to find your own balance of thrilled and daunted, some of our new fall workshops might help inspire you: http://www.springboardforthearts.org/Workshops/Workshop.asp

-laura

2009-09-14T12:59:00.004-05:00

Get To Know Dr. Sam

Dr. Samuel Willis, board-certified family medicine physician and visual artist, opened a new medical practice 2 weeks ago in the NE Minneapolis Arts District. With the national healthcare debate descending into an angry mess, it gives us great hope that there are people like Dr. Sam that are willing to step up and try to figure out workable, grassroots solutions for their community.

Many of you provided him with crucial feedback needed to design his medical practice, but few have had the opportunity to get to know Dr. Sam like we have. Now, it’s our pleasure to better acquaint you with Dr. Sam, his new practice and his connection to the arts:

NH: Tell us about yourself. What is your background in art and medicine?

Doctor Sam: As a physician I trained at Penn State College of Medicine in Hershey, Pennsylvania after which I completed my residency in Family Medicine at Crozer Keystone Family Medical Residency in Delaware County, the westernmost county in the city of Philadelphia. Throughout my medical education and work as a physician I have kept myself involved in the arts – as a medical student I was a violinist with the Central Pennsylvania Symphony for three of the four years that I was there. As a resident, I attended classes during my second and third year at the Fleisher Institute, a wonderful resource for arts education in Philadelphia. Here in Minneapolis I continue to take continuing education classes at MCAD and other arts education centers in the area. My most recent work has been oil painting and drawing based largely upon figure studies.

NH: How did you first connect to Springboard for the Arts?

Doctor Sam: When I moved to Minneapolis in 2007 I set out to continue to combine art and medicine in a meaningful way. This led to applying for and receiving a grant from a community foundation to support the installation of an art gallery at the Park Nicollet Clinic on Blaisdell Avenue in Minneapolis. I approached Springboard for guidance on how to shape this endeavor and have found a wonderful resource for the arts in this organization. Since that connection, I have been able to collaborate with Springboard in a number of ways including the State of the Arts meeting at Intermedia Arts. I look forward to further opportunities to work with these great organizations.

NH: What inspired you to create this medical practice?

Doctor Sam: I learned in my meetings with you and Laura that there is a need for healthcare for a group of people who cannot afford quality health insurance, and who do not qualify for government aid. I also wanted to change the way I was practicing medicine so that I could feel more closely connected to the patients that were coming to see me.

NH: What was the process of creating this medical practice? Whose counsel did you seek?

Doctor Sam: I have been very fortunate to have met a number of very supportive individuals who have helped me develop this practice model. Some of you may recall taking a survey regarding assessing the healthcare needs of artists. The results of this survey along with numerous conversations with artists related to Springboard have been tremendously helpful in designing this practice. The list of those that have given input is too large to complete in this setting, but it includes doctors practicing a similar model in Seattle, a variety of arts organizations, business organizations, and a competent team of accountants and legal consultants. I also continue to seek the input of my patients and potential future patients in designing and modifying this practice.

NH: How does your medical practice differ from others? What is a retainer model?

Doctor Sam: This membership model has been described in a variety of ways, including a retainer model. This model addresses one important, fundamental, and simple concept in the practice of medicine: I believe that there is value to having a doctor just a phone call or e-mail away, one who has the time to communicate with you even if you are not sitting in the office, and one who is able to help coordinate your care with other care providers. The membership fee covers the overhead of running an office; while the visit fee covers the costs related to the doctor’s examination. Both are competitively priced as low as is feasible. The vision for this office is that no matter how successful we become, we will always maintain our core goal to provide individualized care.

NH: What makes your practice “Artist Friendly”?

Doctor Sam: This is a very good question. It is ultimately up to my patients to decide if it is really artist friendly; however, I believe the answer will be that it is. I have built this practice very much around the needs, interests, and skills of the local arts community, and have responded to the lack of affordable care for those without health insurance by addressing costs associated with x-rays, lab tests, and doctor visits. I also believe that as a doctor and an artist my practice style and open-minded nature are particularly well suited to care for the broad life experiences that make up our arts community. Wherever possible I would like to have the voice of the community represented in this space and our programming. We are lucky to have a vibrant arts community in Minneapolis and I hope to support and grow this community to something even better than what it already is.

NH: What vision do you have for your practice? Tell us about your space in the Northeast Minneapolis Arts District.

Doctor Sam: I see this as an incubator space for the arts and medicine. It is designed to function at the same time as an art gallery and health center. We are currently planning for between four and six shows a year in the gallery and have already held a community yoga event in our office. I continue to design programming around the needs, interests, and skills of our community and look forward to us all learning how art and medicine inform one another when placed in such close vicinity.

NH: If people have questions, how can they contact you?

Doctor Sam: I would welcome questions, comments, insights, and inquiries by e-mail info@doctorsam.us by phone at 612.353.4034, or stop on by and see the work of Chad Houle that will be in the gallery through mid-November. We are located at 1300 Quincy Street NE, Suite 100, Mpls, MN 55413. Thank you, Nikki, for taking the time to ask these great questions.

Thank you, Dr. Sam!

-nikki

2009-08-18T10:08:00.005-05:00

Midwest Model
second in an ongoing series of posts that share cool ideas from the across the region

Last week I traveled to Cedar Rapids, IA to work with the Iowa Cultural Corridor Alliance on a new strategic plan. As always, I was so impressed with the dedication and commitment of the board and staff to make a strong arts community.

As I drove into Cedar Rapids, I was struck by the fact that nearly all of the brown navigational signs on the highway as you come in to town are for cultural attractions, which is a pretty cool statement about the community and what they value. You know what's even cooler? The Eastern Iowa Airport. Through a unique partnership with the Convention and Visitors Bureau, the Iowa Cultural Corridor Alliance (ICCA) manages a concierge desk at the airport. So every visitor who gets off a plane in Cedar Rapids can check in for directions, hotel information AND get information and recommendations about all the cultural opportunities that are happening while they are in town. I love this. I love the actual connection it makes between visitors and the arts. And even more than that, I love the statement that it makes - even if a visitor to the area never attends a show or visits a museum, the first thing they see when they arrive is a community that defines itself through its cultural opportunities. Wouldn't it be great if there was a cultural concierge in every airport?

While I was in Cedar Rapids, I also attended the Stars of Tomorrow Talent Competition at Brucemore, a historic mansion, garden and outdoor theater. I had mixed feelings about the competition - one part of me wanted to run up on stage and shield these raw, young artists from the (very supportive and gentle) judgement and another wanted to say, "there's $2,000 at stake, kiddo, you better show us why you deserve it!" There's a 100% chance that I overthink these things.
All my mixed feelings were abandoned, though, in favor of being completely bowled over by Chase Garrett - a 19 year old blues pianist, who was amazing. truly.

This is what its about, folks, great artists that grow in every small town and every big city and the organizations and people who make the space for them to bloom. If only I'd brought Mr. Landesman along.

-laura

2009-08-14T14:09:00.002-05:00

Healthcare for Artists - A Different Kind of Care

The spotlight on healthcare reform is brighter than ever right now, with not just the well-being of our bodies but the well-being of our economy at stake. Over twenty non-profits are currently calling on Congress to enact legislation that will support insurance options for individual artists. Here in the Twin Cities Dr. Sam Willis is preparing to open the doors on a new health clinic geared toward providing affordable and accessible healthcare for our community of artists and members of the GLBT and allied communities. The clinic operates on a retainer model, limiting the amount of patients see at the clinic to provide more immediate access to care and to cultivate the patient-physician relationship. In other parts of the country, similar healthcare variants are showing that more effective and lower-cost healthcare is possible.

As for the artists and communities in the Twin Cities, Dr. Sam Willis will start seeing patients on Monday, August 17th, 2009 at his new clinic on 1300 Quincy Street Northeast in Minneapolis. Thanks to your feedback, Dr. Sam has developed a medical practice which he hopes will provide affordable and accessible healthcare for our community of artists and members of the GLBT and allied community. The clinic operates on a retainer model, limiting the amount of patients seen at the clinic to provide more immediate access to care and to cultivate the patient-physician relationship.

For more information on the clinic, please see www.doctorsame.us or email doctorsamwillis@doctorsam.us or call (612) 353-4034 to set up an appointment.

We also invite you to come celebrate the opening of the clinic with this free event integrating art and yoga:

Yoga PopUp!
Thursday August 27th 6:30pm

Yoga instructor Helen Simrill and Artist and Yoga Enthusiast Camille Gage of Form + Content Gallery are creating free, spontaneous yoga events integrating art and yoga. The office of Doctor Sam is hosting a Yoga PopUp on August 27th. Space is limited for this event so please RSVP to doctorsamwillis@gmail.com if you would like to attend or are interested in attending. Light food and beverage will be provided.

2009-08-04T16:36:00.003-05:00

Stories of the Stimulus - Chicago Avenue Fire Arts Center
This is the first of an ongoing series of interviews and case studies we are collecting from arts organizations who are using American Recovery & Reinvestment Act (stimulus) funds to support their mission. If you know of an arts organization, who has accessed ARRA funds please let us know (laura@springboardforthearts.org)

The Chicago Avenue Fire Arts Center was one of the first Twin Cities arts organizations to apply for ARRA funds outside of the NEA. We asked board member Victoria Lauing to give us some insight into the process (and the paperwork!) that was involved:

How did you find out about the opportunity to use ARRA/stimulus money for this project? Did another agency approach you or did you seek it out?
In May, we were notified of the opportunity to apply for ARRA (CDBG-R) funds by the project coordinator we've been working with at the City of Minneapolis's Community Planning and Economic Development (CPED) department, Rebecca Parrell. The City of Minneapolis purchased the building that will be our future home in 2008 and we've worked closely with Rebecca and others in CPED since then. The turnaround time to apply for these funds was quite short and the City focused on projects that, like ours, were already in the pipeline and could get underway quickly with ARRA assistance. A total of 32 projects were considered for these CDBG-R funds, and ours was one of 9 to share in the $3.6 million that the City will receive from HUD.

Describe the project/position you are using the ARRA funds to support?
We were awarded $275,000 to assist with the financing of construction and build-out costs for the Chicago Avenue Fire Arts Center (CAFAC). CAFAC is a new arts organization devoted to art forms produced by heat, spark, or flame, which include sculptural welding, blacksmithing, foundry, glassworking, jewelry making, and more. We will offer classes, open to anyone with an interest, from youth to adult, and beginners to master-levels artists. Our facility will also contain studios which we'll lease to working and emerging artists, and a gallery space for students' or visiting artists' work. Our building is located at the intersection of 38th and Chicago in South Minneapolis. This gift represents a significant portion of our overall budget and puts us in a position to begin construction this year, with the hope of opening our doors in early 2010.

Was this project/position something you were already going to do or did you create it in order to be eligible for ARRA support?
This project - the acquisition and remodeling of our future home - is one we've been working on actively for two years.

Are you working with another agency or branch of government in order to get the ARRA support?
We've been working with the City of Minneapolis from the outset of this effort, in partnership with Artspace Projects, who will purchase the building, oversee its renovation, and be our future landlord.

Is there extra reporting or other administrative requirements with the ARRA money?
Definitely, although we'll be relying on the talented staff at CPED to help us navigate that. One initial requirement that we must meet is ensuring that all subcontractors working on our project are meeting prevailing wage standards as outlined in the Davis-Bacon Act. Additionally, use of CDBG-R funds requires that all construction products are made in the USA.

So, how’s it going?
At this point, we are awaiting a final piece of financing, at which time Artspace and the City can set a closing date. We have continued to fine-tune our renovation plans and will begin construction immediately.

Anything else you’d like to share?
Our project is really a testament to the power of collaboration, and of how the momentum that collaboration brings about can lead to amazing developments, even in challenging times. Our founding board members are all residents of the neighborhood in which CAFAC will be located, who decided to combine our time and talents to bring what we believe will be a fantastic amenity to our community. But without the support of the City of Minneapolis staff, of the City Council, of Artspace, and of countless artists and neighborhood residents, we would not be where we are today. We're incredibly grateful to have the opportunity to work with all these people and thrilled to open our doors to the community.

2009-07-24T16:05:00.006-05:00

Springboard Tour of the Fringe Festival.

The Minnesota Fringe Festival is fast approaching! Did you know that the MN Fringe is the "largest nonjuried, uncensored Fringe in the United States"? We're big fans of the nonjuried here at Springboard.

This year a whole passel of our fiscal sponsorship & incubator program clients have shows in the Fringe:

Partizan Theater's Something Witchy
Los Angeles. August 9th, 1969. The crime of the century. Celebrity victims. And "the most dangerous man in the world." Sixteen years later, a 'family' member wants to forget. But someone won't let her.

Savage Umbrella's Love Me or Die!
A classic tale of deception and the theater, loosely based on the opera Pagliacci. Guitars, juggling, singing, heart-break, intrigue, death and fried chicken. Part homage. Totally rock and roll.

Opera Bob's Secrets Revealed: Opera Bob Opens His Drawers
These tabloid-worthy scenes from operatic potboilers are guaranteed to satisfy theatergoers, opera virgins, and fussy opera queens alike. The seldom-heard music is by Mozart, Puccini and Verdi with a running commentary by Opera Bob's own resident composer, Dr. Phil Fried. (Who IS Bob anyway?)

Four Humor's Sideways Stories From the Wayside School
The creators of hit shows "Mortem Capiendum", "Bards" and "Deviled Eggs" play in the sideways world of Louis Sachar's Wayside School Novels.

Harmony Theater Company and School's The Sleuth Sisters
The mayor's daughter has been kidnapped. The Sleuth Sisters, two brilliant girls from a children's detective agency, are called in to crack the case. A suspenseful, comic, psychological, whodunit radio drama.

3 Sticks' The Traveling Musicians
Rooster, Donkey, Cat, and Dog have finally made it to the big city! Come dance the night away as they recount through song how their band made it to the top in this one of a kind theatrical rock show.

Urban Samurai's Livelihood
From the producers of the Fringe hit Musical: The Musical! and the author of American Apathy, part of City Pages Top 10 plays of 2008, comes Livelihood, a dark comedy that explores our corporate climate and the lure of wealth and power.

Erik Hoover of FTF Works is in Harold Pinter's The Dum b Waiter

Written by 2005 Nobel Award winner Harold Pinter, two professional killers wait in a seemingly abandoned house for their next "job" until a descending dumbwaiter changes everything for the worse.

AND a few other Springboard-affiliated shows:

long-time Springboard board member, Ben Krywosz, and his company Nautilus Music-Theater's Alice Unwrapped
Fifteen year-old Alice Bliss is trying to cope: Dad's missing in action, Mom won't come out of her bedroom, and her precocious little sister just wants a normal family. Somebody needs to take charge.

Springboard spouse, Levi Weinhagen, and Joshua English Scrimshaw, have been using the Springboard office to rehearse their show The Harty Boys and the Case of the Limping Platypus
The Twin Cities' very own sibling detectives tackle another thrilling mystery in this affectionate parody of children's adventure novels. Action for the kids, wit for the adults, comedy for everyone!

Happy Fringe-ing everyone!!

-laura

2009-07-20T13:15:00.001-05:00

Sappy Summer.

I’m not really a crier. At least, I don’t think I am. But this summer, something seems to be getting to me. Maybe it’s just stress, or lack of sleep, or general sentimentality, but I’ve found myself getting misty, and sometimes outright weepy, especially when something reminds me of the power and meaning of art in our lives. So, I present to you, Laura's List of Things that Made Me Cry this Summer:

Heart of the Beast May Day Parade – parades always get me choked up, something about all that community spirit, pride and spectacle. This one in particular is such a big, beautiful mess – a miracle that such beauty and collaboration can come from such free spirited chaos, a delightful challenge to my micro-managing instincts.

Paperbag Princess at Stages Theater – plays with young people in them are another easy way to get me going, especially the curtain call. I know firsthand how formative and life-changing the experience of being an artist at a young age can be. To realize your own power and ability, to experience the camaraderie and friendship that grow so quickly from collaboration, to hear the appreciation of the audience’s applause—what tremendous gifts for a teenager. Oy, makes me well up just thinking about it.

South High Community Band at the Minnehaha Bandshell—we’ve been taking our 3 year old to lots of these free outdoor concerts this summer. This one in particular was on a perfect Minnesota summer evening and something about the gentle breeze, the warm dusk, the canopy of trees and the idea of this music being played by people of all generations (the band is made up of current students and alumni of South High in Minneapolis) as a gift to their neighborhood…I had to pretend my eyes were watering from the wind.

Caroline Or Change at the Guthrie—lest you think I am a hopeless softie, I can be pretty critical, too… I am frequently that annoying theater snob who stays seated while everyone else is giving a standing ovation. Because it really does mean something to me to stand. I've experienced a few of those truly spontaneous standing ovations and it has reinforced my feeling that standing ovations should be reserved for performances that are so moving, so wonderful, so hilarious, so virtuosic, or so "something" that you simply cannot stay in your seat. You are compelled to stand. The night I saw Caroline (as part of the Guthrie’s Kushner Festival), it was one of those amazing events, where the audience felt like one body, we remained seated and then leapt to our feet when Greta Oglesby, who played Caroline, came out for her bow--I also burst into tears. I was really surprised by this quiet show, I didn’t really feel bowled over until the end and then the cumulative effect of a finely crafted story, beautiful performances, critical and thought provoking themes, and the sheer stamina and skill required of the artists for a performance like that did me in.

Fourth of July parade, Land o’Lakes, Wisconsin—another in my continuing affection for parades. This is a tiny parade in the small town near my family cabin in Northern Wisconsin. Usually this parade doesn’t even have a band, because there’s no high school in Land O’Lakes. This year, though, in front of one of the “floats” (which are usually more “trucks with some streamers on them”) was a solo trumpet. He couldn’t have been more than 12 years old, walking completely alone, playing Grand Old Flag on his trumpet. I’ll spare you the moving backstory I immediately invented for this poor kid, but whatever his reasons, it takes real guts to commit to a hour long solo gig in front of, literally, everyone you know.

Kooza, Cirque du Soleil—this was the fifth time I’ve seen Cirque du Soleil. Always an impressive spectacle, during this show I was especially struck with the way that Cirque can combine what has become a huge, for-profit, concession and merch selling machine with the distinct, intimate, artistic integrity that made them successful in the first place. There was a man sitting behind us, a loud-talking, suburban, 40-something…my husband and I exchanged looks as we sat down, “Great, that guy.” But in the end, I kind of loved him. He and my 3 year old were equally awestruck by the acrobatics, equally delighted by the clowns and both enjoyed screaming and clapping at the end of each act.

Maybe it's the pressure of "the economy these days" or the chance to experience art through the eyes of my child, or perhaps I am just overtired. But something about this summer has felt different, and I've realized in a new way that even as we are bombarded with images and messages of fear, instability, disaster and crisis – it is art that provides hope, joy, community, understanding and spirituality to my life.

See you out and about…I’ll be in the one weeping in the corner.

-laura

2009-07-16T15:44:00.002-05:00

Ask any one of Springboard’s staff – we love what we do because we love artists and their work. The program that’s shown me the breadth and depth of our clients more than any other is our fiscal sponsorship and organizational incubator program. In the nearly five years I’ve been at Springboard, it’s grown from a modest half dozen clients more than tenfold. In that time, we've learned a lot, and also become great fans of fiscal sponsorship as an organizational model. It's a great stepping stone for small groups to take before going through the rigorous, expensive, and bureaucratic process of forming a full tax-exempt nonprofit organization; allows them to focus on their work, and not take on a lot of infrastructure before they're ready.

The best part for us, though, is watching the participants in this program grow and flourish. We've had the good fortune to be a part of so many well-deserved successes with our these clients - it's a breath of fresh air, especially in the current economic climate. I wanted to share them with you, too!

Springboard clients funded in the most recent rounds from the Metropolitan Regional Arts Council:
Art of This Gallery
Rainbow Rumpus (former sponsorship client)
Fool's Productions
Theatre Novi Most
Urban Samurai Productions (former sponsorship client)
zAmya Theatre Project (former sponsorship client)
East Metro Symphony Orchestra
Red Letter Theater
Workhaus Playwrights Collective (former sponsorship client)
Sample Night Live! (former sponsorship client)
Minnesota Spoken Word Association
Explorations in Flamenco
Honeywell Concert Band
Commedia Beauregard
TU Dance (former sponsorship client)
Wicked Sister Dance
Wishes for the Sky

(Whew!)

We're also excited to support artists who've received recent funding through A Very Small Arts Fund:
Red Letter Theatre
Bethany Ford
Catalyst Dance
FTF Works

Also, big congratulations to sponsorship clients Emily Johnson of Catalyst Dance, Jila Nikpay and the Body Cartography project for their recent grants from the MAP Fund, the St. Paul Foundation, and the Jerome Foundation, respectively.

Great news (and maybe a bit of the limelight) is always fun to share. (That said, I really hope I didn't leave anyone out!) I plan to spend more space here sharing their work. These artists, as well as those not listed, definitely make my work at Springboard challenging, rewarding, and fun.

-Caly

2009-07-14T09:17:00.003-05:00

Looking for a Job?

I know lots of people are right now. The statistics on our job book are through the roof. The good news is, there's also been a noticeable uptick in the number of job postings on the job book in the last few weeks.

I've read a couple recent blogs with some excellent job seeker tips and tricks (and some venting from those who are dealing with the onslaught of resumes):

Trista Harris, Executive Director of Headwaters Foundation, has a blog up specifically about looking for work at foundations. So, You Wanna Be a Program Officer?

Adam Natale, Director of Membership & Program Development at Fractured Atlas, has a great blog with specific do's and don'ts from their recent hiring process. Job Application Dos and Don'ts

Two of my personal pet peeves?

*Don't put your GPA on your resume...especially if it's mediocre! I don't care what your GPA was, but if your resume says, "GPA 2.75", well, now I think you have bad judgment, which I care about a lot.

*Please, oh please, spell my name right on the cover letter. And make sure that you change the name and address on the cover letter from the last job you applied for!

Think of your cover letter as a work sample. You don't need to tell me that you have excellent communication skills or that you are a good writer - just write an stellar cover letter and I'll know. The cover letter is your chance to show why you are the best person for the job and how the skills and experience from your resume match up with the skills and experience in the job description. I can't speak for all organizations, but at Springboard, cover letter is, by far, the most important part of the application.

Good luck to everyone looking out there and give us a call if we can help!

-laura

2009-07-01T11:21:00.006-05:00

I (heart) art.

Wow. The Osgood Dogood was incredible. Springboard's office is overrun with a massive pile of thank you notes for everyone who brought their magic to our night. You people LOVE art, don't you? We cannot thank you enough.

Speaking of hearts, we have a super fun grant opportunity and we need your help. The Heart and Soul Grant award is put together by the CTK Foundation in Austin, TX. It goes like this - an organization submits a poem about the importance of their mission, the winner is picked gets a cash grant and Los Lonely Boys make their poem into a (hit) song. Fun, right?

Do this:

1. Write a 4 - 8 line poem about Springboard's mission "cultivating a vibrant arts community by connecting artists with the skills, information and services they need to make a living and a life"

2. Send it to betsy(at)springboardforthearts.org by Friday, July 31.

3. Cross your fingers.

We'll choose our winner in early August and submit it for the national prize. Springboard's winning poet will receive a t-shirt and gift certificate for a workshop or consultation.

2009-06-30T20:22:00.003-05:00

Art, Value and Fundraising

So, we had a bit of blog hiatus (blogiatus?)

We had a big event. It was super fun and a big success for us. And I'm really proud of how it reflected who we are and what our mission is. We spent a lot of time figuring out how to:
a) show who Springboard serves;
b) honor the artists we work with; and
c) have a viable fundraiser.

Here's what we came up with:

The event included a show of 5 performing groups and a show and sale of 6 visual artists. We scrimped and scratched to get printing, venue, food, booze and media donated*…but we paid the artists. The performers all got paid, with the exception of the headliner - who got to pick a piece of art from the sale (for which we paid the visual artist.) The visual art was juried (in order to provide the artists a group show for their resume) and we split the sale proceeds 50/50 with the exhibiting artists.

So, the artists did provide a lot for this event - they made significant contributions of time and talent and energy - but they also got paid.

And, perhaps most importantly, everyone attending the event knew that half the money they spent at the sale was going to the artists. Which communicates something to them about how we value art and artists. 75% of the expenses for the event were paid to the artists. I can't think of a better way to spend money. Could we have asked visual artists to donate work and performers to donate their performances? Sure. But what would that have said to the attendees about our mission? That we are an organization founded on the belief that artists can make a living, just not at our event?

The perennial topic of how and if artists get paid seems to be making the rounds again - a lot of great writing out there that highlights new issues with a lot more depth than my still event-exhausted brain can do right now. But it does make me wonder if a lot of it isn't just that we should stop and think about these types of events and how they fit with our mission before we do them. Maybe a silent auction of donated work isn't the only way to have an event.

-laura

*Thank you to all those great sponsors!

2009-06-18T21:24:00.002-05:00

In Defense of the Funny

So, the NEA just released the preliminary results of the 2008 Survey of Public Participation in the Arts

The survey is done in partnership with the US Census and has been done 5 times since 1982. This time the results show a decline in arts participation in general, and perhaps most notably a decline among older, educated adults. The full results will be released this fall, but the handwringing has already begun about what this means for arts participation in America. Is the internet ruining art? Are more people considering the arts a luxury in a bad economy? Valid questions, to be sure, and ones we should be taking quite seriously.

But I would also add the question - is our definition of art out of date? You can look at the survey instrument here. Here's some questions I think are missing:

Have you attended a comedy club in the last 12 months?
Have you attended a sketch comedy or improv show in the last 12 months?
Have you attended a live rock or hip-hop concert or festival in the last 12 months?
Have you purchased local fashion or attended a show by local designers in the last 12 months?
Have you attended a spoken word event in the last 12 months?

Certainly there is value in comparable data over time - on the other hand, we need to make sure that we are expanding our definition of art experiences as audiences change and grow. One of the places I've seen the elusive "under 25" demographic consistently is at comedy and improv. This article on MPR last week reported that live music is thriving in the Twin Cities, despite the economic conditions.

It behooves us in the arts community to make "the arts" a big tent, so that those who attend comedy, or popular music, or fashion consider themselves arts supporters. Part of the problem the arts community is facing right now is that fewer people identify themselves as participating in the arts and by asking questions only about traditional art forms, we reinforce that idea. Instead we should be helping people see all the art in their lives.

-laura