Arts Link – Summer 2021

I N T HIS IS SU E: Art and Justice: Black Lives Matter Murals Revisited | Make ArtsU Work For You Asian American Artists Confront Racism | DEI Framework | National Arts & Humanities Month

Americans for the Arts

THE SOURCE FOR ARTS PROFESSIONALS IN THE KNOW

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arts

SUMMER 2021

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arts Arts Link Mission

Published three times a year for our Professional Members, Arts Link provides insight and expertise on the latest trends, resources, tools, and ideas in the field of local arts agencies and arts professionals. Written by Americans for the Arts staff and guest contributors, Arts Link brings together arts advocacy news, member spotlights, and highlights of artists and arts organizations from across the country so that our members can continue to create a world where everyone has access to the arts and their transformative power.

Arts Link Managing Editor Linda Lombardi llombardi@artsusa.org Arts Link Editorial Committee Regina Burgher Lauren Cohen Ben Davidson Graham Dunstan Isaac Fitzsimons* Heather Flanagan* Nicole Goodman* Cedeem Gumbs* Ruby Lopez Harper* Danielle Iwata* Jerelle Jenkins Nikki Kirk Pam Korza Clayton Lord* Christina Ritchie Marissa Shadburn* Ami Scherson Jessica Stern Inga Vitols* Patricia Walsh Ann Marie Watson * denotes content contributor this issue Arts Link Design Studio e2 Cover Black Lives Matter activism poster by Monyee Chau, courtesy of the artist.

Inside Cover “Firmament” in Discovery Green, Houston, by artist Christopher Schardt, photo by Katya Horner.

Advertising Opportunities For information about rates, schedules, and discounted advertising packages, please contact us at exhibits@artsusa.org.

Copyright 2021, Americans for the Arts.

Calendar OCTOBER 2021 National Arts & Humanities Month

OCTOBER 15, 2021 Arts + Business Partnership Awards

DECEMBER 7–8, 2021 National Arts Marketing Project Conference

SUMMER 2021 Contents FEATURES

06 Asian American Artists Confront Racism Asian American artists lead the charge against the rise in anti-Asian hate

12 Art and Justice: Black Lives Matter Murals Revisited One year after Black Lives Matter murals appeared across America, communities continue to use art to hold the country accountable DEPARTMENTS

04 Working for You Americans for the Arts News

2020 National Arts Policy Roundtable, DIAL Goes Digital, Arts + Business Partnership Awards

10 Member Center You Belong Here

Convention Features Artists Paving the Way Forward, Member Spotlight: Darlene McClinton, Member Briefings

16 Leadership in Practice Inspiring Leadership Through Example

James McKissic and ArtsBuild, Next Steps on Our Equity Journey, Leadership Awards

18 The Toolbox Information to Help You Succeed

National Arts & Humanities Month, Coronavirus and Cultural Equity Digests, ArtsU, Arts Link Survey

02 From the President Message from President and CEO Nolen V. Bivens

03 Editor’s Note Preview of stories this issue, trivia, highlights from the bookstore, and web features

SUMMER 2021 | ARTS LINK | 1

From the President

A

s the country continues the work of recovery and reopening, Americans for the Arts is going through a regeneration as well.

“ Every day, in ways big and small, artists, arts administrators, arts advocates, and staff at organizations across the country have rallied and proven how essential the arts are to our nation and to the healing we all need right now.”

AS THE NEW PRESIDENT AND CEO of Americans

To best serve you in this effort, Americans

for the Arts, I want to take this opportunity to

for the Arts commits to power sharing and

introduce myself to you, our valued members.

building mutually beneficial relationships with

I have been involved with the organization

those in the field doing the work. We will further

for almost 10 years—first with the National

develop a culture that centers equity within

Initiative for Arts & Health Across the Military,

our work, our staff, and our organization. Two

then as a board member, and now serving

pieces already in place are our Diversity, Equity,

side-by-side with the staff.

and Inclusion Framework and our Cultural

In my time as President and CEO, I have been struck by the passion and dedication I am surrounded by every day. The twin pandemics of this past year—COVID-19 and systemic racism—have devastated the arts and culture sector. Yet every day, in ways big and small, artists, arts administrators, arts advocates,

Equity Digest, both of which you can read about in The Toolbox section of this issue. In addition, our Cultural Equity Resource Center, Language Bank, and the framing of our work around advancing an Inclusive Creative Economy sets the stage for our work to be more transparent, measurable, and accountable.

and staff at organizations across the country

We know many of you are working in these

have rallied and proven how essential the arts

spaces and look forward to supporting you

are to our nation and to the healing we all need

in your work to advance and advocate for

right now. Our Annual Convention earlier this

greater equity in all facets of the arts and

summer focused on the resiliency and strength

culture sector. Fundamentally, organizations

inherent in the arts and shared the great work

are about people—the people on staff and the

and revolutionary ideas that are changing the

people in the community they serve. I believe

way we all work together—factors that will bol-

the arts and culture sector will come out of this

ster our sector as we continue the work ahead.

experience more united than we were before

The arts are instrumental to answering the nation’s calls for social change and equity.

Data proves over and over that the arts create empathy, bring people together, and help us heal. I have seen these positive results firsthand with returning service members who use art therapy to deal with trauma. As a country, we are all recovering from trauma.

There is a palpable need to build a new, equitable arts and culture sector—not simply return to “normal” and rebuild the previous

COVID-19. The word “community” contains both “unity” and “unit,” which feels appropriate in the case of the arts: while the arts are sometimes seen as having one individual creator, you need the community, the team, to make anything happen. Our future successes and setbacks all come down to uniting our community—those working to advance the arts at the local level. The arts and culture sector is a national asset. I look forward to working with you to ensure it thrives for years to come.

structures and systems that intentionally marginalized so many.

2 | ARTS LINK | SUMMER 2021

The Source for Arts Professionals in the Know

Editor’s Note Online

WITH REOPENING PLANS being announced

across the country, it’s hard not to be excited about the prospect of coming back “ARTS SPACES For Queer

together and experiencing live performances

BIPOC During COVID,”

again. The anticipation as the lights go down

a three-part series on ARTSblog,

before the play begins. The excitement when the

highlights the way in which queer

band strikes the opening notes of a song. The

BIPOC-identifying individuals

power and beauty of dancers moving across a

have preserved their art spaces

stage. As innovative as the digital space is and

Trivia

during a pandemic. Read the series online here.

as welcome a discovery as it has been, it simply can’t compare to the energy of a live show.

We’ve been separated from this energy for

20 YEARS AGO, the influential

collective of artists and curators known as Godzilla: Asian American Art Network disbanded.

Read more about their work and influence in our feature story, “Asian American Artists Confront Racism.”

17 long months and returning to it feels like coming home. What I find most exciting about this homecoming is the drive to not return to a “normal” that didn’t work, particularly for intentionally marginalized groups. There is a commitment to move past the way things used to be done and embrace a new way of being with each other that centers equity and community. As you’ll read in the pages of this issue,

BOOKSTORE

artists are at the heart of this new energy.

In Asian American Artists Confront Racism, Irene Mei Zhi Shum expands on her popular blog from May about how Asian American

Center for Cultural Exchange African in Maine African in Justice Maine Artees esVida Vida The Esperanza Peace and Center Arte

CULTURAL PERSPECTIVES IN CIVIC DIALOGUE

artists have used their art to address anti-Asian

Center for Cultural Exchange

hate. In Art and Justice: Black Lives Matter

Hawai’i Alliance for Arts Education

Murals Revisited, Isaac Fitzsimons looks at

Explore the efforts of cultural organizers King Kamehameha I Statue Conser The Esperanza Peace and Justice Center King Kamehameha I Statue Conservation Project working within and across cultures to ... ... ... C A S E S T U D I E S F R O M A N I M A T I N G D E M O C R A C Y

... “ ... ”“”“ .... .. ””“. .. .. “” ”“”“ “” .. ......“”“” .. “”“” .......... “ ” .. .“ ....... “”“”“”“” .. ”“”“”“ ....... ” ”“ ““”“ ... ... ”““ ”“ ....... ”. “”“ ... ..... ”“”“”“ .. “ .. ”“ ... ”“”“” .. “....“”..”“ ... ”“”. “”“” .......... “ ”“ ... ”“” “”“” ”“”“” “....... .. .... ”““”“ “ ... ... erspectives ”“”“ ”“ ... .... ”“”“ “”“ ... . ... in civic dialogue .......“ ” .. ”“ “”“ ... ”“”“”“ ”.. .. .. .“ ”“”...“” .. “”“” .......... “ ” .. .“ ....... “”“”“”“”

Cultural

P AMERICANS FOR THE ARTS

understand cultural considerations in arts-based civic dialogue work. Their endeavors

some of the murals that appeared across the country during the 2020 summer protests.

illuminate how cultural norms mediate public

We are actively looking to spread the word about

space and participation and how the choices

the work of our members in Arts Link and are

regarding art forms and dialogue approaches

particularly interested in stories about reopening

can support or discourage civic participation.

and recovery; ways you’re connecting with your

Buy your copy today.

community; work that centers diversity, equity, and inclusion; and how you’re incorporating

TRAPPINGS: STORIES OF WOMEN, POWER AND

discoveries from the past year into your current

CLOTHING Over six years, Tiffany Ludwig and

and future work. Please email me for more info

Renee Piechocki embarked on an interview

or to share your idea. I’d love to hear from you!

journey across the United States, talking with more than 500 women about what clothing means to them. Clothing offers a vehicle to

—Linda Lombardi, Managing Editor llombardi@artsusa.org

discuss the issues women face related to power and identity, including the expectations placed upon them by their affiliation with a specific gender, race, class, or profession.

LINDA LOMBARDI, (she/her) is the communications manager for Americans for the Arts, and a theater director and dramaturg. Read more.

Buy your copy today.

Photo by Jendayi Asha Creative

AmericansForTheArts.org

SUMMER 2021 | ARTS LINK | 3

AMERICANS FOR THE ARTS NEWS

WORKING FOR YOU to basic needs that are not universally available like food, water, shelter, broadband, technology, capital, and education. + Strengthen capacity to tell local creative worker stories. Capturing and

activating local impact stories helps articulate the creative economy’s impact to community members and decisionmakers. This enhanced relatability pushes toward recognition and support of creative workers as essential to community health, vitality, and equity. + Seat creative workers at decisionmaking tables. Creative workers seated Virtual conversation during the 2020 National Arts Policy Roundtable.

NATIONAL ARTS POLICY ROUNDTABLE Centers Creative Workers

at decision-making tables, particularly BIPOC, disabled, and other untapped

the Roundtable explored what strong,

creative workers, would add necessary

inclusive, equity-centered investment

perspectives on how to move toward

in the creative economy could mean.

equity. This includes positions on advi-

Through the ambitious proposals that

sory committees, boards, and in public

arose, the arts sector, creative economy,

offices, and with adequate preparation,

and nation’s 5.1 million creative workers

training, support, and fair compensation.

can recover, thrive, and become a visible,

+ Resist returning to normal. Rather

valued, and essential component of a

than rebuild inequitable systems, a new

more equitable and prosperous nation.

pathway forward is vital, with a focus on

+ Shift the narrative about creative

how we value, identify, and distribute

workers. Creative workers, particularly

resources; training and skill-building

those who are intentionally marginalized,

with emerging technology; collaborative

have been undervalued, underpaid, and

methods of impacting and measuring

AT THE 15TH ANNUAL National

underrepresented in dialogues about the

impact on communities; integration of

Arts Policy Roundtable, Put

future of the sector. Resetting the rela-

young artist voices; and every decision

Creative Workers to Work: Reimagining

tionship between creative workers and

driven by racial and cultural equity.

Our Nation’s Creative Workforce, held

the creative sector from within, while

+ Maintain new coalitions and collective

virtually on December 1–2, 2020,

externally defining the creative economy,

action. Arts coalitions that formed in

discussion centered in part on the Put

is critical to shifting the narrative so cre-

reaction to the pandemic created more

Creative Workers to Work policy proposal.

ative work can be valued as meaningful,

egalitarian structures, inclusive of artists

Co-chair and Tony Award winner

necessary, and economically powerful.

and creative workers. Sustaining these

Brian Stokes Mitchell was joined by

coalitions in a post-pandemic frame will

artists, foundation leaders, union

+ Reposition creative workers as experts on their own needs. Addressing

representatives, philanthropists, local

past presumptions about how to support

+ Consciously situate arts, culture, and

arts agency leaders, arts educators,

creative workers is crucial for a healthier

creativity within broader societal issues.

and members of Congress to discuss

and more sustainable cultural ecosystem.

Intentionally implementing the creative

the dire state of the creative sector

This means prioritizing work by BIPOC,

sector’s ability to expand thinking and

due to COVID-19. Timed to explore

disabled, and other untapped perspec-

develop creative ways of embracing,

the implications of new Presidential

tives, as well as exploring artist-centered

informing, and catalyzing change can

and Congressional administrations

advisory funding models and recognizing

support our global and local communi-

as well as local- and state-level shifts,

that much of artmaking requires access

ties in crisis today.

4 | ARTS LINK | SUMMER 2021

be fundamental to a more resilient sector.

The Source for Arts Professionals in the Know

DIAL Goes Digital DUE TO THE IMPACTS OF COVID-19, Americans for the Arts took the Diver-

sity in Arts Leadership (DIAL) internship program online in 2020. Now entering its 29th year and second virtual year, DIAL focuses on creating a more culturally equitable arts sector by providing undergraduate students underrepresented in arts leadership with internship opportunities, mentorship, professional development, and more. Rather than take a hiatus, DIAL continued in a remote setting, providing interns a unique virtual experience that seeks to

2021 Arts + Business Partnership Awards

educate participants on arts administration and support them through the path of arts leadership.

For 10 weeks, interns work remotely at an arts organization in one of three

EACH YEAR, Americans for the Arts

national locations: Nashville, New Jersey, or New York City. In this virtual envi-

presents the Arts + Business Partner-

ronment, interns work closely with their organization, under the guidance of a

ship Awards, which recognizes businesses of

professional arts administrator as supervisor. Through Zoom and phone calls,

all sizes for their exceptional involvement with

interns gain a thought partner and support through a mentor. Interns also attend

the arts that enriches the workplace, inspires

DIALogues, virtual seminars where they engage with cultural equity topics, such

innovation, and transforms communities. Win-

as navigating the arts field as BIPOC emerging leaders and arts as a catalyst for

ners of this award become part of a network

social change. They also have conversations with artists and arts professionals

of like-minded businesses and leaders who set

in the field and have opportunities to network and engage with artists and arts

the standard for excellence and serve as role

administrators throughout the DIAL cohort and field. Thus, while still operating

models for others to follow.

online, DIAL continues to be a distinct and all-encompassing summer internship

This year’s honorees include:

for college students with an interest in cultural equity and arts administration. n

Audible (Newark, New Jersey)

n

NMG Network (Honolulu, Hawaii)

n

Underestimated People of Purpose (UPOP) (Denver, Colorado)

n

n

Universal Orlando Resort (Orlando, Florida) University of Michigan Credit Union (Ann Arbor, Michigan)

n

Vestar (Phoenix, Arizona)

The David Rockefeller pARTnership Award will be presented to PNC + Arts and Education Council (St. Louis, Missouri).

The Leadership Award will be presented to Aziz Hasan, CEO of Kickstarter.

The awards will be presented at a virtual gala on October 15, 2021. Visit AmericansForThe Arts.org/Partnership-Awards for more details!

Zoom meeting of 2020 DIAL interns and staff.

SUMMER 2021 | ARTS LINK | 5

Resilience activism poster by Monyee Chau, courtesy of the artist.

ASIAN AMERICAN ARTISTS

CONFRONT RACISM

by Irene Mei Zhi Shum

L

eading the charge against the

impeded the creation of families and

incidents of anti-Asian violence, accord-

recent rise in anti-Asian hate,

full integration into American life. The

ing to advocacy group Stop AAPI Hate.

Asian American artists are raising

Angell Treaty of 1880 regulated immi-

Located on opposite coasts, the work

awareness of the history and

gration of skilled and unskilled labor

of photographer Mike Keo and multi-

diversity of Asians in America; actively

from China and set the foundation for

media artist Monyee Chau exemplify

challenging the dual stereotype of the

the Chinese Exclusion Act of 1882, which

this new generation of Asian American

Yellow Peril and the model minority, while

prohibited immigration and barred natu-

activist-artists who are working within

advocating for social justice, equity, and

ralization. Despite numerous challenges

their respective communities to counter

inclusion for all.

in the court, the Chinese Exclusion Act

racism and ignorance. Both skillfully

was not repealed until 1943 and only

employ social media to enlighten and

racist Gold Rush-era trope of the Yellow

fully abolished with the Immigration

effect change.

Peril, that cast Asians as a vice- and dis-

and Nationality Act of 1952.

The pandemic sadly resurrected the

ease-ridden population whose language

This new law helped establish the

In late February 2020, weeks before Connecticut declared a state of

and culture was unassimilable. For these

pernicious and divisive myth of the

emergency, Mike Keo started the viral

supposed reasons, in the early and mid-

model minority: the large influx of

social media campaign #IAmNotAVirus.

19th century, states and municipalities

Asian students and professionals, now

Unsettled by the xenophobic epithets and

along the West Coast passed anti-

permitted to enter the country, could

politicization of the virus and outraged by

Chinese laws. These local laws were fol-

more readily integrate and achieve

a racial incident targeting a family mem-

lowed by the first federal restrictions on

the “American Dream.” Their success

ber, Keo, who is of Khmer descent, began

immigration and naturalization. Although

and upward mobility have often been

taking portraits of Asian American friends

initially directed towards the Chinese,

unfairly and wrongly offered as proof of

and acquaintances and asked each

these laws were extended to ban other

America’s meritocracy, to deny systemic

sitter to share three #IAm statements

immigrant groups from East Asia, South

racist practices in housing, education,

about themselves, their interests, and

Asia, and Southeast Asia, including the

and access to opportunity that disen-

their passions. By presenting individuals,

Japanese, Indians, Filipinos, Malays, and

franchise communities of color. Most

#IAmNotAVirus humanized those who

Koreans. These laws helped to create the

bitterly, the model minority myth masks

would be subject to anti-Asian harass-

lingering century-old misperception of

the difficult truth of the disparity within

ment. Following the murder of George

Asians as perpetual foreigners, or provi-

Asian American communities, as income

Floyd, Keo initiated the social media

sional Americans, whose citizenship and

inequality in the United States is rising

campaign #IAmNotAThreat in support

national allegiance is open to question.

fastest among Asians, due to varying

of Black Lives Matter. As a father of two

levels of education and country of origin.

small children, Keo and a team of like-

The Page Act of 1875 was the first federal law restricting immigration—

Anxiety over COVID-19 brought these

minded artists developed and distributed

of any ethnic group. Coupled with

prejudices to the fore. Within the last

over 1,000 copies of a coloring book,

anti-miscegenation laws, the Page Act

year, there were nearly 6,600 reported

Asian American Pioneers, to educate

AmericansForTheArts.org

SUMMER 2021 | ARTS LINK | 7

ASIAN AMERICAN ARTISTS CONFRONT RACISIM

The Chinese Question. 1871. Photograph.

LOC.gov/Item/2005696252.

“ Photography was my outlet to transmute grief and outrage into the joy of being Asian American. Our lives are more than just hostilities and trauma.”

Mike Keo Photographer

Godzilla group photo by Tom Finkelpearl, courtesy Tomie Arai.

young children on the historical contribu-

version was projected on High Street

tions of Asian Americans. Working with

in London, England, by W1 Curates.

the Make Us Visible CT campaign, Keo

Recognizing the current vulnerability of

successfully advocated to include Asian

Chinatown residents, Chau also designed

Pacific American studies in public school

a pamphlet resembling a take-out menu

curriculum in a bill that was signed into

titled “Chinatowns in America and The

Connecticut state law in June 2021.

Racism That Built Them” featuring

“Photography was my outlet to transmute grief and outrage into the

highlight the significance of Chinatowns

joy of being Asian American. Our lives

as safe havens for Asian immigrants.

and experiences are more than just

The menu was immediately downloaded

hostilities and trauma. I wanted the pho-

and shared over 18,000 times. Like Keo,

tographs to celebrate our individuality,

Chau took immediate action in response

what we loved about ourselves, and how

to the horrific murder of George Floyd,

our loved ones saw us. I wanted to send

designing another poster with a powerful

a resounding message that an attack

graphic of a crouching tiger and black

against us was an attack against your

panther circumscribed within a yellow

own neighbor,” says Keo.

and black yin-yang symbol and the

In April 2020, following a disturbing

8 | ARTS LINK | SUMMER 2021

historical facts and a list of resources to

inscription “Black Lives Matter: We

incident when white nationalists

stand in solidarity” (see front cover).

vandalized Asian-owned businesses in

Chau boldly states, “We take care of

Seattle’s Chinatown, Monyee Chau—who

each other and keep each other safe.

is of Taiwanese and Chinese descent and

Artwork can be the reminders we need

queer, and who was born and raised in

for the histories of our empowered

the neighborhood—created a poster to

communities and solidarity work across

bolster the spirits of area residents. Four

all marginalized peoples.”

simple line drawings of lion heads frame

Keo and Chau follow a long line of

the inscription: “Chinatown Filipinotown

Asian American activist-artists and cura-

Japantown Little Saigon / were all built

tors who deserve wider recognition. In

on Resilience / We will survive this too”

1990, artists Ken Chu and Bing Lee

(see page 6). The poster was wheat-

and curator Margo Machida founded

pasted around Seattle and a digital

Godzilla: Asian American Art Network,

The Source for Arts Professionals in the Know

Photos by Mike Keo.

an influential collective of artists and

The Art World: 1990–2001 that was

advocates, tenants fighting evictions,

curators in New York City. Its members

scheduled to open in May at New York

poets, nail salon workers, nurses,

included Tomie Arai, Allan deSouza, Karin

City’s Museum of Chinese in America, in

mutual aid and food pantry workers,

Higa, Arlan Huang, Byron Kim, Colin Lee,

protest over the museum’s support of

and community organizers from across

Janet Lin, Mei-Lin Liu, Stephanie Mar,

a new jail in Chinatown and in solidarity

the country. We also collected dozens of

Yong Soon Min, Helen Oji, Paul Pfeiffer,

with community groups and local resi-

artifacts including artwork, posters, polit-

Eugenie Tsai, Lynne Yamamoto, Alice

dents whose opposition was silenced.

ical statements, zines, videos, podcasts,

Yang, and Garson Yu, among many others.

Members met regularly at Art in

The activism of the historic collec-

Instagram posts, and COVID toolkits

tive Godzilla, new groups like G19, and

from people of Chinese, Japanese, South

General, an alternative art space on

the individual work of recently activated

Asian, Cambodian, Korean, Arab, Thai,

the border of Chinatown, to present

artists like Keo and Chau inspire us

Fillipinx, Native Hawaiian, and Vietnam-

and discuss their work. They also

to find ways to make the arts and

ese descent. Coming to terms with the

published a newsletter and organized

our communities more equitable. Thank-

past and redefining the ways that people

exhibitions. In 1991 in an open letter,

fully, A/P/A Voices: A COVID-19 Public

and places will be memorialized is at the

Godzilla successfully petitioned the

Memory Project, initiated by the Asian/

heart of these conversations about social

Whitney Museum to include more Asians

Pacific/American Institute at New York

change. Documenting these experiences

in its exhibitions and staff, resulting in

University in collaboration with artists

is essential to the process of healing and

Byron Kim’s participation in the 1993

and scholars Tomie Arai, Lena Sze, Vivian

storytelling for all.” By giving voice to their

biennial where he debuted his powerful

Truong, and Diane Wong, is actively col-

communities, artists like Keo, Chau, and

work Synecdoche (now in the collection

lecting oral histories and artifacts created

Arai expand our understanding of the

of the National Gallery) and the 1994

during this urgent period of reckoning.

power of art to move us toward the inclu-

appointment of Eugenie Tsai as a curator

The materials will be preserved for future

sive American ideal: E pluribus unum.

and the director of its now closed branch

study at the NYU Tamiment Library and

in Stamford, Connecticut.

Robert F. Wagner Labor Archives.

Although Godzilla disbanded in 2001,

According to Tomie Arai, “The public

former members continue their individual

memory project is a radical rethinking

creative practices and remain politically

of the archives as an activist practice.

active. Several recently joined together

We recorded over 30 remote interviews

with other artists to form G19 and in

that reflect the complex and multi-fac-

March 2021, in a coordinated response,

eted experiences of Asian Pacific

withdrew en bloc from the comprehen-

American communities. These interviews

sive retrospective exhibition Godzilla vs.

included street vendors, sex worker

AmericansForTheArts.org

A shorter version of this story first appeared on ARTSblog on May 11, 2021.

IRENE MEI ZHI SHUM (she/her) is an arts executive and curator of contemporary art and architecture.

Read more.

SUMMER 2021 | ARTS LINK | 9

YOU BELONG HERE

MEMBERCENTER MEMBER CENTER

Larissa FastHorse, photo courtesy John D. and Catherine T. MacArthur Foundation.

ANNUAL CONVENTION Features Artists Paving the Way Forward

Nwamaka Agbo, photo by Bethanie Hines.

In what one attendee called “the most

“They want to manage or mitigate

honest and raw talk I have ever heard,”

risk and aren’t willing to lose assets.

playwright and MacArthur Fellow Larissa

But to be frank, taking a risk on actually

FastHorse called attendees in on racial

supporting social movements is nothing

justice, saying, “We’re not what’s leftover

compared to the lives being lost in

or broken; we are what our ancestors

the streets.”

dreamed for us and created us to be.

Our Dakota culture survived generations of disease and invasions. Why must we deny our culture—on our own land—just to enjoy your art?”

THE 2021 AMERICANS for the Arts

Annual Convention took place virtually June 8–11, drawing together nearly 800 people from across the country to learn from over 60 presenters about advocacy, policy, creative economy, COVID-19 recovery, tackling systemic racism, and the way forward.

creative community of Greensboro, North Carolina, Black Theatre United,

while also creating spaces to collectively

Broadway for Georgia, and others, closed

envision a more vibrant and equitable

with a performance of The Keep Going

future creative economy. In addition to

Song, created by The Bengsons in the

hands-on trainings around research,

midst of the pandemic.

social media, and advocacy, Convention

“I pray that when we meet again that the

featured boundary-pushing conversa-

Alice Waters and Ron Finley; playwright

the digital space, and redefining

Larissa FastHorse; data artist Jer Thorp

resource distribution.

designer Allentza Michel; actress Annette

Mainstage speaker and restorative

world has changed into the world that we are imagining now together,” they sang.

“For each other, and for our ancestors, and for our kids.”

Thank you to everyone who joined us this year—and see you in 2022!

economist Nwamaka Agbo encouraged attendees to reassess how risk and restoration are tied together.

Bening; and arts advocates LaChanze,

“Philanthropic organizations often are

Seth Rudetsky, and James Wesley.

in ‘charity,’ not in ‘solidarity,’” she said.

10 | ARTS LINK | SUMMER 2021

Sebastian and Suzanne Furstenberg,

creative sectors over the past 18 months,

creative economy, artists’ rights in

public artist Vinnie Bagwell and civic

Islanders in Philanthropy, public artists the Be An #ArtsHero coalition, the

powerful keynotes from food activists

and philanthropy activist Edgar Villanueva;

Stay Down, Asian Americans and Pacific

celebrate the work done to support local

tions about decolonizing data, inclusive

restorative economist Nwamaka Agbo

with art from Thao and the Get Down

This year’s Convention was built to

Highlights of the conference included

and anthropologist Maribel Alvarez;

The conference, which was peppered

The Source for Arts Professionals in the Know

Member Spotlight: Darlene McClinton DARLENE MCCLINTON is

the grants manager for ArtsGreensboro, a community-supported nonprofit organization and the largest public

Put Yourself in the Spotlight

and private alliance dedicated to sustaining the Greensboro,

OUR MEMBER SPOTLIGHT series on

North Carolina, arts economy.

Photo by Bert Vanderveen.

Co-founder of The Artist Bloc, an arts venue in Greensboro, McClin-

ton is also an artist, educator, entrepreneur, collaborator, ally, and advocate.

Since joining ArtsGreensboro in December 2019, she has made a significant difference in their outreach efforts, diversifying their grant pool, and expanding their artist support grant applications over 400% from the previous year.

ARTSblog features Americans for the Arts members and the transformative work being done for arts education, public art, advocacy, arts marketing, and more. Would you like to be in the spotlight? Do you know someone who deserves to be recognized? Be part of the series and spotlight your organization!

In a recent Member Spotlight, McClinton discussed ArtsGreenboro’s grant



portfolio and how her experience as an artist serves her in her work as a grants

Sign up or nominate a colleague today!

manager, the importance of having artists at the table, and what inspires her as an artist. Read the full Spotlight on ARTSblog.

‘‘

Member Briefings

Having an artist at the table, such as the Downtown Greenway’s Public Art Committee, is imperative because of advocacy, serving as a spokesperson

JOIN AMERICANS FOR THE ARTS staff and

for the practice of art, and communicating the

fellow members once a quarter for

’’

importance of the arts in communities.

Member Briefings! Register online today.

Upcoming Dates:* n

August 17, 2021 National Arts & Humanities Month Advocacy

n

D ecember 14, 2021 2021 Looking Back and Looking Forward

Got a topic you’d like to know more about?

Email us at membership@artsusa.org.

*dates/topics subject to change

“ Bridging The Gap” mural, The Downtown Greenway, designed and installed by Darlene J. McClinton + Creative Minds Team, photo by Darlene McClinton.

SUMMER 2021 | ARTS LINK | 11

No Room For Racism Mural in Rock Hill, South Carolina, photo courtesy Brittany Kelly.

ART AND JUSTICE : BLACK LIVES MATTER MURALS REVISITED

by Isaac Fitzsimons

O

n the morning of June 5, 2020, Washington, D.C., residents awoke to find the words “Black Lives Matter” painted across 16th Street NW in bright yellow letters.

Located a block from the White House, the 40-foot

mural spans the length of three and a half football fields and is large enough to be seen from space. It was commissioned by D.C. Mayor Muriel Bowser, not only in reaction to the murder of George Floyd two weeks prior, which ignited world-wide protests against police brutality, but also, as stated by Mayor Bowser in an opinion piece for The Washington Post, to show who the streets of D.C.—affectionately called “Chocolate City” because of its large Black population—belong to, after federal police, helicopters, and unidentified armed personnel descended upon the nation’s capital in the wake of the protests.

As similar murals began cropping up across the country, and even as far as Australia, the reactions have been polarizing. In some cities, such as Tulsa, Oklahoma, the murals have been subject to vandalism and removal. And notably, the Twitter account for Black Lives Matter DC called the D.C. mural, “a performative distraction from real policy changes.”

SUMMER 2021 | ARTS LINK | 13

ART AND JUSTICE: BLACK LIVES MATTER MURALS REVISITED The United States is at a cultural Artist Vinnie Bagwell and I’Satta ©2016, 8’ plasticine in progress, New York State Council on the Arts, photo by Jonathan Lewis.

turning point with one group wanting to hold the nation accountable for its systemic racism, and another wanting to deny that systemic racism even exists.

At the 2021 Americans for the Arts Annual Convention, Vinnie Bagwell, a sculptor and last year’s recipient of the Pérez Prize for Public Art & Civic Design, spoke about how public art is uniquely qualified to shine a light on the parts of our history that some would rather remain hidden.

In speaking about her project, “The Enslaved Africans’ Rain Garden,” which celebrates the lives of the first enslaved Africans to be freed from slavery in the United States 64 years before the Emancipation Proclamation, she said, “I understood intuitively that if I’m going to try and introduce this story and have it accepted, I’m going to do it with beauty…I can tell the most

“ I can tell the most atrocious story as long as I make it beautiful…

That’s the only way I can talk about the kinds of things that have happened to Black people in this country because the beauty slays first.”

Friendship Nine members W.T. “Dub” Massey (l) and David Williamson, Jr. (r) with Brittany Kelly; photo courtesy Brittany Kelly.

Black Lives Matter Mural, Greenwood District, Tulsa, photo by Alan Bates.

Vinnie Bagwell Sculptor and 2020 recipient of the Pérez Prize for Public Art & Civic Design

atrocious story as long as I make it beautiful…That’s the only way I can talk about the kinds of things that have happened to Black people in this country because the beauty slays first. Then they understand the story.

I’m making it palatable.”

One act of racial violence in U.S. history that is hard to swallow is the 1921 Tulsa Race Massacre. White mobs attacked, looted, and burned the homes and businesses of Black residents in the Greenwood District, leaving as many as 300 Black people killed; thousands more injured, detained, and displaced; and 35 blocks of what had been a vibrant Black neighborhood, destroyed.

Almost a century later, on June 18, 2020, more than 50 people gathered in the Greenwood District to paint the words “Black Lives Matter” on the street.

The day held significance as it was one day before Juneteenth—which commemorates the day in 1865 when the

n ithsonia

m sacre, S ace Mas d f Tulsa R istory an o H s in an ic ru of Amer Postcard African f o m u Muse National n. collectio Culture

last enslaved people were freed in Texas, almost two and a half years after the Emancipation Proclamation—as well as being two days before former President Trump held a campaign rally in the city.

14 | ARTS LINK | SUMMER 2021

The Source for Arts Professionals in the Know

permission from the city, Kelly and

In November 2020, the city’s

first city to create a Black Lives Matter

While D.C. is credited as being the

her friends, family, and employees

local arts agency, ahha Tulsa, began

mural during the 2020 summer protests,

quietly installed the mural on July

showcasing the work of a local Black

the city of Tulsa became the first to have

Fourth weekend. While there were a

artist each month through murals on

one removed after another group wrote

few naysayers, reactions were overall

the side of their building. Additionally,

to city officials asking for permission to

positive, and “Friendship 9” became one

earlier in May, the city unveiled “Black

paint a “Back the Blue” mural near where

of the most Googled terms that week.

Lives Matter Street” a two-mile stretch

Trump made his speech.

Tulsa Mayor G.T. Bynum wrote

In a place like Rock Hill, which Kelly

of road in North Tulsa. The honorary

describes as “striving to be a city for all,”

street name was approved by Mayor

about the Black Lives Matter mural on

there’s still tension between acknowl-

Bynum and the street signs were paid

Facebook saying, “It is a beautiful mural.

edging historical racism and the desire

for by Tulsa’s BLM chapter.

The message is an important one, and its

for racial equity. For instance, less than

Inspired by the events of last

location is a powerful one given all that

a mile from Freedom Walkway, a public

summer, Kelly created MercEmpower,

Greenwood means to Tulsa.” However,

art piece that honors the fight for racial

a six-month mentoring program for

the mural was installed without city

justice in Rock Hill, is Confederate Park.

Black women ages 21 to 40 interested

permits and was ultimately removed,

There are multiple petitions online to

in opening a retail store in Rock Hill.

despite 14,000 signatures on a petition

get the city to change the park’s name.

The initiative includes free space for

to make it a permanent piece of artwork.

Clearly, there is more work to be done.

a pop-up shop, assistance finding a

Prior to its removal in October, it was vandalized with a streak of blue paint.

Kelly agrees. “Ultimately a mural

location, and a startup grant. Kelly says

isn’t going to change hate in people’s

that her goal is to spread love, belonging,

hearts.” But the mural has accomplished

and community, and that art could help

Hill, South Carolina, recalls the exact

her main goal of educating community

empower others to do more.

moment when she knew she needed to

members “on what took place here and

act last summer. Kelly was crossing the

how we don’t want to repeat history.”

Brittany Kelly, a resident of Rock

street during a Black Lives Matter pro-

When asked about the state of

According to Americans for the Arts’ 2018 public opinion poll, Americans Speak Out About the Arts,

test when another marcher told them to

the mural a year later, Kelly says that

70% of Americans believe that the “arts

stop and wait for the cars to go first.

she’s written to the city to try and get

improve the image and identity” of their

Kelly says, “It clicked in my head

it touched up but hasn’t heard back.

community. In the United States, there

right then and there that unless we inter-

“Part of me feels like they want it to

are many places like Tulsa and Rock Hill

rupt this regularly scheduled program,

just disappear.”

struggling to reconcile their racist past

no one will notice our pleas.”

Rock Hill played a crucial part in the

This reaction to the events of last

with their current identity. With 21 states,

summer is disappointing, but not unique.

including Oklahoma, introducing efforts

Civil Rights Movement in 1961 when a

In Oklahoma, Governor Kevin Stitt has

to restrict what students can be taught

group of Black men staged a sit-in at a

signed several bills into law, including one

about race and racism, this is turning

segregated lunch counter at McCrory’s

that authorizes cities and towns to paint

into an even larger challenge.

Five & Dine on Main Street. Sit-ins were

blue lines on city streets, and one that

widely used as a nonviolent act of civil

gives protection to motorists who kill or

this reconciliation and holding our

disobedience across the south. But the

injure protestors with their vehicles.

country accountable to its ideals of

demonstration in Rock Hill sparked

However, in both Tulsa and Rock Hill,

The arts can play a major part in

liberty and justice for all. According

the “jail, no bail” strategy because 9 out

community members, organizations, and

to Bagwell, art is “an opportunity to

of the 10 men, now called the Friendship

individuals are doing their part to affirm

balance the narrative” by telling the

Nine, took a 30-day jail sentence at

that Black lives truly matter.

stories which have been implicitly or

York County Prison Farm instead of paying a $100 fine.

After her revelation, Kelly, the owner

Almost two weeks after the removal of the Tulsa mural, a 200-foot-long mural

is “some version of justice.”

was completed on the wall of Maggie

of a retail store called The Mercantile,

and Kajeer Yar’s private property. Com-

reached out to her friend and neighbor,

missioned by the Yars, this new mural,

Heather Johnson, to design a mural.

designed by artist Melody Allen and

Instead of “Black Lives Matter” the

painted by a group of Black artists from

mural reads, “No Room For Racism,”

the Tulsa area called the Black Moon

Rock Hill’s motto, and includes the faces

Collective, features images of past and

of the Friendship Nine. After obtaining

present Greenwood residents.

AmericansForTheArts.org

explicitly silenced. This, says Bagwell,

ISAAC FITZSIMONS (he/him) is the research and evaluation manager at Americans for the Arts and a writer of young adult fiction. Read more.

Photo by Raquel Toledo.

SUMMER 2021 | ARTS LINK | 15

INSPIRING LEADERSHIP THROUGH EXAMPLE

LEADERSHIP IN PRACTICE organizations in Chattanooga could stay open, the artists could survive, and everyone had the skills to fulfill their community-building roles. ArtsBuild set up an artist emergency fund for individual artists and have since launched a grassroots organization recovery fund, which provides a monthly stipend to very tiny organizations (under $50,000 annual budget) to keep them operating until they can generate income again.

They launched Tech Goes Home for the Arts, a low-cost, 15-hour training co-developed with The Enterprise Center to teach artists and small arts organizations how to monetize their online presence and use digital and social media to connect with their audiences.

ArtsBuild put together a suite of free shared services, including accounting, HR, and marketing and communica-

Photo by John Adams Photography, Chattanooga.

tions. Similarly, McKissic and team have engaged a racial equity consultant to provide free board workshops, staff train-

CREATING COMMUNITY WITH THE ARTS James McKissic and ArtsBuild

justice, and as a life-long visual artist,

ings, and facilities and communications

McKissic arrived just in time for the

audits to any grantees, and have con-

Chattanooga arts community.

ducted a series of racial equity trainings

“Working in education and social justice,”

around board and staff diversity.

says McKissic, “I would always link

Now that the world is reopening again,

the work I was doing back to the arts.

McKissic and his team want to make sure

The arts are how we express our

everyone in Chattanooga is aware of Arts-

humanity and how we show who we are

Build and its work.

to other people.”

McKissic. “We’re talking to people, being

ArtsBuild—during a period of lockdown,

present at fairs and festivals and events,

uncertainty, and economic and social

to tell our story and help people connect.”

crisis—McKissic has brought all his organizing skills to bear.

JAMES MCKISSIC stepped into his

role as president of ArtsBuild, the local arts agency in Chattanooga, Tennessee, in January 2020, five weeks before the pandemic closures cascaded through the arts community.

“We looked at our mission,” says McKissic, “to build a stronger community through the arts, and we said, ‘When you have to be six feet apart and wearing a mask, how do you build community?’”

Coming from a career focused mostly

The answer, for McKissic and his

in education, social services, and social

team, was to ensure that the cultural

16 | ARTS LINK | SUMMER 2021

“We’re heading into communities,” says

In the 18 months since McKissic joined

For McKissic, there is a very real relief in being able to get out there and evangelize for the arts.

“That’s the work I’ve always done,” he says. “Being out there. Engaging with people. Creating community.”

The Source for Arts Professionals in the Know

2021 Leadership Awards

Next Steps on Our Equity Journey

IN JUNE, Americans for the Arts preWE CONTINUE TO EXAMINE how to uproot systems of oppression, both

internally and externally. Through this exploration we have developed our Diversity, Equity, and Inclusion Framework, which will guide and inform our external field work. The framework will be used by all staff producing fieldfocused work to unite and organize efforts to engage arts agencies. Over the next three years, Americans for the Arts resources will be focused and account-

sented awards to five outstanding arts field leaders. Given annually, these awards celebrate excellence, leadership, and commitment to enriching communities through the arts. The honorees are: n

1

Award, honoring an individual at the state

Support the fullest range of local arts, culture, and creative practices,

level whose arts advocacy efforts have

expressions, and assets through advocacy, research and data, partnerships,

dramatically affected the political landscape.

and resource participation and distribution.

2

Honor the inherent knowledge of their communities and constituents and

n

visionary leadership by a new and/or young

Cultivate the leadership of Black, Indigenous, and People of Color (BIPOC);

arts leader who demonstrates an ability to

Lesbian, Gay, Bisexual, Transgender, Queer, Intersex, and Asexual (LGBTQIA+)

engage and impact their community.

individuals; and people from the disability community. n

4

Christine Her (Des Moines, Iowa)—American Express Emerging Leader Award, recognizing

share power in the development of arts policy and practices.

3

Julie Baker (Sacramento, California)— Alene Valkanas State Arts Advocacy

able to achieve four necessary shifts in local arts development practice:

Advocate for inclusive organizational policies and culture, and transform

Jean Tokuda Irwin (Salt Lake City, Utah)— Arts Education Award, recognizing

systems and programs to center equity.

transformational leadership in arts

Over the next six months, we will review existing programs and services to

education through strategic planning, strong

identify alignments and gaps. We will examine structures to ensure resources,

programming, and the engagement of

relationships, and outcomes are intentional and meaningful. We anticipate field

partners to achieve community goals.

activation into the final development process before full release in early 2022.

n

Hoong Yee Lee Krakauer (Queens, New

A first step in this work is the recent launch of a language bank, which organizes

York)—Selina Roberts Ottum Award,

commonly used terms in our work, communications, and materials. We hope

recognizing an individual working in arts

this will assist other agencies in reflecting on terminology, because we believe

management who has made a meaningful

in the importance of language in equity work.

contribution to their local community and who exemplifies extraordinary

This is an exciting time filled with potential and opportunity. We embrace the

leadership qualities.

ability to build and strengthen relationships and partnerships in the field and are open to new ways of amplifying and accomplishing the collective work to

n

Alma Robinson (San Francisco, California)— Michael Newton Award, recognizing an

advance equity in local arts practice and policy.

individual for their innovation in developing arts and business partnerships for the arts and/or long-term achievement in effective and creative techniques to engage the Rainbow Ribbons at Westminster Presbyterian Church in Minneapolis, photo by Ruby Lopez Harper.

private sector.

Americans for the Arts congratulates these impactful 2021 Leadership Awards honorees!

Leadership Award courtesy Rosetree Glass Studio.

SUMMER 2021 | ARTS LINK | 17

INFORMATION TO HELP YOU SUCCEED

THE TOOLBOX

Take the Arts Link Survey ENJOYING ARTS LINK? Don’t forget to take

our brief Readers Survey to share your thoughts about this issue.

Want to hear more about the work of local arts agencies across the country? Curious about the latest advocacy news? Interested in how other Americans for the Arts members are advancing DEI work? Or maybe you have an idea for an Arts Link story you want to Photo by Ann Marie Watson.

share with us. Your opinion can help shape future issues. Tell us about it! (Survey takes 5 minutes or less to complete.)

CELEBRATE National Arts & Humanities Month

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What story was your favorite?

n

What topics would you like to read more about?

n

Which sections are most relevant to your work? 

Take the survey today!

OCTOBER IS NATIONAL ARTS & HUMANITIES MONTH (NAHM), a coast-to-

coast collective celebration of culture in America. Americans for the Arts is proud to collaborate with our members for this annual celebration elevating the arts and humanities in America.

Here are three big ways to bring NAHM to your community this October. Get access to these ideas and resources at AmericansForTheArts.org/NAHM. Join in the fun! + Ask your local government for a proclamation. Your mayor, city council, or

even governor can officially declare National Arts & Humanities Month! Read about how to secure a local proclamation and use our sample proclamation to help your local government get started. + Join our 31-day “Show Your Art” Instagram challenge! Find our unique,

daily themes online and post your photos throughout the month using #ShowYourArt2021. Select images will be shared by Americans for the Arts on Instagram throughout the month. + Get the word out to the media about how you and your community are

taking part in NAHM. Learn more about working with the media, how to garner attention for events, and download our press release template and customize it for your community.

18 | ARTS LINK | SUMMER 2021

The Source for Arts Professionals in the Know

Make ArtsU Work For You DID YOU KNOW THAT ARTSU has multiple

styles of programs to suit different topics and learning styles? Here are just a few types of programs that we invite you to participate in.

A Series is a learning journey of webinars focused on a specific topic. Check out the How to Partner With Your Chamber of Commerce Series, which explores how these

strategic partnerships are essential to community and economic development.

Part 1 establishes a foundational knowledge of local chambers of commerce, how to

Creating the Coronavirus and Cultural Equity Digests

navigate a traditional business environment, basic activations a local arts agency can undertake to establish a partnership, and more. Part 2 will be released this fall.

Classrooms are extended opportunities to

enhance your knowledge in a specific content WE CAN’T ESCAPE THE REALITY that the pandemic has changed

area. Usually 12 weeks long, these courses

everything we do. Nothing has remained the same—experiences,

include on-demand learning, activities, and

participation, consuming, gathering. One of the ways Americans for the Arts

live discussions with peers. Learn more about

has responded to that change was the launch of two weekly news digest

the Arts Administrators Essentials: Supporting

emails to members through our listservs. The first was the Coronavirus News

Individual Artists Classroom, and stay tuned

Digest, which stemmed from trying to make sense of the information and

for more coming soon!

rolling closures as they launched around the country. It has been a helpful way to aggregate information and share national context while supporting practitioners in the field to navigate the new landscape. As the year went on, we moved from daily to weekly emails, and revamped the accompanying resource center. Around June 2020, as the year gave rise to civil unrest and Black Lives Matter protests in response to the numerous murders of Black and Brown individuals and police violence around the country that continues to come under the spotlight, we revamped and launched the Cultural Equity Resource Center and produced an accompanying Cultural Equity Weekly

Our newest initiative—the ArtsU Support Program—increases equitable access to live

and on-demand digital activities. Through complimentary registration, anyone can participate in any public ArtsU digital activity, such as Community, Values, and Histories in Public Art. To participate, visit the ArtsU Support Program page.

Digest, which is focused on aggregating the arts response to the societal

Check out our catalogue of upcoming

experience and on access to resources and training to assist practitioners as

events here. Have questions? Email us

they support their individual communities.

at artsu@artsusa.org.

AmericansForTheArts.org

SUMMER 2021 | ARTS LINK | 19

1000 Vermont Avenue NW 6th Floor Washington, D.C. 20005 T 202.371.2830 F 202.371.0424 AmericansForTheArts.org

#ArtsCreateHope

#ArtsCreateHope #ArtsCreateHope