Here is a summary from the "Invest - Supporting Local Talent" 3b group.>
The Discussion Draft called for:>
Goal #3 Invest: Support Local Talent>
1. Develop low-cost, work/live & work space for artists.>
2. Create opportunities to network with other artists and art supporters.>
3. Increase the purchase of local art and creative talent.>
4. Develop a revolving loan program for artists' materials and> transportation on signed contracts for goods and services.>
5. [Not defined in discussion draft.]> > > Our group started with two basic intentions:>
1. Clarify the language of each targeted and measurable recommendation for> action, and>
2. Prioritize these actions to best serve the community and allocate> potentially limited resources.> > > Revised 5 targeted and measurable recommendations for action:> >
1. Celebrate ALL Artists> [formerly:
4. Develop a revolving loan program for artists' materials and> transportation on signed contracts for goods and services.]>
Remove any / all barriers or pre-requisites so that all resources are open>
to all artists throughout the humanities.
This includes typical fine +> applied artists [painting, sculpture, dance, film, etc.] plus the formerly> considered edge artists [poetry, architecture, industrial design, etc.]> > >
2. Basic Necessities> [formerly: 1. Develop low-cost, work/live & work space for artists.]>
Find ways to assist artists with covering the essentials: Food, Space to> live, work, collaborate, storage, and healthcare.>
Businesses could make in-kind donations of art supplies, tools, 'rental> credits', 'meal' credits, etc.> [i.e., Utrecht could donate 1,000 paint brushes to the city, which would> be minimal for the company, but a make a huge impact upon the creation of> future works by artists.
Similarly, markets and restaurants could have a> 'point-of-purchase' program to allow customers to contribute $2 to a fund> that is then available to artists in need.]> > >
3. Collaboration and Critical Dialogue> [formerly: 2. Create opportunities to network with other artists and art> supporters.]> [This new focus also touches upon the formerly delineated "
4. Develop a> revolving loan program for artists' materials and transportation on signed> contracts for goods and services".]> Developing upon #2 Basic Necessities, we need to create ways to strengthen> the community.> Artist communities such as Mile Post Five, Everett Station Lofts, and the> Falcon Art Community are excellent examples.
We should work with such> property developers on more spaces, and continue to support these existing> communities.> > Events on both a local and international level will allow local artists to> flourish, learn, and connect with a global community.>
Local events are a way to both network with other artists and patrons in> the community.> Thank you for creating "Art Spark".>
Larger international events are a way to both draw tourists and patrons to> the area, plus a way to bring international artists to the area for> exhibitions, residencies, etc. [PICA's T:BA festival, and the "Affair at> the Jupiter Hotel" are good examples, but there are many others around the> world from which we may learn and participate.]>
The area has a 'provincial' reputation. So a 'critical' dialogue is> necessary to strengthen the perception of local work within the> inter/national context.
We need to not only solicit international> critics, but to make sure that once they are reviewing the work that it> holds its own.]> > >
4. Professional Development> [formerly: 5. Not defined in discussion draft.]> It is our group's belief that while as unlimited funding would be> delightful, it is not a reasonable expectation.> Therefore, we would recommend to focus limited resources in a manner that> will be a stepping stone to a much large pool of resources.> >
Re-assess programs and processes to focus upon assisting artists, and not> creating hoops to jump through that expend limited staff resources.> Instead of parceling out limited funds for a number of small grants, focus> these funds on teaching artists how to apply to international funding> sources, and help them create professional materials for such> applications.
RACC and other agency staff would focus more upon being> teachers, then reviewers of materials. Such programs / resources are> already in existence, but limited due to other staff job assignments.> [Metaphor: One cannot feed a city with three loafs of bread.
But, if one> baker can survive by eating those limited resources, they could then teach> others how to bake, and where/how to get ingredients to allow each new> 'baker' to sustain themselves and potentially others in the community.]> >
Secondly, leverage our limited funds to create a number of 'matching fund'> programs with other cities around the world for exchange programs for> residencies, exhibitions, lectures, etc. [i.e., if Minneapolis pays for a> local artist to exhibit / lecture in their city, we will pay for one of> their artists to come here.
It is not a dollar for dollar exchange, but> rather based upon in-kind donations from local hotels and other> businesses, with a limited amount of cash reserves.] Some cities have> what is called a "Suitcase" fund for just such exchanges, cultural> ambassadors, residencies, etc.> >
Current grant funding cycles do not allow for the fluidity of the creative> process and external schedules mandated for exhibition, performance,> publishing, etc. [This is about removing barriers to assist artists how> they need it and when they need it.]
It is recommended to have limited> funds available, not as grants, but as micro-loans which need to be paid> back [with very low or zero interest].
These funds would be available at> any time, but only for modest amounts.
This forces an artist to both be> responsible, and to give them heightened drive to make the work of art a> 'success'.
It fosters an interest in 'believing' in artists and the> potential of their future, instead of 'hand-outs' based upon ability to> fill-out an application properly.
Such funds would recycle to another> artist in perpetuity after being repaid.> >
Lastly, it was felt that if grants were still to be distributed, that they> are merit based and upon current 'new works'.> Basically, instead of an artist applying for a grant, RACC or other staff> would attend exhibitions, lectures, performances, etc and make> recommendations to fund future work by extraordinary artists.
This frees> up staff from application review to be actively part of the community, act> as a critical voice, and puts the emphasis upon creating works of art, not> on creating paperwork.> > > > 5. Patronage of "New Works"> [formerly: 3. Increase the purchase of local art and creative talent.]>
The purchasing of a work of art might seem to be a material concern,
but> in reality it is an investment in the future of the artist.
The monies> from the sale of a work, or tickets to a performance, allow the artist to> attend to basic necessities [food / clothing / shelter / art materials]> a
nd create new works of art.
It is this development of "New Works" that> should be the focus, not on the sale of existing or archived works from> the past.
This will help foster a culture for life-long pursuit of> artistry.> > > >
talking points
provided by
Fredrick H. Zal Architect Sculptor Advocate
www.fhzal.com/works
