State of the Arts

What If Your Painting Doesn’t Fit In The Deposit Envelop?

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One of the more intriguing ideas I have come across in my 10 years of blogging is the Artist Pension Trust which has artists deposit their work into across the course of 20 years with the proceeds of the sales going to fund their pensions.

When I first wrote about this back in 2006, I didn’t have too many of the details, but a recent story examining the success of the trust as it reaches its 10 anniversary provides many more details.

I was interested to learn that only 20% of the 2000 participating artists were from the United States. Though given that the number one rule of investment is diversification, I shouldn’t be surprised.

Basically, it works this way:

Participating artists donate 20 of their works over a planned 20-year period (two per year during the first five years, one per year for the ensuing five years and one piece every other year for the remaining 10 years) to the trust. There are regional directors and selection committees, consisting of independent curators, artists and collectors but not dealers (“they bring a conflict of interest,” Moti Shniberg, a former high-tech entrepreneur and the chief executive officer of Mutual Art, the parent company of the Artist Pension Trust, said).

The trust “cultivates” the investment by lending them to museums and art festivals. Keeping them locked in storage for 20 years wouldn’t help enhance their value, after all. While the plan is to keep the works for 20 years, some have already been sold when their value increased significantly.

Other artists have withdrawn and asked for their art to be sold when they were short on money.

While the ideal of pooling art for the long term benefit of all is admirable in theory, in practice human nature caused the trust to slightly alter their original plan.

“David Ross noted that his original idea was for all the proceeds of sales of artwork be placed in the general pool, but a number of the artists he had approached, “who all believed that they were going to be successful in their careers,” were unenthusiastic about supporting less accomplished colleagues. “Dividing the profits—40 percent for the artist, 32 percent for the general pool—made the idea easier for them to swallow.”

As noted earlier, there are no dealers on the committees because they have a vested interest in selling an artist’s work rather than letting it be deposited in a trust for 20 years.

I look forward to checking in again on this in 10 years when the trust starts to sell the works of the first depositors in preparation for paying out pensions. How well will those artists who have been had the patience and discipline to participate in this program fare?

Info You Can Use: Rural Arts

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Last week, Americans for the Arts held a blog salon on Rural Arts.  There were a lot of familiar names and faces with posts by Wormfarm Institute and Springboard for the Arts’ rural offices, but there were more people with whom I was unfamiliar.

There were three posts that jumped out at me, likely because they were aligned with my penchant for practical knowledge. Two were by Savannah Barrett with Art of the Rural which is coordinating 2014 as Year of the Rural Arts.

Her first post suggests working with Cooperative Extension Services in your community as a method of developing the arts. Cooperative Extensions in many states operate arts extensions as part of their services and apparently the national 4-H has recently started placing a greater emphasis on communication and expressive arts according to Barrett.

Her second post lists federal and philanthropic resources that are involved with rural arts.

The third post was made by Shannon Ford from the Tennessee Arts Commission. He lists 6 characteristics which he has identified as making arts rural programs successful. Most of the characteristics are common to pretty much any activity planned by an arts organization- clarity, sustainability, evaluation. However because resources are often particularly scarce in rural communities, the need to be focused on these areas is especially important given the small margin of error.

This is why he emphasizes visibility and partnerships as a way of leveraging good will and shared resources as a way to communicate your goals to many corners of the community and achieve investment.

His last characteristic, authenticity, seemed most important of all given that the values of a rural community are shared. By which I mean in the general sense and in the course of conversation. Even if two people aren’t of like mind about your efforts, whatever you do is going to be a topic of  their conversation. As Ford notes, “No good ever came of ignoring your community’s cultural context or norms, and rural perspectives have a long history of being ignored.”

If you are interested in learning more, Americans for the Arts is hosting a three webinars on the rural arts starting Wednesday, February 26, each at 3 pm EST.

Wednesday, February 26, 2014: Economic Development and Art in Rural Communities

Thursday, February 27, 2014: Resources For Rural Arts

Friday, February 28, 2014: Placemaking in Rural Communities

Put The Keg Under The Dali

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I ended up with an interesting juxtaposition of articles today. After clicking on interesting looking links in my Twitter feed, I had an article asking whether children should be allowed in museums come up in a tab next to tab with YouTube videos about the student art rental program at Oberlin College.

The article about banning kids from museums was a reaction to parents letting their child crawl all over a sculpture worth $10 million at the Tate Modern. Compare that to my realization that Oberlin has been renting out their priceless Dalis, Picassos, Chagalls, Calders, etc to their students for $5 and has been doing so since 1940.

Apparently they haven’t had any lost or damaged in all that time. There is a lot of competition for the paintings with the students camping out all night to be near the head of the line and consulting maps of where the pieces will be located in the room to strategize what they will grab first. (They are limited to 2 pieces though)

Given that Frank Almond recently had his violin stolen coming out of a concert hall, it is amazing to me no one has targeted the student dorms to grab the painting.

And it should be noted, contrary to what is initially claimed in a blog on the Oberlin website, these pieces are not works that would otherwise remain out of circulation. These works are particularly set aside for this rental program and distributed and returned every semester without much incident.

Between the two situations comes the question about the best way to instill a respect for art. Do you keep kids out of the museum until they are mature enough or try to engender respect throughout their lives? Frankly, I recall wandering the Museum of Natural History on my own when I was in 10 or 11 years old so my feeling is that most kids can handle themselves if properly trained.

Presumably college students are mature enough to appreciate art in a museum, but do you dare let them take it and hang it in their dorm room?

Well, clearly you can at Oberlin at least. But the practice of lending out priceless art works like library books hasn’t caught on  with museums in any widespread way, despite Oberlin’s 70+ years of success with it.  I simultaneously cringe at the idea of a museum doing so and feel slightly ashamed at being so distrustful with so little evidence that people who would borrow can’t be trusted.

Everyone Doesn’t Have To Like You

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Today I saw a post on The Creativity Post that had me thinking back to my piece yesterday on Seth Godin’s vision of what constituted an elite.  In The Gorgeous Reality of Not Being Liked by Everyone, Jordan Bates addresses the individual who tries to please everyone, but much of what he says can apply to groups and organizations.

We all know we can’t please everyone, but still we either try to do so, or pretend we are doing so. The simple fact is, regardless of what you are writing on your grant applications, everyone in your community can’t be your market. You simply can’t be all things to all people.  Just as Godin says trying to convert someone who doesn’t want to be is a near fruitless effort, trying to appeal to everyone can result in diluting your effectiveness across a broad swath, serving no one well.

Certainly, for arts organizations the motivation to serve all that you survey is driven by the funding system we have. No one source provides you with enough support so you have to position yourself broadly enough to garner support from 20 different sources.

As I read Bates’ advice to the individual, I see a lot of similarities for arts organizations.

2. Take Minor Social Risks – Start doing a few things that you normally wouldn’t do because of your fear of what others would think or say…

3. Live by Your Deeper Values – ... The more you seek to align your actions with what you feel in the heart of your being, the less you will invest in the opinions of the mud-flingers.

4. Focus on Actual Outcomes – ..

5. Love Your Good and Bad – Give yourself permission to not be the things you wish you could be. Embrace the fact that all of your qualities — both your boons and shortcomings — are essential to the equation that is you…

There is a fair bit of discussion these days about arts organizations needing to take more risks, focus on outcomes, embracing and acknowledging failure as well as success.

I wonder if it is possible to sit down with your funders and say, “Look, you have been funding us for a long time now so you know we are effective, but we want to narrow our focus on serving X. We anticipate much better outcomes than we are seeing currently and they will be deeper and more meaningful than the results we are currently reporting. Can we count on your continued, and perhaps increased support?”

I feel like there is a  bit of a precedent for this sort of thing given the current focus on placemaking  by the NEA and other influential funders. You can point to them and note that focused investment in one’s community is being highly valued by funders.

My initial impulse was to say, you have to avoid the perception of catering only to the wealthy. But as I thought about it, I wondered if part of the problem for some organizations has been a divided focus in trying to appeal to both the wealthy and the not so wealthy. Both groups end up feeling that the organization has neither of their interests at heart.

Arts organizations end up being Archie trying to alternately please both Betty and Veronica, except the results are not as hilarious  in real life.

Now other than the Metropolitan Opera which has a waiting list miles long and people willing their seats to descendants, I don’t think any arts organization really has an interest in providing a premium product to a wealthy audience. It is the perception that you have to cater to one group based on their money and the other based on your mission that causes the uncomfortable division.

I know in my community the elitist active seekers that Godin describes cut across all social strata and income levels so there is some sense in his suggestion that the focus should be on serving them.

Of course, the question comes up about whether it is sustainable. There is a real possibility that people will have to be let go in order to serve this narrower focus. An organization I once worked for closed down their performing arts program of 20 years to focus on their core competency of over 50 years. This was motivated  more by economic need rather than philosophic outlook, but in either case the organization has to examine its priorities. Better to make this decision of your own will than to have it forced upon you.

Even among the curious, everyone is not going to have the same interests and like everything you do. The current environment where most people are buying single tickets rather than subscriptions has changed the relationship and expectations the community has of arts organizations. It can be easier to concede and have them accept that they won’t like everything you present in your efforts to engage whomever you identify you want to serve.

It is likely they will accept that premise if there appears to be a corresponding attempt to discover what does interest and excite them and shift things in that direction. (Remembering the distinction between wants and needs)