Barry’s Blog

Barry’s Blog

Link to Barry's Blog

Posted: 15 Jul 2014 09:12 PM PDT
Good morning
“And the beat goes on…………………

Note:  For bios on the Forum participants, please see last week’s blog post (or, if you are on the blog site, scroll down).

Future of State Arts Agencies and NASAA – Day #3


What is the ideal relationship between a state arts agency and its principal stakeholders and logical potential partners and collaborators – including state arts advocacy organizations, local city and county arts agencies,  state arts education organizations, discipline based service provider organizations, other state agencies, private sector interests and the philanthropic community – and where does that ideal differ from the current reality?  What needs to be done to move the reality closer to the ideal?

Kris Tucker:
I wonder if SAAs need to be more attentive to relationships beyond the usual constituencies. Recruiting from other sectors for SAA council/commission vacancies and for grant panels. More coffee dates with people a little further away from our comfortably familiar constituent groups. I wonder if being on the agenda for the state conference of principals may be more important than attending a local arts agency’s annual meeting.

I wonder how we can provide data and messages that are useful to other constituencies: what arts education data will be most useful to principals? To economic development councils? To mayors?

I worry that too many arts meetings are too boring and totally void of anything creative or artistic. I worry that too many meetings have no agenda.  I worry that arts advocacy is based too much on hyperbole and bad data. I worry that too few arts leaders participate in key community decisions about planning, design, education, tourism, or distribution of resources.

Laura Zucker:
All of the players mentioned above are in a symbiotic relationship with each other. They are all important players in the arts ecology and dependent on each other. More and more, I’m pleased to say, I see these organizations recognizing that we’re all too small to effect change without working together. It was one of the key themes of the Grantmakers for Effective Organizations conference that convened recently in Los Angeles.

Southern California Grantmakers, which until now was made up exclusively of private foundation and corporate funders, has invited key government partners to join this year. I’m proud to say that Los Angeles County will be the first government funder to join. And I’m even prouder that the LA Arts Funders, a group that has been meeting monthly for almost two decades, co-founded by The James Irvine Foundation and the Arts Commission, led the way on showing how effective private and public arts funders can be working together.

But these have to be authentic partnerships, not excuses for public agencies to be propped up by private philanthropy. When the Getty Foundation created a paid internship program for undergraduates in visual arts organizations, we used the terrific research they had done on the outcomes of the program to leverage $500,000 in new funds from the county to fund the companion program for performing arts organizations. Together, these complementary programs make up the largest paid internship program for the arts in the United States. While the Getty graciously funds the educational opportunities for all interns—and this was an important carrot for the investment of the public dollars— Los Angeles County is equally committed both to the principals behind the program and its underwriting.

The Arts Commission is the backbone organization for the LA County regional plan for arts education, Arts for All. That means that we staff the initiative and manage a pooled fund made up of 25 private donors who coordinate efforts. Working together is a necessity. But make no mistake: we’re the largest donor and we should be. The point here is that the idea that state arts agencies should be, or can be, funded by private sources is misplaced. First of all, private funders don’t want to give money to others to give away; why would they when they are already doing this job themselves in a way that reflects their priorities? At its core, public investment in the arts needs to come from public dollars, because public funding brings a framework of public service with it.  The distribution of taxpayers’ dollars is always going to address the issues of access and equity in some way, and should.

So now that I’ve gotten that off my chest, at the end of the day, the types of services a SAA offers needs to be tied to the strategic agenda of that state’s governor and legislature. In addition to access and equity, these may include economic development via cultural tourism, job creation through creative incubators, or a host of other priorities. What form these services take—whether grants or convenings, research or case making– has to follow function. What are we trying to achieve? Then how will we achieve it? Too many agencies never answer the first question so have no idea how to answer the second.

Scott Provancher:
Advances in technology have allowed for the rapid exchange of , ensuring that the speed of change in our society is only going to accelerate in the future.  Adapting to this reality requires our leaders and organizations to be both agile and creative—skills that our artistic backgrounds and working environments have given us.

As leadership institutions in the Arts sector, SAAs must unlock their creative horsepower to help their local and regional constituents and partners find their most impactful roles in supporting the creative economy.  This may require SAAs to step out of their comfort zone and take a more active role in leading collaborative initiatives amongst public/private and local/region partners to ensure the Arts remain strong in our community.

Too often, the tough work of organizing new initiatives or major funding efforts for the Arts are left to the private sector or local non-profit arts organizations to initiate or lead.  In this scenario, the SAA is often excluded from the conversation or only approached as a potential funder of the initiative.   SAA have and should use their experience, access to power, and resources to take an active leadership role in solving some of the industry’s most pressing needs.

Why shouldn’t an SAA be the organizer of a campaign to raise dollars for an arts education initiative or help build an endowment for a regional collaborative of arts organizations?

I am encouraged by the emergence of this type of leadership in several prominent SAAs.  Take for example, the A+ Schools initiative led by the North Carolina Arts Council.  NCAC saw the need to develop and scale this program throughout the State and took on the responsible of raising the private fundraising necessary to do it.

There is certainly not a one size fits all formula to define the role that an SAA should play in the partnership with other State, regional and local agencies, but I do think the default filter for evaluating their role should be that of a leader vs a follower.  This mind set will help the Arts sector better manage the ever increasing pace of change in our communities.

Anita Walker:
I spoke to the relationships among the state arts agency, local cultural councils and private funders in the first question.  But we are very interested in exploring ways to leverage the work of others concerned with the cultural landscape.  We fund a number of media organizations and three years ago we called upon them to collaborate on a media campaign to support the work of all of our cultural non-profits.  The campaign is now in its third year and is an unusual collaboration of competitors.  We will soon be convening the service organizations that we fund to see if there is a way to capitalize on their collective work to the benefit of the field.

Randy Rosenbaum:
I’ve often thought that every state arts agency should have someone on staff called, for lack of a better term, “Director of Collaborations”.  Most of the work that we do now, aside from direct grantmaking, depends on our ability to build and maintain partnerships.  We do this well, because we can bring people to the table and we have the expertise in policy-making and programs.  But we are hamstrung by the amount of time and energy these collaborations require.  Our Education Director works well with counterparts at our state’s Department of Education, with teachers and administrators and the like.  But boy could we use someone who could work on maintaining the momentum of those relationships, to keep them moving forward and ensure that this work fits within the strategic framework we’ve set for ourselves and our field.  These things happen, but they involve fewer partners and players than they could, and they are under-resourced because (1) who has money, and (2) who has the energy to go after money.

Ra Joy:
State arts agencies create and maintain strategic alliances both within the arts and across multiple sectors by highlighting the importance of partnership. By collaborating with other agencies, businesses, nonprofit groups, arts and culture stakeholders, and the public, SAAs open the doors to new ideas, resources and connections.

In thinking about the ideal relationship between a state arts agency and its principal stakeholders, three key themes come to mind:

Power to the People – While much of the work of SAAs happens behind the scenes, it’s important to keep the people center stage.  A core function of SAAs is to increase public access to the arts and work to ensure that people of all ages and all walks of life have meaningful opportunities to experience and participate in the arts. This work is deeply rooted in service to the citizens. In an ideal world, SAAs should ask themselves every day, how are they using the arts to make a real difference in people’s lives. Through strong partnership with artists and arts organizations, SAAs raise citizen awareness about the benefits of culture and position the arts as a public good.

Backbone Organizations – There’s been a lot of focus in recent years on collective impact efforts and the work of backbone organizations. I think there are many similarities between strong SAAs and effective backbone organizations. Within the arts sector, SAAs work collaboratively to connect networks of individuals and organizations including state arts advocacy groups, arts education associations, arts funders, local arts agencies, artists, creative enterprises, arts service organizations, unions and other cultural umbrella organizations. As leaders and conveners of the field, SAAs help guide vision and strategy for the sector, establish shared measurement systems, provide professional development and networking opportunities, advance policy solutions, and play an active role in building political will and public demand for the arts.

Planning Culturally — SAAs should work across state government and with other sectors of civic life to promote a pro-culture agenda. The idea here being the arts are more likely to thrive when they are embedded into the goals of multiple public agencies and partner organizations. Rocco Landesman referred to this all-hands-on-deck approach as the “insertion of the arts into the everyday business of sister agencies.” Here in Chicago, Mayor Rahm Emanuel and Commissioner Michelle Boone of the Chicago Department of Cultural Affairs and Special Events, refer to this holistic strategy as “Planning Culturally.”  This comprehensive approach values culture for its transformative power and for its strength to inspire, express, and unite. SAAs should partner with other state agencies and regional planning organizations to achieve shared goals and incorporate the arts as an essential ingredient in economic development, education, public safety, public health, and strong communities.

Unfortunately many SAAs are woefully underfunded relative to the demand for services.  More funding and bandwidth would be needed to help close the gap that exists for some SAAs between the current state and the desired future state described above.

Arni Fishbaugh:
One big town
With just more than a million people, Montanans think of our state as one big town.  Despite its immense geography, which west-to-east is comparable in distance as Chicago is to Washington, D.C., there is frequently only one or two degrees of separation between knowing others from anywhere in the state.  I think this is a critical factor in how we relate to our public.  In rural America, people help each other.  It’s wise to never be really mean to your neighbor because you don’t know when they may be the one to save your life.

Nimble-ness and bureaucracies
When I first read Barry’s memo about this blog, one of the things he asked us to think about was how state agencies remain nimble and refrain from bureaucracy, which I think relates to the question above a bit.  To address the nimble and bureaucracy elements, I asked my staff how they would speak to this.  They are models of being  nimble and a far cry from being bureaucrats.  They all are working artists or arts managers or educators, or they have been doing their jobs long enough and well enough to truly empathize with the needs of our constituents.

From KarenDe Herman, Administrative Specialist 
I think the key to our nimbleness is our relationship with the arts organizations and artists across the state. When they recognize us as fellow artists and trust us to look out for their best interests, they make allowances for and work with us to overcome the constraints of governmental bureaucracy. This gives us the opportunity to innovate in a “safe space” as viewed by our constituents.

From Cindy Kittredge, Folk Arts and Market Development Specialist
Although nimbleness, innovation and risk-taking can be endangered by government bureaucracy, thoughtful and deliberate action based on the points that follow can help to achieve balance so that it doesn’t become an either-or issue.  By thoughtful, I mean actions that have been carefully considered in terms of end actions and which are responsive to the public.  By deliberate, I mean actions that aren’t taken “flying by the seat of the pants” but which look to strategic goals and a strong vision that doesn’t demand changes that occur overnight. Incidentally, I don’t see strategic plans as carved in stone, but as guideposts in a world where reality can quickly change.

Keeping the expressed needs and wishes of the artists at the forefront provides the wind at the back to make the “right” decisions.  Although there are those who feel that approach may be based too much in the “whims” of the masses, I believe that there is a strength in the collective knowledge of the public.  If this forms the core of a strategic plan, then that plan will be strengthened, and decisions can be made that will carry the group forward in a cohesive way.

Maintaining awareness of and respect for the members of the public will provide the mindset to be open to the creative and innovative ideas that come your way.  I always try to hold to Myles Horton’s advice in teaching, “Start with where the people are.”  It really isn’t about those of us in the bureaucracy, although we may be pressed and stressed, but it is about the people we serve.  Sometimes, collaborative work can be extremely difficult or suggestions may not initially seem to be a positive.  However, in the end, this kind perspective allows for the open space that new ideas need to grow.  It also may require nimbleness and creativity in how such difficult situations are handled, and that can lead to great innovations.

From Cinda Holt, Business Development Specialist
The nimbleness we have comes from the philosophy of the agency to hire senior staff based on their expertise more so than on how well they fit a previously set “job description.”  By taking advantage of that staffer’s real-world experience, they act as an actual professional development/technical resource to the field.  It is much easier to learn on the job the bureaucratic functions that are required to fill out the position than it is to gain the range of experience needed in order to provide true technical assistance.
In our strategic planning work we look to specific non-arts folks in growth industries to provide us with broader POVs about how the arts and creativity link to their lives and successes — including scientists and technology experts.

Because we aggressively go after private funding for certain initiatives, we are able to test pilot programs in ways we couldn’t if we didn’t have private funding.

From Emily Kohring, Arts Education Director
I don’t really feel “constrained” here, first of all.  I worked for an arts organization for nine years with a tiny budget, and I never had enough resources.  I was under constant pressure to bring in enough earned income in my programs so we wouldn’t be in the red.  I was constantly understaffed and overworked.  I then worked in a start-up charter school with literally no budget for my theatre program.  We begged and borrowed to do everything, and relied on the kindness of the friends we made who wanted to help.  You learn to be creative and resourceful with what you’ve got in that kind of environment.

When you’ve never had “abundance,” you don’t really feel constrained.  You just figure out ways to get the job done.  It’s amazing how much you can get done with few resources when you are careful with them, and you have strong relationships with people.

I think we do a good job of not thinking of ourselves as a governmental bureaucracy, and that is key.  It’s a mindset that I feel like everyone on this staff shares. You are only as bureaucratic as you think you are!  I don’t think of myself as a bureaucrat who is here to push papers around and enforce policy and rules.  Blech!  I think in my position I am here to listen to what teachers, teaching artists and arts organizations in Montana need to provide the best quality arts education, and then figure out ways to help them do it.  And, if you don’t have the resources, you need to build relationships.  Find out who else is interested in what you are interested in, introduce yourself, make friends with them, share information, and then ask.  It seems to have worked with the Office of Public Instruction (OPI).  Also, assume good intentions of everybody and see them as allies.  I hear a lot of people say disparaging things about OPI.  I don’t listen to that or engage in it.  Their staff is there to do the best they can for the students of Montana.  I can’t think of them as bureaucrats either, or we won’t get anything done!
My observation is as an organization, we can be nimble, innovative and risk-taking because the staff has done a great job of making friends, even with people who aren’t natural “friends” of art or government funding for the arts.  I keep thinking about the Tea Party gentleman who spoke at the Council meeting.  I disagreed with everything he said, I cringed on the inside when he said certain things, but I was amazed at his support for the Arts Council.  Too many people in the arts world cannot stomach people who don’t think like them.   We have to take responsibility for creating an environment where people who aren’t inclined to love everything we do will at least be ok with things we do because they trust us, right?

From Kristin Han Burgoyne, Grants and Database Director, and author of Kristin’s Blog

Ask forgiveness, not permission.
And have upper management that will support you in this philosophy.  Balance this philosophy with the wisdom to know when to not test the limits.

Play the small agency card.
A lot of the bureaucracy can be avoided if you know the rules and know when they don’t apply to you.  Sometimes this means learning about things that are not very interesting to you.  Find someone who is interested and have them teach you the cliff-notes version.  Very few agencies have so much broad knowledge concentrated into so few people, and I’m proud of all the things I know… but my knowledge is of the “mile wide and inch deep” variety… so it is important to have friends who know more than you know.  Also remember…. having 25 or fewer staff will get you out of a lot of meetings.

Request exceptions and embrace change.
To quote Jimmy Buffet, “We are the people our parents warned us about.”  We are creative…. or so we say.  Prove it by figuring out a better way.  Eliminate the bureaucracy and get around the challenges.  This means taking time to reflect and figure out what will work and letting go of old ways of doing things.

Never, ever stop trying to simplify and streamline processes and workflow.
Remember when we used to print mailing labels?  And contracts?

Use technology wisely.
I love webinars and listening to meetings on my computer.  Saves me a ton of time but keeps me informed.  I also adore two computer monitors, scanners and online grants management software.  I’m still afraid of (but trying to embrace) smart phones.  I spend a lot of time worrying I’m not using new technology to the maximum of its potential because I don’t understand it or I haven’t bothered to learn it.

Become a trusted face and personality.
This works for both authorizers and grantees.  All of my grantees know I will go the extra mile to make something easier for them.  They also know if something is going wrong they can talk to me, and I will do my best to be helpful and find a solution… and never be “mad” at them or “punish” them for making a mistake.  If something is wrong we need to get it fixed in the short term and figure out how to avoid it in the long term.  No judgment.  No excuses.  (You think I’m talking about a grantee not turning in a report here, don’t you?  I’m not.  I’m thinking of the colossal ways I just screwed up some things I was working on and how I had to regroup, fix it, and then figure out how to do it next time so I’m not just repeating my past mistakes.)

Can you see why I just love this staff?!
Don’t anyone be thinking about trying to hire them away!

Mark Hofflund:
What is the ideal relationship between a state arts agency and its principal stakeholders and logical potential partners and collaborators – including state arts advocacy organizations, local city and county arts agencies,  state arts education organizations, discipline based service provider organizations, other state agencies, private sector interests and the philanthropic community, and where does that ideal differ from the current reality?

Needs more teamwork by, participation with, and service to these others.

What needs to be done to move the reality closer to the ideal?  Wisdom, passion, organization and activism.

Forum continues tomorrow with questions re: NASAA…….

Don’t Quit

Barry’s Blog

Think Beyond the Bubbles

Plus the slogan is brilliant for arts education “Think beyond the bubbles.”  Love the way it is organized by the brain and the heart logos. Do not love the color scheme, but the way it is organized, and the way you can scroll over each box and get a story, is cool.   This is part of new advocacy campaign from the National Association for Music Education. (NAfME).  Cannot believe they don’t have social media links on the page!  For the file of cool web ideas . . .

Think Beyond the Bubbles

Science Woman Society Marching Squadron

Dear friends, family and colleagues,

My Science Woman Society Marching Squadron (9 people strong!) participated in the recent Arlee July 4th Parade. 
The parade marched down Highway 93, as well as several of the small neighborhoods.
We won two awards – the Novelty category and the Grand Prize!  Our team included twirlers, signs, healthy candy distribution and transportation of a model of the earth. 
Film-maker Geoff Pepos recorded the event and put together a Fellini inspired short (3.5 minutes) of our triumphant march, a link for which I am attaching here.  If you want a laugh, or are a fan of Fellini, baton twirling or small towns in Montana, watch it and share it with a like-minded friend.  Feedback is appreciated.



Here is a link to the video: enjoy!

Science Woman Society Marching Squadron

NASAA CEO Search Goes Live!

To view this message on the web or a mobile device, click here.

Blue Line
National Assembly of State Arts Agencies
NASAA CEO Search Goes Live!
Blue Line
July 15, 2014
Dear NASAA members:
It’s my pleasure to announce the launch of the search for NASAA’s next CEO!
As you know, the NASAA board and CEO Search Committee, with assistance from Arts Consulting Group (ACG), have been preparing NASAA for our upcoming CEO transition. Working together, we’ve organized a search process and published a position announcement inviting candidates to apply for this exciting leadership opportunity.
The job announcement will be distributed broadly throughout the arts community, public policy networks and numerous professional recruiting outlets in the days ahead. But I wanted to share the information with NASAA members first, and to ask for your help in attracting a diverse and talented candidate pool. Here’s how you can help:

  • Forward the position announcement to prospective candidates.
  • Add the opportunity to your state’s job board.
  • Circulate the announcement through your social media outlets (such as LinkedIn and Facebook).
  • Share the news with your staff and council members.

Questions about the position or the search process should be directed to Bruce D. Thibodeau, president of Arts Consulting Group:, 617-448-0206.
This is a great opportunity for all of us to not only promote the job, but also to share the value of state arts agencies and how lucky we are to have an organization like NASAA working for us. So as you’re spreading the word about our CEO search, go ahead and brag a little. Let your gratitude for NASAA and your pride in the work that state arts agencies do shine through!
All my best,

Pam Breaux
NASAA President
Assistant Secretary, Louisiana Office of Cultural Development
Blue Line
Blue LineAbout NASAA | About State Arts Agencies | Member Benefits | Contact NASAA
National Assembly of State Arts Agencies
1029 Vermont Avenue, NW, 2nd Floor | Washington, DC 20005
202-347-6352 | fax: 202-737-0526 | TDD: 202-347-5948 |
Terms of Use / Privacy Policy © National Assembly of State Arts Agencies.
Blue Line
NASAA members and colleagues receive routine e-mail communications on issues important
to state arts agencies and their constituents. If you have questions or concerns about
this e-mail message, please contact us: 202-347-6352 x109.

NASAA CEO Search Goes Live!

Public Artists July 11, 2014

    For Public Artists
Montana Arts Council Newsletter
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July 11, 2014
Dear Public Artist, 
Greetings! You may scroll down through the actual newsletter or simply click on the links to your favorite features in the adjoining sidebar.
Thanks for reading, Kim
  General Interest 

“View From a Landing” KBH 2012

Bella Vista
Following a North American premiere, we are planning a Montana tour to bring Bella Vista to the beautiful place it calls home. If you’re in Montana and would like to bring Bella Vista to your community, we’d love to hear from you! Email us at Looking forward to distribution, we’ve partnered with a Los Angeles-based sales company to help us explore options. So: stay tuned for information on upcoming screenings this fall, and more, as we continue on this exciting path!
Perhaps you know that Bella Vista is a recipient of the Montana Film Office’s Big Sky Film Grant. We’ve been hard at work editing behind-the-scenes videos that will be featured on the Film Office’s YouTube channel — you’ll hear from our cast, crew and production team on the development of the film, the experience of working on it, and what we think it means for filmmaking in Montana. We’ll let you know as soon as these are live! Shout outs to Robert Bohannon and Tom Stagg, our intrepid videographers who did an excellent job capturing the life of our set.
Arvada, CO
UNBOUND: Sculpture in the Field
17 Acres
15 Artists
Check out this 6 minute video supplied to MAC by one of the artists, Bill Vielehr
Friday, November 21, 2014, 7 p.m. to midnight
Organized by 1708 Gallery, InLight Richmond is a public exhibition of light-based art and performances. Each year, InLight Richmond invites artists to respond to a particular section of our diverse city, attracting audiences to unique areas of Richmond. Over 6 years, 1708’s InLight has featured 169 local, national and international artists and artist collectives across some of Richmond’s most unique neighborhoods and sites, from Broad Street to historic Tredegar to the Riverfront Canal Walk, and has engaged over 25,000 visitors.
InLight Richmond 2014 will be held on Friday, November 21, 2014 in Monroe Park and the surrounding streets, including the Altria Theater. 1708 is pleased to announce that this year’s juror is Denise Markonish, Curator at MASS MoCA.
Through InLight, 1708 has created an on-going opportunity for Richmond to experience the city in unexpected and surprising ways. The selection of Monroe Park, one of the oldest public spaces in Richmond, continues this tradition of highlighting the histories and imagining the futures of Richmond’s most well-known spaces.
Artists are invited to submit proposals for InLight 2014 including, but not limited to, interactive projects, large-format projections, sculpture and performances that will engage this dynamic site. Featured artists and artist collectives will be announced in early September. For more information, including how to submit proposals, please visit:
InLight 2014 will kick off with the Community Lantern Parade, an opportunity for the entire community to participate in InLight.
InLight Richmond is made possible in large part by the generosity and support of our sponsors. Special thanks go out to our sponsors to date including our lead sponsor Altria Group, the Windsor Foundation, MeadWestvaco Foundation, the Virginia Commission for the Arts, Boitnott Visual Communications, and the Hilton Garden Inn Richmond Downtown
Lewistown, MT
29th Montana Cowboy Poetry Gathering & Western Music Rendezvous
August 14-17,2014
Submitted by:  Karen Kuhlmann, Gathering Coordinator,, 406-538-4575
Cowboy poets and western musicians interested in performing at the 29th Montana Cowboy Poetry Gathering & Western Music Rendezvous, August 14-17 this summer are invited to contact:  Charlotte Carroll,, 406-538-3058.  Registration forms are online at
Artist/vendors wanting to participate in the Western Art & Gear Vendor Show (FREE to the public), produced in conjunction with The Gathering on Friday, August 15 and Saturday, August 16, are encouraged to contact Karen Kuhlmann,, 406-538-4575 or go online for information and registration forms at   
Day Headquarters this August will be at The Yogo Inn and Conference Center, 211 E. Main Street in Lewistown. Artist/vendors will be set up indoors or outdoors at The Yogo Inn.  The 50+ hourly day-sessions of poetry and music and the poetry/music store featuring the works of participating performers will also be at The Yogo Inn.
For a complete schedule and more details, please go to: or call, 406-538-4575.
Don’s Store, in Lewistown, currently has tickets for the Thursday night Welcome BBQ and the Saturday night Grand Stage Show starring Sons of the San Joaquin.  The 4-day collectible pin passes are also available at Don’s Store. 
MontanaCowboyPoetryGathering is a “signature event” for Lewistown and the 2nd oldest gathering in the country….just one year younger than Elko, Nevada, the National Cowboy Poetry Gathering. 
Helena, MT
Montana Arts Council MAP Program is accepting Applications from Montana artists.
Great Falls, MT
Paris Gibson Square Museum 
Food for Thought


A guide to building a balanced, sustainable, artistic life.
Grounded in his 20-year career as a choreographer, author Simonet looks at why artists’ lives are so punishing, and what we can do to change. Since 2006, Simonet’s program, Artists U, has built a grassroots, artist-run platform for building balanced, sustainable artist lives. Like all Artists U programming, the ebook of 
“MAKING Your Life as an Artist” is free and available to all here
Instagram’s New Photo Editing Tools Make Pictures Pop
As more photo apps crowd the market, Instagram continues to lead the way. The ultra-popular photo editing and sharing app allows users to snap an image, add a filter and share on their social networks with just a few clicks of a button. In a recent upgrade, the platform added 10 new editing tools that provide more substantial editing ability, without sacrificing user-friendliness that Instagram is known for. Better Instagram images will continue to inspire others to go out and have their own photo-worthy experiences; and if they want to learn how or where the experience took place, all it takes is a few clicks.
Business Insider

   Check Art Calls at:
“View From a Landing” 2012 KBH
Check out Creative Capital Blog for some insights into the artistic life of others.Under theirTips & Tools tab see some budgeting ideas for artists.  
Technical and archival information for artists from: Golden paints Newsletter #30 is released   
Tremaine Foundation Resources for Artists : Online links to a variety of resources for individual artists and arts organizations. 
The National Arts Program — click to view magazine
 Art Daily   Click to view magazine
The First Art Newspaper on the Net
Copyright ©  
Lynn Basa 
Lynn is one of the artists I turn to when I need advice. Not once has she mentioned her book.  I came across it today in the search for something else. So, I will toot the horn for her and have you consider her ideas.  Lynn Basa website to see her artwork.  
is a member-supported, nonprofit organization founded in 1960 to champion the creation and understanding of sculpture and its unique, vital contribution to society. Members include sculptors, collectors, patrons, architects, developers, journalists, curators, historians, critics, educators, foundries, galleries, and museums-anyone with an interest in and commitment to the field of sculpture. provides access to a vast field of information about contemporary public art and its current developments throughout the world.
Executive Director
WaterWorks Art Museum
Miles City, Montana
To apply, please include:
1. Completed online application
2. Cover letter stating interest
3. Resume
4. Optional; supplemental information such as:
* Separate Bio
* Letter(s) of recommendation or reference
Refer to the included job description for assignment of duties.
Applicants should demonstrate:
*Strong leadership ability.
*Effective oral and writing communication skills to effectively serve as the principal spokesperson for the WaterWorks Art Museum.
* Ability and record of success in fundraising including foundations, businesses and grant sources.
* Accomplished record of developing exhibitions and
managing art education programs that have served broad audiences.

* Ability to build relationships with community leaders and stakeholders.
* Financial management and reporting knowledge
Ability to develop collaborations among other cultural and educational organizations.
* Strong management skills: ability to manage and develop staff, volunteers, budgets, and other resources for the maximum benefit of the Center.
* Professional integrity with strong knowledge of museum professional and ethical standards.
A minimum of a Bachelor’s degree in art history or fine arts, or equivalent experience is preferred.
The center currently has three FTE employees (including Exec. Dir.) and part-time or temporary employees (cleaning, education) as needed/ budgeted.
The Executive Director position salary is negotiable / DOE
with an additional medical insurance plan and a PTO (paid time off) plan that applies to FTE employees.
Applications are being accepted now and the position is available immediately. Qualified applicants will be contacted after a review by the Executive Director and the Personnel Committee.
Education Director
WaterWorks Art Museum
Miles City, Montana
The Education Director is a “teaching artist” position.  Skills in both 2-D and 3-D (ceramics) are preferred.  Tasks are to organize, schedule and instruct multi-media art classes for students of all ages and abilities.  The primary duties for our educational program consist of: outreach to area schools and communities during school year, in-house adult community classes, children’s classes and KIDZ CREATE summer program and classes for those with disabilities.  This position must also oversee the loading/unloading and firing of kilns.  Position is full-time and workdays are Tuesday through Saturday.
For an application, detailed job description visit
Helena, MT
Helena Symphony
Please submit a detailed resume and letter of application to the Executive Director, Ginny Abbott, at Applications will be considered until the position is filled.
The City of Walnut Creek is seeking a Public Art Program Supervisor to join its Arts, Recreation, and Community Services Department. This part time position (20 hours per week) is responsible for the administration of the Walnut Creek Public Art Program, which includes municipal and private development public art projects generated by the City’s public art ordinance. The Public Art Program Supervisor, in coordination with the Bedford Gallery Curator, the Arts, Recreation and Community Services Director and the City of Walnut Creek Arts Commission, is responsible for the development and implementation of all aspects of the Public Art program.
This is a benefited position and is eligible for the same benefits as other part-time employees in the General Management Unit. 
Americans for the Arts
for questions about posting to the Job Bank 
Musical America has job opportunities
for artists and
other disciplines. JOB POSTINGS

“Undulations” 2012 KBH

PHOTOTAXIS 2014 is ready for your submissions. Last year’s gathering was a big success and we’re hoping to grow the gathering and celebrate photography and the creative community by inviting you to submit and attend.
Last year’s participants included photographers from Montana, California, Spain, New York, and Boston; and the work of photographers Andi Schreiber, Ken Jarecke, and Pelle Cass.
When & Where?
Saturday, August 23rd in Polson, Montana.
This year PHOTOTAXIS is being held on a Saturday to make it easier for those who are traveling to attend. 
Do note that you do not have to attend to submit your work. All you need is a desire to have your work projected in the magnificent scene shown above and the wish to see photography celebrated in even the most rural areas of our creative community. Please consider submitting even if you cannot attend – PHOTOTAXIS is nothing without the full support of our community.
Also there will be an opportunity this year from 7-9pm to show off your printed work. If you have paid to submit to the slideshow than you are welcome this year to bring a few prints, a portfolio, or a book of your work for everyone to view.
Here are the details:

Click on the project you’re interested in to learn more about it!
Alexander Montessori School
DEADLINE: August 1, 2014

Alexander Montessori School is building a state-of-the-art structure at its Ludlam Road Campus which will house the reception and new upper school classrooms, library, science lab, and administrative offices. The school is seeking a qualified and inspired artist to design an “art box” to be located at the entry to the reception volume. This art box will be an outdoor room through which all visitors, students, and staff shall enter the school campus. It shall consist of three sides (the canopy above will be completed by the architect), and embody the spirit of the Maria Montessori learning philosophy and the unique South Florida environment. The artist is not limited in materials, other than it must be sturdy and meet the requirements of structures built within the requirements of the Florida Building Code. Once the artist is selected, he/she will work closely with the architect and client on the existing conditions, building size, and design intent. Total project budget: $25,000 – $30,000.

We are currently seeking applicants to submit the following information for consideration (in pdf format):
Letter of Intent
List of References
Portfolio of Relevant Work (10 images maximum with brief descriptions as needed)

Preference for candidates with prior public art experience, however this is not a requirement.
Applicants should review the Plans and Elevations page as well as the links listed in our website’s Blogroll (indicated below) prior to applying.

The deadline for submission is August 1, 2014.
Applications and questions regarding the project should be sent to Katie Rothfield at:
Interested applicants should visit   for instructions on how to apply and additional information.

The College of Western Idaho art department is accepting applications for the “Visiting Artist” program which will provide an educational experience to CWI students, faculty and the community at large.   Each year this program brings an artist to our campus to present their work in a public lecture, hold studio critiques with art students and teach a two day workshop in our art studio at the College of Western Idaho. The workshops are usually held Friday afternoon and half-day on Saturday for a total of eight hours. Artists are invited to display their work in our gallery space to accompany their residency.   These events will give the CWI community the ability to gain a greater intellectual and cultural perspective of the world around them. Through this program our goal is to provide quality teaching and learning opportunities for CWI students and residents of our service area in western Idaho. 
Our arts program is relatively new. We offer foundation courses in basic 2-D and 3-D Design, Drawing, Painting, and Digital Photography. We currently enroll approximately 150- 200 students in our studio courses per semester. We are planning in the next 4-5 years to begin offering an associate’s degree in arts and we are seeking to create a unique experience for our students with opportunities like the Visiting Artist Program.  
The artist will be compensated $500.00 for their three day visit to the college. The deadline for the application is January 15, 2014. For more information contact Brenda Fisher or call (208) 562-3351.
· Artist Resume · Artist Statement · Artist Portfolio (10-20 images on a CD) · Workshop Proposal and Outline (detailed explanation of project, timeline/schedule, materials list)  
The proposed timeline for the events:
Spring  Semester (2015)          MARCH 12,13,14th 
· Thursday evening/artist public lecture & reception · Friday/artist workshop begins (@ 4 hours)/faculty dinner with the artist · Saturday/artist workshop concludes (@ 4 hours)
Deadline for submissions: July 31, 2014
2014/2015 Theme:”Imagine That! Creativity and Innovation.”
Art Mobile of Montanatours an educational art exhibit of Montana artists’ works throughout Montana each year, serving schools and community groups; providing presentations, discussions, and art lessons. See us at
Montana artists are encouraged to enter innovative art that piques the imagination, inspiring viewers to look at things in a different way. Art Mobile exhibits promote thoughtful discussion along with appreciation for ideas, craftsmanship, color, design, composition, creativity, and learning. All media accepted. These selectedartworks will be shown to thousands of students as well as community members of all ages. 
Guidelines and Criteria
  • Email a professional digital image of each piece to
  • 2-D art -24″ x 36″ or smaller -in traveling frames (simple and/or shopworn)
  • 3-D art -18″ high or less
  • Include the following information: Dimensions, Medium, Title and Date made
  • 1) Artist’s name 2) Address 3) Phone number 4) email address 5) website, if have
  • Email your record of exhibitions
  • Take into account that the AMM is a traveling exhibit. We store the 2-D works in ‘Strong Boxes’ with 3 layers of foam. 3-D art is placed in bubble-wrap inside bins and placed in secure storage.
  • As an artist for the AMM you are encouraged to attend a presentation when we travel to your area to show and tell about your artwork and answer questions.
  • For each image chosen we require a thoughtful artist’s statementabout your art, including something about you to make our presentations interestingfor K-12.
  • Submit digital images and questions to Sara Colburn:
  • After reviewing the images the AMM Board makes a selection of about 30 works
Scottsdale, AZ
Scottsdale Public Art (SPA) seeks artists interested in creating temporary installations, performance-based and participatory artworks in a variety of locations during SPA’s upcoming new fiscal year (July 2014 through June 2015). Selected artists will be held on a pre-qualified list to be potentially commissioned by SPA for temporary project opportunities throughout the 2015 fiscal year (FY15).
This is a new call to artists and selection process being adapted by SPA in order to best respond to an ever-increasing volume of temporary projects and event-based artworks. SPA anticipates 10-20 temporary project opportunities during FY15 to be offered to selected artists on the pre-qualified list resulting from this call to artists. The majority of these projects are planned for the next annual Canal Convergence event in February 2015 with an additional large scale opportunity at the Scottsdale Arts Festival in March 2015. Some additional project opportunities in new locations are in the process of being confirmed at this time.  
Venice, Italy
Venice Art Project
With the Patronage of the Veneto Region and the City of Venice, the Venice Printmaking Studio has established the Venice Art Project. The mission of this project is to contribute a broad cultural creative presence to the city of Venice by hosting international artists working and exhibiting in Venice, for the International Glass Biennial Exhibition.
Thank you for your interest in being a part of this international artistic project. Each accepted artist will spend three weeks in Venice, experiencing the city through painting, drawing, watercolour, printmaking, collage, or other graphic work. One chosen piece of each artist’s work will then be translated into a work of glass in collaboration with the glassmaster of Scuola del Vetro di Murano. During your stay you will be provided with accommodation in the Venice Art Project’s residency apartment.
You will have at your disposal a studio space set up according to the technique you will use, along with all materials necessary to realize the work. The maximum dimension of the works will be 80 x 100 cm (approx. 2.6 feet by 3 feet). All the works created will remain as property of the artist, including the translated glass-works, to be shipped to you at the end of the exhibition.
We are in the process of securing the famous historical environment of the Venice Arsenale to host The International Glass Biennial Exhibition opening in May 2015 at the Arsenale di Venezia. The exhibition will be limited to 40 artists. The artists will be invited in groups of five for three weeks starting immediately, April 23rd, 2014. The deadline for the completion of all works is February 1st, 2015.
Each edition will be organized by a museum curator; the first edition will be arranged by Courtney McNeil, Curator of the Telfair Museum in Savannah, Georgia, USA. As a sign of gratitude, the catalogue will dedicate a page to you and to the Institution that supports your participation in the Venice Art Project.
The participation in the project requires a contribution of €3,000 to cover the organization expenses: costs of work facilities and equipment, supplies, housing, glass foundry fees, and catalogue printing.
Artist’s travel expenses, meals, and shipping costs for artwork are not provided.
To apply, please submit the following materials to
– 10 jpeg images of your art
– CV or resume
Application materials are being accepted immediately. You will be notified via email regarding the status of your application. Upon notification of acceptance, a 50% non-refundable deposit will be due within 30 days. The remaining 50% fee will be due no later than 1 month prior to the start of your residency in Venice. (Please note, the fee is listed in EUROS).
The deadline for the completion of all work for the Venice Art Project is February 1, 2015.
Email application materials to:

Kim Baraby Hurtle
Percent-for-Art Director
(406) 444-6639
Items included in our e-newsletters are not endorsements and readers are encouraged to decide for themselves whether the information is useful to them. 
Public Artists July 11, 2014

The Arts in the Small Community – A National Plan

The Robert E. Gard Foundation, dedicated to fostering healthy communities through arts-based development, is currently seeking stories from communities in which the arts have improved the lives of citizens in remarkable ways. These stories will be nominees for case studies to be included in the Foundation’s Fifty Year Anniversary (2016) update of Robert Gard’s The Arts in the Small Community – A National Plan (the “Windmill Book”).
The Arts in the Small Community – A National Plan