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HomeMy WebLinkAbout2005-02-03; Arts Commission; MinutesMINUTES Carlsbad Arts Commission February 3, 2005 Carlsbad Council Chambers Present: Commissioners Hill, Shaw, Carrillo, Juncal, Francis, Iserloth, Okamoto Chair Hill called the meeting to order at 8:00 a.m. Minutes On motion by Commissioner Iserloth, the Arts Commissioner unanimously approved the January 6, 2005, minutes. New Business Presentation by New Village Arts Artistic Directors The Arts Commission received a presentation from Fran Gercke, Kristianne Kurner and Laura Kurner, founders of New Village Arts. Old Business Follow-up Report About the Arts Commission Representation at the Friends of the Arts Meetings Chair Hill reported that he attended the Friends' January meeting. The Friends did not have quorum and tabled the item to its March meeting. Sign-Dps for Auditing Community Arts Grant Recipients Commissioners reviewed the list staff provided on upcoming grantee events. Commissioners signed up as follows: NAMM - Commisioners Carrillo and Okamoto Carlsbad Playreaders - Commissioners Shaw and Iserloth San Dieguito Performing Arts Association, COAL - Commissioner Iserloth New Village Arts - Commissioner Juncal Children's Discovery Museum - Commissioner Juncal Carlsbad Community Theatre - Chair Hill COAL - Commissioner Francis Update on Workshop Peter Gordon reported a workshop with the City Council is still on hold. Commissioner Francis stated she thought a workshop was needed. Chair Hill said the Commission could wait on the proposed workshop to discuss the existing ordinance. Mr. Gordon told the Commission that as a result of the community arts meeting, there are items the Commission should or could be addressing. Chair Hill stated the Commission could go into a workshop mode after an Arts Commission meeting. Commissioner Francis would like to see the Commission work on the New Village Arts facility issue. Commissioner Okamoto stated he would like to have an arts facility. Chair Hill replied the Commission should refer back to the community meetings. Commissioner Francis agreed that a facility for arts groups was a good idea for long range planning, but New Village Arts needs space now and the Commission should do what it can to assist them in obtaining space. Chair Hill stated options should be explored for theatre venues in the near future and now in the Carlsbad area and define what role the Commission can play. It was determined that the Arts Manager should ask the Redevelopment Director to attend the next Commission meeting. No Public Comment. Committee Reports Commissioner's Report Commissioner Okamoto would like to find art space now. He would further like the Commission to define the cultural arts it's going to support - how broad of an arts definition does the Commission desire to encompass. Chair Hill responded the Commission supports all the variable forms of arts. By bringing in representatives of those forms, it educates the Commission in that support. Commissioner Shaw stated she was interested in folk art that is not 501(c) 3 oriented. Commissioner Carrillo stated she would like the Commission to explore its cultural identity. Commissioner Shaw added she would also like the Commission to focus on advocacy - to expand its understanding of what it means to be a Local Arts Agency. Commissioner Juncal stated he enjoyed the participation at the recent community meetings. He would like to see the Commission continue with the Historic Arts Program started by former Arts Commissioner Susan Pynes. Commissioner Okamoto asked if this was an item that needed to be requested for action by the Commission in writing and placed on a future agenda. Commissioner Iserloth stated she would like the City to have a place where information is available to artists (i.e., corporations looking for artwork). Commissioner Francis reported she recently attended a COAL artist demonstration and thought it good. She further reported the Arts Education Committee would be meeting on February 9. A representative from the San Diego Symphony will give a presentation on its outreach program. Manager's Report Peter Gordon reported the community arts meetings were finished and were successful. Victor Raphael: Space Fields exhibit is now open. The three-part-art program in conjunction with the exhibit has also begun. The opera lecture series has also begun to a full house. And the opera caravan, scheduled for February 9 has one bus filled and is in the process of filling a second bus. Three hundred and ten artists submitted works for the Juried Biennial. On January 20, High Davies from the San Diego Museum of Contemporary Art selected 39 artists exhibiting 59 works. The Amps and Ramps skateboard and art collaboration with Recreation took place on January 29. The Arts Commission adjourned to a brainstorming session at 9: 17 a.m. Arts Commission Members and Assignments February 2005 Current Commission members Fran Carrillo Currently filling a partial term. Rita Francis First full term expires March 2006 Gary Hill First full term expires March 2005 Barbara Iserloth First full term expires March 2008 Ron Juncal First full term expires March 2008 Kelvin Okamoto First full term expires March 2008 Felicia Shaw Second full term expires March 2006 Committee Assignments Gallery Arts in Education Friends of the Arts Barabara Iserloth Rita Francis Ron Juncal Rita Francis Community Arts Grants for 2005 Acquisitions Committee Ron Juncal Felicia Shaw, Chair Kelvin Okamoto Public Art Selection Committees Hidden Canyon Community Park Rita Francis Pine School Park Felicia Shaw Coastal Rail Trail Gary Hill Fire Station #6 Kelvin Okamoto Evaluation Report for Community Arts Grants Recipients Carlsbad Arts Commission Cultural Arts Office/City of Carlsbad Evaluator: Please complete all applicable questions after attending an event ORGANIZATION PRESENTING EVENT: TITLE OF EVENT: LOCATION: AUDIENCE SIZE: DATE & TIME OF EVENT: Describe the dominant community make-up of the audience (i.e. seniors, students, ethnic, etc.) I. Was the Carlsbad Arts Office adequately credited? Yes _. No Program Notice Sign "at Event Announcement to Audience '* (Please Circle) II. Please rate the overall presentation: Excellent Good Fair Poor A. Performing/artistic quality I 23 4 B. Adequacy of facility 1234 C. Stage setting/exhibition display 1234 D. Management I 2 34 E. Technical staff 1234 F. Publicity material 1234 G. Audience response 1234 III. Would you recommend that the Carlsbad Arts Office support: This presentation again: Yes No This organization again: Yes No • Suggestions and comments: Evaluator: Is your evaluation confidential? Yes No Arts Commission Roster Frances Carrillo 2510 Navarra Drive, Unit 515 Carlsbad 92009 760-445-7375 fcarrillo@adelphia.net Rita Francis 2025 Linda Lane Carlsbad 92008 729-0569 Gary Hill 3289 Donna Drive Carlsbad 92008 729-0494 wk/603-4010 ghill@gia.edu Barbara Iserloth 6427 La Garza Court Carlsbad 92009 438-5909 iserloth@prodigy.net Ron Juncal 3745 Highland Drive Carlsbad 92008 729-2053 studio2@adelphia.net Kelvin Okamoto 3450 Corvallis Street Carlsbad 92008 434-9874 wk/918-6131 Ktokamoto@mac.com Felicia Shaw 3115 Verde Avenue Carlsbad 92009 760-753-2775 fshaw(q)sandiego.gov January 3, 2005 Goal 438 • Community Meetings on the Arts: Volunteer Facilitators All meetings: 6 - 7:30 Facilitator training begins at 5:30 Thursday, January 13 Calavera Hills Recreation Center 2997 Glasgow Street Ron Juncal Kelvin Okamoto (Tonya Rodzach, Karen McGuire) Wednesday, January 26 Carrillo Elementary School 2875 Poinsettia Drive Fran Carrillo Ron Juncal (Karen McGuire) Wednesday, January 19 Gowland Meeting Room Carlsbad City Library 1775 Dove Lane Monday, January 31 Stagecoach Recreation Center 3420 Camino de los Coches Dawn Larsen Rita Francis Barbara Iserloth (Tonya Rodzach) Karen Evans Felicia Shaw (Karen McGuire) Monday, January 24 Jefferson Elementary School 3743 Jefferson Street Kelvin Okamoto Rita Francis (Karen McGuire) All meetings: Gary Hill, (Colleen Finnegan), (Peter Gordon) Staff names in parentheses 1/5/05 CARLSBAD ARTS COMMISSION Frances Carrillo has been an arts administrator for the last 11 years working with arts education organizations and school districts in Southern California. She has aBA from University of California, Irvine in Art History and received her MBA from Pepperdine University with a focus on nonprofit management. Currently she consults with Lux Art Institute and the SD County Office of Education's Visual and Performing Arts Department and is a board member of both the SD North Coast Women League of Voters and the statewide California Alliance for Arts Education. Rita Francis a resident of Carlsbad for thirty years, Ms. Francis is retired from the insurance and risk management industry. She is an avid music and art lover and an active community volunteer who most recently served as Co-Chair of the annual Plein Air Brunch benefit for the Cannon Art Gallery. Gary Hill (Chairman) is the Community Development Director for the Gemological Institute of America, a nonprofit educational institution for the world's gem and jewelry industry. As Director of Facilities, Mr. Hill was responsible for developing GIA's world headquarters in Carlsbad including site selection, design, construction and relocation. As Director of Management Services he developed the GIA collection into a museum with a gallery and exhibits throughout the Institute. He has been a resident of Carlsbad since 1993 and serves on the Board of Directors of the Carlsbad Chamber of Commerce, the Carlsbad Educational Foundation and the MiraCosta College Foundation. Barbara Iserloth is the former head of the Modern Language Department of the Rumson Country Day School, with previous positions in multilingual service for government and industry. A resident of Carlsbad for 3 years, she has been an active volunteer in several museums and galleries and is currently a member of the Cannon Art Gallery Committee. Ron Juncal has been been involved in the Carlsbad arts community since becoming a city resident in 1986. He was the co-creator of Artsplash, a Carlsbad arts festival, has served on the Temporary Arts Placement Committee and the Cannon Art Gallery Committee and has worked with schools, other arts festivals, regional arts groups and city government to promote the arts. He owns and operates Studio2, a mural and fine art studio in Carlsbad where he mentors young artists from the community. Kelvin T. Okamoto was appointed to the Arts Commission in 2004 after attending the Carlsbad Citizens Academy. Mr. Okamoto received his undergraduate degree from Stanford University and his Ph.D. in chemistry from Cornell University. He is presently an Expert Engineer for TaylorMade- das Golf Company and is also a Registered Patent Agent. He has a broad interest in the arts through past training in piano, trumpet and ukulele and through nature photography. Felicia W. Shaw has worked as Program Manager for the San Diego Commission for Arts and Culture since 1995 where she oversees the agency's allocations programs, cultural tourism and other special initiatives. A graduate of Northwestern University, Ms. Shaw serves on boards and advisory committees such as Partners for Livable Places, San Diego, the San Diego Foundation and the California Cultural Tourism Coalition, which she chairs. She is a Fellow with the California Arts Council Arts Marketing Institute, providing consultant services to local arts agencies and nonprofits throughout the state. 2005 CARLSBAD COMMUNITY GRANTS - RECOMMENDED FUNDING ARTS EDUCATION, Page 2 8) CHS BAND BOOSTERS - Development of a feeder program for middle school students to transition to High School Color Guard, culminating in a free public performance at the Spring Middle Schools Band Concerts. REQUEST: $1,000 RANK: 9 RECOMMENDATION: 50% $500 9) NORTH COAST REPERTORY THEATRE/EL CAMINO CREEK ELEM. SCHOOL A six-week drama residency at El Camino Creek School with classes during the school day for 4th or 5th graders culminating in attendance at The Theatre School's spring production of The Phantom Tollbooth and follow-up discussion. REQUEST: $569 RECOMMENDATION: 0 10) BUENA VISTA ELEMENTARY SCHOOL - Support for "Doorways to Education," artist-led mural project to design and paint murals on all BV classroom doors, involving the entire student body. REQUEST: $500 RANK: 2 RECOMMENDATION: 100% $500 PLAYWRIGHTS PROJECT - Residency at Calavera Hills Middle School Two seventh grade classes (including Special Ed. students) will participate in Write On! exploration of theatre as playwrights, culminating in two performances of students' short plays by professional actors. REQUEST: $1,000 RANK: 5 RECOMMENDATION: 100% $1,000 TOTAL REQUESTS: $10,559 TOTAL RECOMMENDATIONS: $ 7,250 Roles and Responsibilities of the Carlsbad Arts Commission Draft: December 2004 Review and advise City Council on works of public art Award Community Arts Grants Do follow-up site "audits" Help Arts Office with operational policies For example, Vendor Policy for TGIF Jazz Become informed and knowledgeable about the arts and culture of the City Act as liaison between the City Council and the community Listening and reporting community's comments back to City Council Explaining and informing City Council positions to the community November 2004 AMERICANS SERVING COMMUNITIES. ENRICHING LIVES. ||%: About the Survey • &|f :•-;'..': In March 2004/Wolf, Keens & Company |l|v conducted a survey of 26 Local Arts |^| Agencies (LAAs) representing both mHs^A~~t •'•" :. :•' •/' .•••-•: ' - . . . S^org|nizations and a range of sizes and .:. >,'Mpated ina similar study in 2003.TwoIMilMiMv^i-' .'••.•• ..,-..,'•-.;._•:,,••'.:" |i:suryey;yvereVnot part of its 2004 coun- fdc2bQ3useo;inf making comparisons' ^Vv^^.fti^^ • 'Jrf'V'* ••• •^.*x- ' • j • • Tj*t * iT^^fStys 'i-'jii,.','- f1^'-''.-•*- -V'-: '- ——-; to 2004.v*erethecefofe adjusted to— - t,v: '•:^.'^":;tti%^$^$Wfa'. •'.'.;.-•-.•'.-. ••eliminate these two agencies. ? " £ •^^".'.•'•i''.'V;ii';i'-Jtii?.!JH'."i:v.-j'-,1'' •'•• • '^K- -^-.-v ^fe^-^l^rfcf ••'• -.'•:.•'.,.'.•. "'•"'-,v Each participating agency received for FY 2004,'• . .-.pnr 2005;and FYV2p06^-the same kind f..vi'"'.;:''' •:••:-';•: •-'/ : :W-^a •• - ;;•'•' • .v ! "'-:"of quantitative information requested '.fi"- ''""'• > '"'• ~: • ' -' •!••''• • \ '-'"•'' •''"'I '' • '.'-'' in 2003. Seven questions explored V^- Qualitative dimensions of what the |v- LAAs were experiencing and observing, ' Including three topical^questions different from those asked in 2003. Monogra Monograph is one of the benefits of membership in Americans for the Arts. Local Arts Agencies: Creating Opportunity in Challenging Times Introduction T his report—the second of its kind sponsored by Americans for the Arts—summarizes the principal findings from a sur- vey of local arts agencies around the country. Like the first of these research initiatives, conducted in 2003, the aim was to develop a current picture of what is happening in our field in what for most have proven to be challenging times. In 2003, the LAAs surveyed were—like the rest of the nation— contending with profoundly unsettling forces. The tech bubble that had begun to deflate after its peak in April 2000 had sent the entire market into the basement for three years running. The attacks of 9/11 were and still are reverberating through the national psyche. The war in Iraq had begun. A pervasive sense of uncertainty infused every interview. This time around, in March 2004, early buunore hopeful signals appeared in many of the interviews. Donor portfolios are report- edly recovering and private giving is stabilizing. Likewise, earned income is expected to remain steady. While the outlook for pub- lic funding is still questionable in some areas, leaders continue to echo their 2003 belief that state and local public funding reflects the larger economic cycle. Local business is slowly expanding in some communities (though by no means all), and tax revenues are inching back up. The competition for public and private resources alike remains intense, but LAAs are continuing to reap the benefit of wider advocacy and recognition efforts. 2 | Monograph | November 2004 By the Numbers A comparison of the study reveals interesting shifts in the readings that the 26 LAAs pro- vided in 2003 and 2004, while reaffirming other trends. Among the findings are these: A deeper revenue dip and less bounce. In 2003, the majority of those surveyed expected declines in all major revenue sources, but nonetheless believed the downturn was cyclical and would track closely with the economy. The forecast in the 2003 survey—of a revenue dip from FY 2003 to FY 2004, followed by a rebound in FY 2005— continues to describe the pattern in the most recent survey. However, the revenue drop off from FY 2003 to FY 2004 was deeper than respondents foresaw last year, and the climb back to former levels is now projected to be slower. > $20 million drained from these 26 agencies—$16 million in two years alone. The collective impact of the deeper revenue drop and slower bounce described above can be seen in the comparison of total combined revenues in each survey year. In 2003, total combined revenues were projected to be more than $551 million—a sum that fell by $20 million to $531 million in the second survey. When comparing survey responses for the two-year period FY 2004-FY 2005, the impact of this down- ward revision is more evident—arts leaders expected $16 million in revenue that they now believe will not appear. Last year's projection of total combined revenue for this two-year period was $364 million, but fell to $348 million in the survey this year. While these numbers are significant, they mask local good times as well as the extremes of bad, and are less daunting as percentages of the whole. Projected total combined revenues in the most recent survey are about 3.65 percent less than in last year's projection. Projected total combined revenues for the two-year period FY 2004-FY 2005 are about 4.4 percent less in this year's sur- vey than what was predicted last year. Recovery expected in earned and private revenues, but ptiJHh funding keeprfatHng. In the most Tecent survey, two revenue categories—earned income and private support—are projected to do slightly better in FY 2005 than in FY 2004, rising rather than falling from one year to the next as had been projected in 2003. But instead of an increase in public funding for FY 2005, as pro- jected last year, public support is now expected to continue falling. Comparing last year's projection of total com- bined revenues for FY 2004 and FY 2005 with the projection for the same period made this year, the survey found that earned income fell only $1 mil- lion, and private support stayed relatively steady. But public funding revised downward by $14 mil- lion for the same period—a painful 8.8 percent less than was projected last year. • The revenue partnership shifts. As public funding declines, the revenue partnership shifts—particu- larly for private nonprofit organizations who rely on private support to provide for about 50 per- cent of their revenue budgets, on earned income for about 35 percent, and on public funding for about 15 percent. For public agencies—many of whom are prohibited from soliciting private con- tributions—the reliance on public funding is nearly 100 percent. According to the 2003 survey, the public share of total combined revenue for the survey period was projected to be 45.9 per- cent. But this year's survey shows public funding projected to slip to 44.1 percent. As the public share falls, more is required of earned and private sources just to stay even. . Still in the black, and gradually improving. The fiscal controls being exercised by the chief executives of these 26 local arts agencies are getting the job done. In the most recent survey, revenues are expected to move slightly ahead of expenses, with a collective surplus of about $1 million fore- cast for FY 2006. Furthermore, only four of the 26 respondents foresee deficits in FY 2004, some attributable to cash flow or other reasonable causes, and some expected to be covered from board-directed reserves. www.American5ForTheArts.org November 2004 Monograph The Story Unfolds A s was the case last year, the story told by the data remains one of local circum- stances more than national trends. Who could foresee (much less counteract) the eco- nomic impact of the still-reverberating tech meltdown in San Jose, or the loss of 100,000 jobs in Seattle when Boeing moved its headquar- ters, or the budget stand off and gubernatorial recall in California? As the story unfolds, it remains a highly particularized one, changing sometimes dramatically from place to place, but it yields the following insights: • Local economies vary. Current economic conditions vary appreciably from one locality to the next, ranging from a bankrupt city under the authority of a control board to another city across the country that sees a permanent up trend in the community's prospects. Of the 26 LAAs sur- veyed, eight gave what might be regarded as "neutral" ratings to their local economies, with about half of these forecasting gradual improve- ment after a prolonged steady state. Eleven agencies saw local conditions as positive, having turned the corner with room for more improve- ment. The remaining seven agencies were generally pessimistic about local economic con- ditions and foreseeable prospects. . Expansion vs, contraction. What differentiates com- munities where the economic mood is upbeat from those that are presently more pessimistic? Increased tourism, accelerating business expan- sion, and better fiscal health of the states were among the factors cited—all of which translate into jobs and tax revenues. The 11 LAAs where optimism prevailed saw revenue generation rebounding statewide and/or locally, while the seven trending down have watched jobs disap- pear through outsourcing and consolidation, even as they struggle to find resources at the state and local levels equal to their basic needs. Resisting the separatist drift. A few respondents commented on the hole-in^the-donut effect of poorer urban centers (where many cultural resources are located) surrounded by wealthy and increasingly more autonomous suburbs. The push to think and plan regionally, the equitable distribution of resources, and enlightened civic leadership all offer a counterbalance to this sepa- ratist drift, which merits more conversation. Richard Florida and the challenge of implementation. While everyone interviewed knew of Richard Florida's work, and most had drawn on it in some fashion, 40 percent contended that there had been no real impact locally. The problem seems to be in the follow through—translating ideas into concrete plans and galvanizing the leadership required to implement them. In a few places, the "creative class" concept was regarded as elitist, and in these communities, competition between the cities and suburbs sometimes fed this tension. Nevertheless, the glass is still more than half full, with 60 percent of the LAAs sur- veyed reporting some lasting benefit from sharing Florida's ideas. One benefit in particular is the common language in which businesspeople, elected officials, planners, the cultural commu- nity, and others can talk about ideas that have been circulating for years. • State Arts Agency cuts. Have the LAAs surveyed or their constituents taken cuts in their state arts agency funds? Overwhelmingly, yes. Although some of the public LAAs have never received state agency support, and therefore were not directly affected by state cuts, their constituents have been hurt. It is instructive to note how quickly most LAAs absorbed these cuts—either by trimming grants, seeking other resources, or covering smaller shortfalls out of reserves or with reallocated dollars. The prevailing senti- ment seems to be that LAAs are passing through the worst of these state agency cuts now, but that the future of state funding is unpredictable and therefore unreliable, making it secondary in the thinking and planning of the LAAs, if not their constituents. Serving Communities. Enriching Lives. 4 | Monograph 1 November 2004 Engaging the public. The catalogue of ways in which LAAs are engaging the public—a priority for all of them—offers a wealth of strategies. Some are leveraging new facilities and the process for funding, designing, and developing them to raise public awareness and solicit public opinion. Others are staging special events to attract inter- est and participation. For example, the Greater Philadelphia Cultural Alliance's first ever "State of the Industry" survey and report, slated for January 2006, will provide a platform for analysis and action. Some, like the Saint Paul, MM, Arts and Culture Partnership, are upgrading and pro- moting their interactive websites—in this case by publishing an online calendar and launching www.stpaulculture.com. Quite a few LAAs are working to get arts representation at other tables and in unusual roles, so that the arts community is recognized as essential, visible, and civic minded. And a great many underscore the com- munity emphasis in their programs, educational activities, marketing, calendars, newsletters, fund drives, ticket discounts, free performances, public art programs, or other services. 'PH yj • Philanthropy's response. Asked how philanthropy is responding given-local economic conditions, 10 of the LAAs surveyed gave philanthropy high marks for holding steady and even increasing the number or size of gifts as the recession wanes. For most of these 10 organiza- tions and a number of the remaining 16, individual giving—either directly or through a family or community foundation—has been particularly reliable. In Fort Worth, TX, for example, four donors stepped forward in just three months with the gifts necessary to begin building a new black box theater. And farther north in Tulsa, the Oxley Foundation offered a major challenge grant in the wake of 9/11 to help stabilize crucial program support when others were cutting back. But for the other 16 LAAs in this year's survey, the philanthropic picture was highly qualified: one, several, or all donated-revenue sources are cutting back... or freezing their giving and grantee rosters... or funding capital campaigns over operating support. In these communities, hopes for an across-the-board rebound in philanthropy are still tentative. • Turnover and leadership development. Staff turnover proved to be an issue for fewer LAAs than expected, with only half a dozen or so of those surveyed citing burnout and turnover as pressing problems. In the public agencies, staff tend to stay for a long time-—too long, in ihe view oT one respondent who said there was not enough turnover. Others saw the normal vacancy cycles as creating upward mobility for those below. Entry level and fundraising positions seem to be where turnover is most persistent. On the whole, most LAAs described themselves as stable and supportive of ongoing leadership development for staff and board members alike. People chanting "Don't Cut Culture!"filled Love Parkin May 2003 to protest a proposed cut in funding for cultural organizations in Philadelphia. Photo courtesy of Greater Philadelphia Cultural Alliance. vw.AmericansForTheArts.org November 2004 I Monograph | 5 Taking the Long View A s we observed last year, for every one of these positions and consensus views, there were others who saw things a little differ- ently. Below the surface of the data are more stories that contrast success and setbacks, that tell a tale of struggle and gains here, of struggle and losses there. These differences are attributable in part to the cyclical nature of local economies, which experienced arts leaders have learned to manage through patient, long-term planning. Below are four profiles of their efforts as they work to help offset difficult times in the future. Greater Kansas City: 87 Cities, Five Counties, Two States, One Very Important Tax Initiative Around the country, local arts agencies face similar challenges—especially how to raise the profile of the arts and find the funding necessary to present and promote them. These challenges can present themselves differently from one locality to the next, but the lessons they generate are useful everywhere. One case in point is the Kansas City metropolitan area—a name shared by many distinct communi- ties with a common border. "Historically, the majority of cultural amenities in our region have been located in Kansas City, Missouri, yet approx- imately 47 percent of the population base using them came from Kansas," explained Joan Israelite, president and CEO of the Arts Council of Metropolitan Kansas Gity. 'Cities on both sides of the state line stand to benefit from further eco- nomic growth and arts development. The journey toward a solution began more than 20 years ago with the group known as Kansas City Consensus, which came up with the concept of creating a Metropolitan Culture District. Mid- America Regional Council (MARC), in turn, Public Art on the Johnson County Community College Campus in Kansas City, KS. Photo courtesy of the Arts Council of Metropolitan Kansas City. formed a Regional Amenities Task Force compris- ing arts organizations and civic.representatives. This team worked for nearly 10 years to establish a bistate cultural district—now comprising five metropolitan counties representing 87 municipali- ties and nearly 300 arts and cultural organizations. The first proposal for a bistate cultural tax was floated in 1996. It was designed as a quarter-cent sales tax increase that would bring a stream of revenue to area cultural institutions. The initiative was placed in the hands of an organization already established to work with bistate economic issues—the Greater Kansas City Chamber of Commerce. The Chamber in turn named two co- chairs, one from each state. Neither had been involved in earlier planning, nor had a strong connection to the arts, but both were well- grounded in economic development. In the end, without experienced arts advocates at the table, arts funding was jettisoned from the tax initiative. "After years of working for this," said Israelite, "things happened virtually overnight that took the bistate tax initiative away from the arts in 1996." First, the historic Kansas City Union Station, abandoned for 10 years and the subject of Serving Comiminitii's. Enriching Lives Monograph November 2004 The American Jazz Museum in Kansas City, MO. Photo courtesy of the Arts Council of Metropolitan Kansas City. a lawsuit, was suddenly made available to the public when the suit was settled. Simultaneously, a campaign to bring a science museum to the region found that the public was in favor of put- ting the museum inside Union Station. The co-chairs of the Chamber of Commerce's bistate tax initiative enthusiastically threw their support behind this plan,-and the arts were told that they would get their turn the next time. The initiative passed and $118 million went to the renovation of Union Station and a match of $117 million in private funding was raised to establish a science museum. The arts got nothing. "Cultural organizations felt blindsided," recalled Israelite, ''but they still were not a united front." Two important community leaders, Janice B. Kreamer, president of the Greater Kansas City Community Foundation, and Julia Irene Kauffman, chair and CEO of the Muriel McBrien Kauffman Foundation, realized that if the arts were ever going to have a significant voice, they needed a dedicated advocacy organization to rep- resent them. Together their foundations came up with the" funding to create the Arts Council of Metropolitan Kansas City, and Israelite was selected to lead the organization. But would it be too late to make a difference? "While we were busy looking for office space, establishing a board of directors, and starting from scratch, we became aware of forces working behind the scenes to change the definition of 'cultural •organizations'-to indude-sports stadiums," Israelite said. "There was a move to dedicate 75 percent of the second bistate tax referendum to stadiums and only 25 percent to the arts. Even then some people were asking, 'What could the arts do with all that money anyway?' It was stunning." Rather than try to block the second initiative, the Arts Council and other supporters worked dili- gently to secure a 50/50 financial split. Although they missed the 2002 ballot when civic leaders pulled the ballot initiative, the arts community continued to make its case for support and sought help from a neutral convener to build bridges and keep the idea alive. Representatives of the Arts Council began speak- ing whenever they could about the importance of the arts. They told audiences, "There is a growing realization by the political, civic, and business community of the role that the arts and culture play in -quality-of-UTe -issu es, economic <Jevelop- ment, cultural tourism, and in shaping smart children engaged in wholesome activities." Their message began to take hold. Still, there were differences within the community about how to apportion the money. "There were more opinions about how the bistate tax could serve the community than there are stars in the sky," said Israelite. "So we organized, focus groups, meetings, polls, and conversations. Three themes emerged about what people wanted: more arts opportunities for children, more accessible cultural opportunities for families, and more investment in what already exists to make it better." After considerable discussion, a comprehensive arts plan was developed that supported both regional and local arts funding on both sides of the state line. All of the five counties have now voted to put the tax initiative on the November 2, 2004, ballot. If passed, the Metropolitan Cultural District will invest more than $600 mil- lion new dollars for arts and culture initiatives over the next 12 to 15 years. www.AmericansForTheArts.org November 2004 Monograph ' | 7 After 20 years, what finally made the difference? "Persistence is a %ig-part of it," -said-Israelite." "We put a lot of energy behind this. Arts organi- zations are sticking together. The case has been made for the importance of working together as one community." Lexington, Kentucky: A Locally Bred Strategy for Engaging Potential Supporters The Lexington Arts and Cultural Council (LACC) needed a way to engage and expand its local giv- ing base, especially among its major donors. It found the answer in its own bluegrass backyard with a strategy reminiscent of the adage, "When in Rome, do as the Romans do." "To build the critical relationships that can lead to financial support, we needed to reach current and -prospective donors using language and Ideas that reflected their self-image, interests, and priorities," observed Jim Clark, president and CEO of LACC. As it happens, Lexington is home to a unique business—horse breeding. Known as "The Horse Capital of the World," more thoroughbreds have come out of Lexington in the past hundred years than anywhere else in the world. However, out- of-state interests have recently threatened this distinction, which is of deep concern to the region. After all, horses and horse breeding are more than a business for Lexington, playing a tremendous role in the cultural fabric of the com- munity. Horses are everywhere, and both business and social circles revolve around them. As livelihood and lifestyle, horse breeding is a culture that understands risk taking, appreciates beauty, and invests in the future. Tapping these concepts, which are also very familiar to artists, Clark successfully drew parallels between the arts and horse breeding and struck a resonant chord in the horse community. Adopting the language and values of the native industry was an excellEnrstaTtand yielded solid results, but gaining the full trust and involvement of the individuals LACC hoped to engage required that Clark get directly involved with equine organ- izations in Lexington. He now works informally with the Kentucky Equine Education Project to keep the breeding business in Kentucky—which should result in more donors with more money to contribute to the arts. He also serves on a steering committee for a week-long event called "The Best of the Bluegrass," which celebrates "horses, bour- bon, and cigars"—proving that not all hard work has to be a sacrifice. This involvement by the arts community has been something new to people in the horse-breeding culture, and they have responded appreciatively when approached about doing special events to support the arts. A Kentucky Derby-eve party and later a ballroom dancing event raised both funds for and the profile of the Lexington Arts and Cultural Council, which won high praise for bring- ing together new faces and younger arts patrons. If there is a downside, said Clark, it is the possibil- ity of getting distracted. "This is additional work. At first I felt that I was already doing enough for the community. How could 1 start getting involved in other areas? But seeing how much horse breed- ing pervades the culture and how very involved our major donors were, it became clear that this extra effort was very worthwhile." As part of the public art project Hofse/noni'o.'Flag" was created by teacher Bill Berryman with the help of students at Sayre School. Photo cour- tesy of Picadorne Elementary School. Serving Communities. Enriching Lives. 8 I Monograph | November 2004 The State ofHewJersey JFtttning iheWorsttjf Times into the Best of Times Keeping your head, having a solid strategy, and working hard are three basic rules for weathering any crisis. In New Jersey, these rules would prove to be the glue that held the arts community together during the bleakest of times, and resulted in an unprecedented boon for arts and heritage funding. The crisis that precipitated this activity came in the form of an announcement by the governor in February 2003 that the state arts council; historical commission; and all state fund- ing for the arts, history, and cultural groups would be eliminated. "We were stunned by the announcement," said Ann Marie Miller, executive director of ArtPRlDE New Jersey, a statewide arts advocacy group. "While he •was campaigning, the governor indicated strong support for the arts. But he inherited a huge deficit and was looking for a very visible way to attack it. There had been some earlier cuts, but no one expected this." Interestingly, the governor told the arts and history groups that they should "scream bloody murder" and let the public know that dra- conian cuts were not acceptable. ArtPRIDE's constituents could not have agreed more. Citizens rally to defend New Jersey cultural funding. Photo courtesy of ArtPRlDE New Jersey. The phones began to ring off the hook. All over the^tate there was incredulity. -The-mediVa- picked up the story immediately and went to arts groups, including ArtPRlDE, for comment. "This was a key element for us," says Miller. "We were able to establish good relations with the media, which served us all well throughout the battle, especially since the war in Iraq was front page news and the center of everyone's attention." ArtPRIDE's website also became the central tool for getting the word out. Media stories brought people to the website who were anxious to do something—anything—to help. ArtPRlDE had already created a basic but useful mechanism to allow visitors to e-mail their legislators directly. Within three weeks, constituents sent more than 8,000 letters to elected officials from their districts, a strategy that legislators responded to immediately. "Our technology was so rudimentary that we had to count the letters by hand," Miller recalled. "We had no automatic Tesponse-mechanrsm-then.'"':BTit it was still an immediate and accessible means for citizens to express themselves. It also brought more people to the website, something that Miller used to ArtPRIDE's advantage. First, ArtPRlDE created an "Arts Crisis Resource Room" on its site. Information was updated and readily available, and e-news blasts were sent to members of the arts and-history rommunity as needed. A selection of reproducible documents, such as flyers and postcards, was also available to print out and help spread the word. Over the course of the campaign, hundreds of thousands of postcards were generated and mailed to the gover- nor and legislative leadership. Staying in the public eye was vital. "The crisis began in February," said Miller. "Several art teach- ers who work in schools with the help of state arts funding created valentines with their stu- dents, 'Our Heart is in the Arts,' and sent over 600 of them to the governor in three very visible drops." Other activities in the following months included a day-long arts forum presented by the Arts and Business Partnership of Southern New www.AmericansForTheArts.org November 2004 | Monograph | 9 Jersey, a New Jersey State Council on the Arts meeting that effeted4cey~legislators an opportu- nity to address the issue, public hearings, a full-page newspaper ad with more than 500 signa- tures supporting the restoration of cultural funding, 48 municipal and 19 (of 21) county res- olutions supporting the arts, curtain speeches (where performers return to the stage following a show to explain the dire situation in the state and to ask patrons to get involved in efforts to restore funding), and even a junior high school class that staged a "Funeral for the Arts" with a symbolic coffin and Spoon River Anthology-style mono- logues about the loss of state funding. The media picked up on all of these stories. The most visible and pivotal show of support came in May 2003 at a rally held in Trenton. Nearly 1,000 people joined together, including actors John Amos and Tony Randall, to voice their sup- port for arts funding in New Jersey and to call on legislators to make it happen. Hundreds of thou- sands of postcards were delivered to the state house. "It happened when budget hearings were under way, but before hard negotiations began, and a good time to make an impact," said Miller. For the first time, legislators began to say that they would find a way to secure state support for arts and history. Key lawmakers from both parties were talking about a possible dedicated revenue source that linked arts and history to toTirism, the state's second largest industry. Earlier, a story in The New York Times suggested that the governor might agree to restore half the arts budget—an idea that was soundly rejected. It was clear that the arts were vital to the people of the state, and that anything less than full funding was not an option. Leaders .representing the New Jersey State Council on the Arts, the New Jersey Historical Commission, the New Jersey Cultural Trust, and arts and history advocacy groups met almost weekly to strengthen their messages and share data underscoring how much was at stake. At the same time, a heritage-focused think tank began to look at ways to structure a dedicated stream of revenue for the arts, cultural tourism, and history. Initial reaction was lukewarm at best, but perhaps because of the .liming it began tagain momentum in the legislature. In the end, an occupancy fee of 7 percent on New Jersey hotels was passed into law. When the FY 2005 state budget was proposed, the New Jersey State Council on the Arts was not only preserved but its budget was increased by $6.7 million over the year before, to $21.2 million, as well as $3.84 mil- lion for state's Historical Commission and $720,000 for the Cultural Trust. Although there was clearly reason to cheer, Miller warned against complacency. "This is not a con- stitutionally mandated tax," she pointed out. "It can be repealed at any time." And, although there is generally good feeling about the revenue stream, subsequent word from the governor that he would be resigning from office has left the door open to an unknown future. "What's important now," said Miller, "is to remain vigilant, to keep making the case for the arts, to maintain a strong coalition, arid'to continue to demonstrate the direct and positive impact that the arts have on the economy'and New Jersey's quality of life." Being visible and staying alert to further changes in the political landscape may be the two best rules for minimizing the impact of the next crisis. Oklahoma Oty, Oklahoma: Postering the Creative Class The concept of a creative class, first proposed by George Mason University professor Richard Florida several years ago, has had a ripple effect in many communities. In his book, The Rise of the Creative Class, Florida asserted that economi- cally successful cities are those that attract and retain creative talent because they are culturally diverse and offer lifestyle amenities attractive to creative people. These include outdoor activities, such as bicycling and jogging, and "street-level culture" that mixes the arts, music, and dining in neighborhood spaces. Serving Communities. Enriching Lives. 10 Monograph November 2004 Red Earth Dancer. Photo courtesy of the Arts Council of Oklahoma City. "Richard Florida has done a great job of articulat- ing what the arts community has said for years," said Elizabeth Eickman, executive director of the Arts Council of Oklahoma City. Indeed, there are implications for the arts community and the eco- nomic impact of the arts in Florida's ideas. In his book, Florida ranked major cities with a "Creativity Index." The top four were San Francisco, Austin, San Diego, and Boston. Fourth from the bottom was Oklahoma City—a standing not unnoticed by that community. Nevertheless, Florida's ideas resonated with area leaders, and they invited him to speak. "The Greater Oklahoma City Chamber of Commerce began to explore Florida's principles in terms of driving economic development," explained Eickman. "They launched a 'Human Capital and Diversity Project' and formed a lead- ership team of individuals not traditionally involved with the Chamber. They tried to reach beyond the norm." Included were Eickman and other members of the arts community, as well as individuals fxom-ethnically diverse cemmunity and economic development groups, such as the Native American Chamber of Commerce. This leadership team was organized into four sub- committees: Cultural Development, Matching Talent, Attract and Attract-Back, and Communica- tion and Inclusion. "Inclusion was initially the 'tolerance' component," Eickman noted, "but the group resisted that term as too patronizing." With the subcommittees in place, focus groups are now being conducted to identify strategies for attracting people to Oklahoma City, bringing back individuals who have left, and retaining those planning to leave the area. The Human Capital and Diversity Project is looking at other city models, and the Cultural Development group is studying such catalytic organizations as Artspace in Minneapolis and the Torpedo Factory in Alexandria, VA, as examples of how to attract and retain talent. Some important initiatives are starting to take shape. "We all agree that a local public relations effort needs to come out of this brainstorming phase," said Eickman. "We need to get citizens and businesses on board and understanding the creative assets of the community. We need to cheerlead." She and her colleagues envision a pub- lic relations and communications initiative that starts locally, reaches out regionally, and ultimately has a national profile. Another initiative being considered is an internship program with area universities, which will bring together civic, business, and nonprofit representa- tives to look at how recent graduates (as well as individuals doing vocational and technical training) can get plugged into the community, generate opportunities, and remain in Oklahoma City. The Native American community, in particular, has been welcoming of Richard Florida's ideas, but they are anxious to see something concrete come from the planning. "They want to be involved," said Eickman, "but understandably, like all of the participants, if they don't see progress, they will leave the process." www.AmericnnsForTheArts.org November 2004 I Monograph | 11 The Human Capital and Diversity Project is not without its frustrations. A great deal of informa- tion has to be digested, and the pace can be maddeningly slow. "Everyone knows that this is a marathon, not a sprint," Eickman said. "We have to be in this for the long term, and that requires a great deal of effort on-everyone's part. It can be daunting." Some members of the "old guard" have been skeptical, but Eickman believes current Chamber leadership has embraced the philosophy and a change is under way. "We are a fairly young state, and we have an independent spirit that can some- times run counter to collaboration. But we are seeing a change. I've noticed an entrepreneurial attitude, a confidence we did not have. We didn't used to brag much, but that's changing too." Once specific initiatives are identified, funding will need to be tapped. A sales tax of 1 percent, known as the Metropolitan Area Project (or MAPS), was in-place from 1993 through 1999, raising more than $360 million for 10 projects, including two cultural facilities. Currently a "MAPS for Kids" tax has been levied for the next seven years that will focus on the public school system and, along with a $180 million bond, will include renovations for schools and spaces for arts programs. "There appears to be an openness now to these proposals, and this openness is key," Eickman said. What would she tell arts organizations in other cities interested in such fundamental changes? "Change takes time, and that can be frustrating," she noted. "It is important to keep explaining and demonstrating how the arts contribute to economic development. Creativity is about being unique, and artists are the best to embody that uniqueness." "Above all," she concluded, "you can never tell how something like this is going to come together. Some days it pays to show up. Why go to Chamber luncheons and community meetings? Because when the stars are in alignment, you are in a good place to move the arts agenda forward." Study Participants: 2004 Arts and Humanities Council of Tulsa Oklahoma Arts and Science Council of Charlotte/Mecklenburg, Inc. North Carolina Arts Council of Buffalo and Erie County New York Arts Council of Fort Worth and Tarrant County Arts Council of Greater Baton Rouge Louisiana Arts Council of Northwest Florida Pensacota, Frerida~ Arts United of Greater Fort Wayne, Inc. City of Boston Mayor's Office of Cultural Affairs Massachusetts City of Los Angeles Cultural Affairs Department California Commfaijon for ArtsWndi&ltuK! .. City of San Jose ""s^ Office of, Cultural Affairs California CityofTempe Department of Cultural Services / COMPAS Saint Paul, Minnesota Fulton County Arts Council Georgia Greater Columbus Arts Council Greater Hartford Arts Council Connecticut Greater Philadelphia Cultural Alliance Pennsylvania Miami-Dade County Department of Cultural Affairs Missoula Cultural Council Montana Office of Arts and Cultural Affairs. Seattle, Washington Quad City Arts Reglonafwswd"""-r Culture/Council Portland, Oregon N.,, . , • ' Saint Louis Regional Aiis, Commission Missouri; ;;•'•/' , :> Salt Lake City Arts Council Utah /iUnion County Division of Cultural and Heritage Affairs ..,,--"'"' ; New Jersey ••*'; •.•'.-.•- Woodruff Arts Center Atlanta, Georgia „ , Serving Communities. Enriching Lives. AMERICANS ""•""ARTS Washington, DC Office 1000 Vermont Avenue NW 6th Floor Washington, DC 20005 7207,371.2830 F 202.371.0424 New York City Office One East 53rd Street 2nd Floor New York, NY 10022 T 212.223.2787 F 212.980.4857 info@artsusa.org www.AmericansForTheArts.org Contributor William Keens Wolf, Keens & Company Editors Susan Gillespie Anne L'Ecuyer ... . . Americans for trie Arts Copyright 2004, Americans for the Arts. Printed in the United States. Opinion.)ournal - OiibUKu 6t AKI;> OpinionJournal fiom THE WALL STREET JOURNAL iTHE WALL STREET JOURNAL Editorial Page PRINT WINDOW CLOSE WINDOW LEISURE & ARTS Suburban Culture Soccer, SUVs and, now, symphonies. BY JOEL KOTKIN Wednesday, January 19, 2005 12:01 a.m. THOUSAND OAKS, Calif.—Patricia Jones remembers when, as a 20-something aspiring actress, she first arrived in Southern California from Michigan. Her friends urged her to move to the bright lights of Hollywood or the hip, arty precincts of Santa Monica. But Ms. Jones, seeking "peace and quiet" instead, chose Thousand Oaks, a bedroom suburb then a 30- to 40-minute drive northwest of Los Angeles. Thousand Oaks indeed was quiet, but also, she recalls, "a bit boring," with little in the way of cultural amenities or night life. But things have changed. Twenty years later, Ms. Jones is astounded by the growth of a vital culture community smack in the middle of this land of shopping malls, high-tech office parks and ubiquitous SUVs. "Now it's a place where people live, work and find their entertainment. It's a totally different environment." Ms. Jones should know. She's president of the Alliance for the Arts, a group that helps raise funds for Thousand Oaks' sprawling $63 million Civic Arts Plaza, which over the past year can boast of the likes of "Aida," Paul Anka and Wynton Marsalis among its 400 performances. And this performance center's development reflects a profound shift in the cultural geography of America. At a time when many cities are basing their long-term hope on exploiting their traditional dominance in arts-related industries, the suburbs are beginning to provide some serious competition for both patrons and donors. This evolution has its roots in basic demography and economic trends. Since 1960, more than 90% of all population growth in America's metropolitan areas has taken place in suburbia. Today roughly two out of three people in large metropolitan areas live in the suburbs. At the same time, many suburban areas have grown wealthy by becoming home to most of the nations' high-technology businesses and the most fertile ground for entrepreneurial startups. In Thousand Oaks—home of Amgen, the world's largest biotechnology company—the population has grown from 35,000 in 1970 to more than 125,000 today. Its median family income is more than $86,000, well above the national and regional averages. And Thousand Oaks is not the only place in which some of this burgeoning suburban wealth is now being spent on cultural facilities. This is occurring even in those regions, such as greater Chicago, whose historic core offers world-class cultural attractions. According to a 2002 study by the Illinois Arts Alliance, there are now more arts-related jobs in the http://www.opinioniournal.com/forms/printThis.html?id=l 10006175 1/20/2005 OpinionJournal - LEISURE & AKiS suburbs than in Chicago. Although the city has not lost such jobs, the report adds, the suburban totals have been growing far more rapidly. "It's a total misconception that the arts are only in the city," suggests Alene Valkanas, executive director of the alliance. "The arts consumers move into the suburbs and have families. They don't have the flexibility to drive into the city, but they still want to do things." Ms. Valkanas points to the growth of local arts organizations like the Elgin Symphony, in a town of 90,000 in the far western suburbs of Chicago. Over the past 20 years, the symphony has morphed from a volunteer association of wannabe-musician doctors, lawyers and accountants into a thriving full-fledged professional orchestra. Since 1996, for example, the symphony's subscriber base has more than doubled to over 2,300 people. Sprawl, changing commuting patterns and a surplus of qualified musicians have contributed to this growth, suggests Michael Pastreich, executive director of the symphony. Many newly minted academy-trained musicians, he notes, cannot find employment in the top-tier city orchestras and now find their talents can be employed in the suburbs. Patrons, meanwhile, are finding that the increasing time needed to commute to the city makes local venues all the more attractive. "Getting into the city is getting harder and harder," Mr. Pastreich explains. "The parking, the traffic, the lines are not worth the tradeoff when you can get a basically downtown-quality performance close to home." "What's happening is that the power base is shifting to the suburbs—they have the political and economic power to get what they want," observes Neal Cuthbert, arts program manager for the Minneapolis-based McKnight Foundation. He points to a "quiet arts revolution" taking place in the region's hinterlands, including major arts developments in Anoka, Hopkins and Minnetonka, as well as a new $7.2 million arts project in suburban Bloomington, home to the massive Mall of America. Mr. Cuthbert notes that many suburban political and economic leaders also see cultural development as the key to addressing the periphery's lack of a civic focus. "There's a '«, rush of amenity-raising in suburbia," he says. "They are trying to find an identity for themselves." This development is, if anything, even more notable in the sprawling, highly suburbanized regions around greater Washington, Atlanta and Los Angeles, where an ever-larger proportion of arts patrons reside outside city boundaries. One clear example is the new $100 million, 2,000-seat Strathmore concert hall, which will open next month in northern Bethesda, Md. The new facility will serve as a second home to the Baltimore Symphony Orchestra, which has been struggling to find subscribers at its downtown venue. Similarly, Georgia's new $125 million Cobb Galleria Performing Arts Center, which will break ground later this month on three theaters, may offer stiff competition for the likes of such venues as the venerable Fox Theatre in downtown Atlanta. Another huge project that could further disperse the area's cultural scene is the Encore Park for the Arts in north Fulton County. It plans to anchor a 227-acre mixed-use development with a $90 million complex that will include a 12,000- seat amphitheater, a 2,000-seat multipurpose hall, a visual-arts gallery and an educational center. http://www.opinionjournal.com/forms/printThis.html?id=l 10006175 1/20/2005 OpinionJournal - LEISURE & AKii> But perhaps nowhere is the dispersion of cultural institutions more advanced than in Southern California. Despite massive infusions of public and private money to make downtown Los Angeles the region's primary cultural destination, successful performance venues and art museums have already taken root in locales scattered from Thousand Oaks and Pasadena to west Los Angeles, Cerritos, Long Beach and La Mirada. New facilities are being discussed in other places, including a proposed $100 million arts complex in Northridge, located in the San Fernando Valley. Arguably the most impressive transformation has taken place south of Los Angeles in Orange County, which long epitomized suburban blandness. Yet over the past quarter-century, as its population has doubled to roughly three million, the area has acquired a trendy image in the popular culture—as evidenced by the near-cult status of the television show "The O.C." and the influence of the surfwear fashions produced in the region's "Velcro Valley." Next year, for example, the new 2,000-seat Segestrom Concert Hall will be rising next to the already thriving Orange County Performing Arts Center. Together they will offer a combination of venues comparable to those of the much-ballyhooed cultural center of downtown Los Angeles. "Culture is the last piece of the puzzle," notes Jerry Mandel, the center's director. "You see here the whole transformation from bedroom, to industry, to sports and now culture." Orange County's affluence has allowed the center to grow and develop without public subsidy, an important advantage in revenue-challenged California. Although her center was built with some public funds, Thousand Oaks' Ms. Jones also has enjoyed some of the same favorable suburban economics, as reflected by the tripling of her endowment to $9 million from $3 million over the past decade. Given the Civic Arts Plaza's success to date, there are now plans for an upscale shopping center and perhaps a new museum on the site. Although none of this will magically transform Thousand Oaks into the next Beverly Hills or downtown Los Angeles, which are now a trek of an hour or more away, Ms. Jones believes local residents will continue to find it increasingly unnecessary to brave the freeways to get a taste of culture. "People in the big cities may think we are still a backwater," she admitted. "But they couldn't be further from the truth." Mr. Kotkin is a Los Angeles-based Irvine Senior Fellow at the New America Foundation and the author of "The City: A Global History," to be published by Modem Library in April. Copyright © 2005 Dow Jones & Company, Inc. All Rights Reserved. PRINT WINDOW CLOSE WINDOW http://www.opinionjournal.com/forms/printThis.html?id=l 10006175 1/20/2005 Roles and Responsibilities of the Carlsbad Arts Commission Draft: January 2005 Review and advise City Council on works of public art Award Community Arts Grants Do follow-up site "audits" Help Arts Office with operational policies For example, Vendor Policy for TGIF Jazz Become informed and knowledgeable about the arts and culture of the City Act as liaison between the City Council and the community Listening and reporting community's comments back to City Council Explaining and informing City Council positions to the community Act as advocate for the arts on both regional and state levels Section 2.18.100 of Ordinance 1279 The Carlsbad Arts Commission shall have the power to: 1. Encourage individuals and organizations that provide an educational experience in the arts for the citizens. 2. Provide direction and support for continued development and presentation of a variety of arts in the City. 3. Generate a wide range of programs that develop the skills of the participants at all levels of creative expression. 4. Provide, through an Advisory Arts Commission, a forum for arts concerns and recommendations to the elected officials and their staff concerning arts issues. 5. Develop the concept of contracting for cultural services with local arts organizations and individual artists. 6. Encourage citizens to take advantage of the arts programming offered by agencies and institutions in the community. 7. Provide financial assistance, whenever feasible, to groups or individuals who provide public arts programming to the citizens. 8. Help promote school and community cooperation in the programming of artistic and cultural events and opportunities. 9. Recognize and assist those who have specialized knowledge and skills in the arts. 10. Develop cooperative arrangements between the City and other agencies, local, state and federal, to provide needed arts facilities for the City. 11. Encourage the planning and development of new or augmented arts facilities as may be needed. 12. Provide for the selection, installation and maintenance of works of art within public facilities. 13. Encourage private businesses to display works of art in their public places. 14. Seek private funding in all areas of the arts. 15. Promote cooperative arrangements between the City and other agencies, local, state and federal, to provide works of fine art for display in public places. 16. Facilitate the utilization of free public exhibition spaces. 17. Review and make recommendations upon all works of art to be acquired by the City, either by purchase, gift or otherwise, and their proposed locations. 18. Review and make recommendations with reference to any existing works of art in the possession of the City in connection with the removal, relocation or alteration thereof. 19. Determine a method or methods of recommending the selection and commissioning of artists with respect to the design, execution and placement of works of arts for which appropriations have been made; and pursuant to such method or methods, recommend to the City Council selection of artists by contract for such purposes. 20. Prior to payment for works of arts, review such works to report on the conformity of the finished work with the approved plans or other documents describing the work of art to be carried out.