Policing the Sacred: Art and Censorship Panel features Shirin Neshat.

Shirin Neshat; College Art Association, New York City, 2011.

Last spring, I attended a fascinating talk during the College Art Association meetings in New York City. The session, “Policing the Sacred,” was organized by the National Coalition Against Censorship but I can honestly say that I flew out there just to see Shirin Neshat speak on the topic – love her work.

This CAA panel came right on the heels of the removal of David Wojnarowicz‘ video from an exhibition at the National Portrait Gallery. “Policing the Sacred” panelists were:
Artist and educator Richard Kamler, who talked about his installation piece that wove pages cut from the Koran and the Torah – and incited controversy in New Haven last year.

Bulgarian video artist Boryana Rossa – who talked about her husband, Oleg Mavromatti, who is currently wanted by Russian authorities. Mavromatti is accused of “inciting religious hatred” by performing a video work in which he had himself crucified.

Iranian artists and filmmakers Shirin Neshat and Shoja Azari spoke about the recently completed “Women without Men.” A collaborative piece on film that evokes the religious, social and political tensions surrounding the 1953 coup that brought the Shah to power.

The panel was moderated by Eleanor Heartney, author of Postmodern Heretics: The Catholic Imagination in Contemporary Art and introduced by Svetlana Mintcheva, Director of Programs for the National Coalition Against Censorship.

It was a really interesting conversation, and I really appreciated hearing more about the situation in Europe and the East. The session was taped and the video is available (in two parts) via YouTube. For whatever reason, the videos do not embed correctly in this blog post.

WATCH THEM ANYWAY.

Part I:

watch?v=weqICrz_kT8

and II.

watch?v=_1V6bxUil4I&feature=related

Share
Posted in Deep Thoughts., What's On My Mind... | Tagged , , , , , , , , , , , , , , , , , , , , , , , | Comments Off

How to Save Money: Feed the Pig

When artists tell me that money isn’t important, I can be reasonably sure that it is because they rely on someone else to pay their bills.

The truth? No matter who you are, money matters. It really does.

For the next month — just as an experiment — start thinking about the small stuff. Not just the big expenses, but the items that have you digging in your purse to count coins. At work, the” small stuff” might be office supplies, lunch tabs, or add-ons to special events.  In your personal life it might be a daily caramel macchiato or a lottery ticket.

These small amounts are the items we don’t keep track of, the things we do to unconsciously (or consciously) “treat” ourselves after a hard day.  It’s the stuff we justify as “essential” even though it’s really a statement about our own feeling of powerless-ness.  We feel we “deserve it” but the truth is we feel we can’t do any better anyway; things will never change; it’s too small to make any kind of difference in our lives.

In organizations, money has a close relationship to power and control. At age 20, I worked as an administrator at a large corporation and one of my responsibilities was to draft a $1.5 million annual budget for my department. Part of that process involved collecting sensitive information about salaries and annual sales goals from other departments.

Standing at the copy machine, the sales manager turned to me and asked, “Are you authorized to have access to this information?” But what she really meant was, “You’re basically just a ‘secretary’ – I don’t want you to know how much I make and you shouldn’t be involved in deciding what needs to happen here.”

Actually, my boss was really smart. He trusted me to draft the expense budget and then we finalized it together. He worked on the salary projections himself and added them to the final numbers. In doing so, he shared the department’s goals for the year with me as well as the management responsibility for meeting them. I knew exactly how much folks got paid and I also knew how their professional experience and academic qualifications contributed to that figure.

But his approach is rare. Most managers treat the budget like a secret document, sealed with wax and passed around the c-suite. It seems easier –it prevents those awkward conversations about why so-and-so gets paid more than you – but it means that your staff will never feel accountable for what they spend, or have any incentive to make changes that improve the financial health of the organization.

Are you buying donuts every Friday out of petty cash?  Maybe it seems like pocket change or maybe donuts seem like a reward to a tough work week, but if your staff had to spend “their” money, they’d probably make different decisions. How can you make your budget more transparent to staff? How can you involve them in the budgeting process?  What salary increases can be secured for them if they meet those goals?  Because the answer to that salary question is the one that will get them to buy-in when you ask them to give up the donuts. And by the way, you have to ask (not tell) to make those changes voluntary and be transparent about the cost savings; otherwise, you’re on the fast track toward mass resentment. Brought on by low blood sugar.

Individual artists might find it helpful to change a regular habit and set the money physically aside in a jar or envelope. I did this when I quit smoking some years ago. I was barely making ends meet at that time in my life, but I always had $4 for a pack of cigarettes. $1000 a year was a lot of money to me in those days; even more so now when I think that, had I been able to put just one year of cigarette money into the stock market and kept adding $60 a month to the account instead of buying cigarettes… it would be worth  more than $19,000 today.

Being dependent on someone else financially (when they can’t afford to give) isn’t creative freedom. Being broke sucks a lot more than working, and it sucks a lot more than bringing your lunch to work four out of five days a week.  Last year I put a coin counting jar in the laundry room and pulled $87 in coins out of the washing machine in one month. I kept the money, spent it on a spa day, and quid pro quo, my family stopped leaving change in their dirty jeans. Do not underestimate the power of the small stuff.

In the beginning, it’s hard. You don’t get to do everything you want to do, but the fact is? You never will. Once you finally do get some money together, you’ll realize how hard it is to come by and you’ll stop throwing it away on stuff that doesn’t really matter. That’s the secret to acquiring assets and keeping them to spend on what you want. And that’s the secret no one seems to have shared with Michael Jackson and Ed McMahon. Money doesn’t buy happiness, but it does buy a whole lot of time in a recording studio, new paint brushes and trips to writers workshops.

Challenge:

For the month, starting today – June 9th, 2011 – take your coins and put them in a jar at the end of each day. On July 9th, 2011, take your jar to Coinstar at the grocery store and get it counted. Give yourself one of Coinstar’s vouchers and spend that money on whatever you want. Drop me a comment and tell me how much you’ve saved and what you bought yourself, and I’ll feature you on the blog.

Share
Posted in Deep Thoughts., Fundraising, Professional Development, What Works?, What's On My Mind... | Tagged , , , , , , , , , , , , , , , , , | 2 Comments

Careers in the Arts.

When I started working for 3M in 1988, lots of women looked just like Melanie Griffith in Working Girl.

 

I’m not sure what irritates my family more – that a) they don’t understand what I do for a living; or b) that I make a pretty good living at it.

Lots of interesting discussions happening at home lately about going to college vs. not going to college; what academic qualifications contribute to real world jobs, and whether or not the real world is a better teacher than the average college professor.

Very few college majors actually prepare you for a real world job. Is a college degree really necessary? Should high school graduates go straight to college? Why?

Did you go? Did what you study at college have any impact on what you ultimately did for a living? How so? What was the proportion of valuable skill learned at college vs. the real world?

What was your first real “break” in the world of work?

Some random thoughts. I’d love to hear your on-topic rants – whether you drive a taxi or run a museum.

Share
Posted in Deep Thoughts., What's On My Mind... | Comments Off

Take-Home Quiz: What Are Some of The Reasons You’re Broke?


T/F Your gallery hours are 9 a.m. to 5 p.m., Monday to Friday; closed weekends and holidays. Ticket buyers call the box office but no one answers – not even a voicemail service.

T/F It’s 2011 and you don’t have a website. You don’t like people who self-promote. You’re not ready to sell anything, or you won’t sell it without a frame and, anyway, the relationship between art and money is just…so….

T/F You tweak your artistic plan of attack so often that you have no idea what is really bringing your audience in (or making them leave).

T/F You tell yourself people just don’t understand your work. And you’re not just talking about your Mom.

T/F You know what the paying audience loves (and hates), but you don’t care. You’d rather do what you want to do, because the relationship between art and money is just…so….

T/F You never open or review bank statements, because the relationship between art and money is just…so….

T/F You’re relieved when financial committee meetings are canceled; you serve on too many boards to be involved in all that.

T/F You don’t check the past performance of partner organizations; employees; or board members against your vision and mission of your organization.

T/F Getting credit (or handing it out) is more important to you than the quality of the actual artistic work on the project or the resulting impact on audiences.

T/F You tell me you’re ready to be famous, but when real opportunities come your way; you just never get around to filling out the forms. Or you decide to do something radically different (see #4) than the original plan we agreed on four weeks ago – the one we’ve all been working toward. You just forgot to mention it and, unfortunately? All those commitments made on your behalf will have to be broken.

Share
Posted in Deep Thoughts., How To Be Famous, Professional Development, What Works?, What's On My Mind... | Tagged , , , , , , , , , , , | Comments Off

Deep Thoughts:Week of May 16, 2011.

Share
Posted in Deep Thoughts., Professional Development, What's On My Mind... | Tagged , , , , , , , , , , | Comments Off

Please. Bring The Magic Back to Live Performance.

Filippo Tommaso Marinetti said that art that is celebrated often gets its laurels for being unchallenging. It’s worth remembering that sometimes a standing ovation means you have failed as an artist.

In my work as a consultant, I see a lot of stuff. Trust me when I tell you that the standing ovation is not what it used to be.

Instead of a rare gift from the audience to the performers it’s now more a sort-of bad habit. A standard practice for audiences who may be expressing their undying love, sure, but your audience may just as likely need a good stretch and a head start on getting home.

Automatic-Reflex-Standing-O’s are right up there with executive directors’ bad habit of grabbing the microphone at curtain time to say [all-in-one-breath] thank you to basically everyone they’ve ever met who might be in the audience and didn’t see their name noted in the Playbill; those who gave money; those who are just thinking about giving money, and the lead singer’s Aunt Edna who is in town from Skokie and always inspired.

Unless the work is exceptional; amazing even; my good friend J. and I applaud from our seats. We’re not trying to be jerks – we’re trying to bring back The Magic, because in trying to please everyone and make every idea and process brilliantly, wonderfully, accessible – I think we’ve lost some of The Magic and most of the mystery.

That hush that comes over the audience when the lights go down. The twinge of excitement as the curtains part. The “I have no idea what is going to happen” feeling or  “however did they do that?!” conversation that happens over drinks after the show.

That’s all still happening for Cirque du Soleil over there in Vegas because, in my opinion, Cirque knows the secrets of a good, Magic, show. They do amazing work but never let you figure out exactly how it happened. It begins the moment the audience enters the venue and they are kept in suspense until they walk out the door.

No one in Cirque leaves character to thank their Aunt Edna.  No one begs for just one more dollar. And, as far as you can tell, the performance came off without a hitch. You’ll leave without ever really knowing who was responsible for holding the rope or arranging the greens.

Yes, it’s for-profit. Yes…it’s Vegas. But the fact of the matter is that audiences love it and beg for more. They aren’t likely to make the distinction between for-profit and non-profit when they buy their tickets. They just want to see a show, and they want to be amazed. Is The Magic and Mystery of live performance what (insert broad, sweeping generalization here) “we”  sacrifice in favor of organizational transparency?

What do you think? What do we, as practitioners, owe the audience? Our staff? Our performers? Our boards? Our donors? How should we interact with them before, during, and after each performance? Do those responsibilities ever conflict with the process of making and performing the show?

 

*The Marinetti quote was taken from Max “Bunny” Sparber’s post, Bad Influences, on HowlRound. Read it. It’s brilliant.

Share
Posted in What's On My Mind... | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , , | Comments Off

Making Space: New Office Decor.

One important thing I have learned from my friends is that space matters. Where you live and work contributes not only to your level of productivity; but your general sense of well-being.

My good friend Elaiza Irizarry, of The PlayGround Theatre, does amazing things with color. The walls of her offices always draw you in with art and with paint in vibrant colors. Cynthia Treen lives and works with textiles that wrap you in pattern and texture.

When I rented my white cube, the other day, I decided to suck it up and spend some money to make it into a space I’d want to be in all day, every day. I started with this chair (because I love Ikat) and it just exploded. You can see the entire office as it develops here on my Pinterest page.

Pinterest is a great way to sort and organize visual information. You just “pin” pictures from the web on to different “boards” of your own making. It can be anything, and I think it is a great tool for artists and creative thinkers.  My next Pinterest project will be to start a “Vision Board” for my life, and what I want it to look like. Anyone want to join me?

Share
Posted in What Works?, What's On My Mind... | Tagged , , , , , , , , , , , , , , , | Comments Off

2011 TCG National Conference and RADAR L.A./REDCAT

Next month I will be in Los Angeles for the TCG National Conference. I’m excited about the launch of RADAR L.A. at REDCAT – the West Coast spawn of New York’s Under the Radar Festival!

The conference will be a [mostly] off-the-timesheet opportunity for me to see new work, meet people, and reconnect with friends and colleagues.

Will you be there? Drop me a note! My TCG schedule can be viewed here. #tcg2011

Share
Posted in Professional Development, What's On My Mind... | Tagged , , , , , , , , , , , , , | Comments Off

Heidi Rettig Moves to New Offices.

Winchester is known for its blooming trees. This one is outside my front window.

Yesterday, after eight years of working from a home office, I signed a lease on a small, commercial space in Winchester, Virginia. I moved back East with every intention of settling in New York City, but the cost of living and doing business in New York scares me. (And I’m not afraid of anything.)

The Civil War Museum on Loudoun Street. I've thought more about the Civil War in the last month than I have in my entire life.

When I left the rat race for consulting, I reveled in the flexibility of working from home. If my desk chair was uncomfortable, I moved my laptop to the couch and worked with a big, fat, cat wrapped around my foot.

Meetings were scheduled on my schedule; I had one or two large projects; and no employees or contract expertise.

Hurricane bolts, snow breaks, and a tin roof are signature details of colonial architecture. Just like Georgetown, but with parking.

Today? I’m working on multiple projects with both arts organizations and individual artists. I’m doing helping organizations figure out how to do things (strategic plans,) publicity, and major grants. I pull in expertise from all over and I’m amazingly busy.

After doing some thinking about what it is I need to be well, and do well in my work life, I decided to find a space that creates a calm, clear focus. At first, that was my local Panera. But I learned that after about four hours, the Panera people want you to go on home.

Mature ivy, front porches, and railings. This beautiful home is across the street from my office.

So I started a search for a more permanent space. I found a small, office in Old Town Winchester next to the beautiful Handley Library. It’s a room that will be dedicated *just* to work; writing; research; phone calls and no distractions. Big windows, lots of light, high ceilings with plenty of room for paintings.

You may send mail to: 116 W. Piccadilly Street, #4; Winchester, VA 22601.

I’m an hour from DC, and I live right on 81 which takes me up and over to Philadelphia and New York City. The cost of living allows me to keep my rates affordable. Plus? It’s ten minutes from my house, and it’s such a pretty walk.

Loudoun Street Pedestrian Mall.

Share
Posted in Professional Development, What Works?, What's On My Mind... | Tagged , , , , , , , , , , , , , , , , , , , , , , , , , | 6 Comments

Polly Carl asks: What Can Technology Offer Theater?

Right Click and check out the trailer for Secret Lives of Coats!

Polly Carl has said that there is “nothing more deadly to a play than videotaping it.”

During her tenure as Producing Artistic Director at The Playwrights’ Center in Minneapolis, Carl launched Play Trailers; short films in theatrical settings that try to connect plays to new homes.

In this brief interview (which, sadly, I am unable to embed in this blog post), Polly Carl talks a little bit about the Trailer project, and how they help “bring the play off the page.”

Share
Posted in How To Be Famous, Technology and the Arts | Tagged , , , , , , , , , , , , , | Comments Off