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Topic: Dialogue
Replies: 384 Pages: 26 Last Post: Feb 13, 2006 10:37 PM by: Ray Rolfe

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jaime longoria

Posts: 1,161
Registered: Oct 7, 2002

Re: Dialogue
Posted: Jun 30, 2004 2:15 PM

> Jaime,
>
> In many of your posts you have called for courage to
> make what is real. I just read an interesting article
> about the danger of precautionary measures. There is
> something beautiful about the safety of living in
> truth. There is some much discourse about fear in
> this could. It seems so much less fruitful to discuss
> how afraid our friends and fellow citizens are than
> it is to discuss the deep desire to feel safe in a
> world that is so precarious these days. Feeling safe
> plays such an important role in my artistic practice.
> When I feel grounded and in the right spot my
> creative activity feels fruitful. The funny thing
> about that is that I need an edge of exploration, an
> emerging into something yet to be discovered. I am
> recalling the line from The Third Man where Orson

You must come to the Chicano Show at the Weisman when it comes. The art is by artists who set out to make art that was not "smart, careerwise and popular. Now for most 30 years later the "truth" of the work is on the wall. The lives of each artists are not relevant to the work. What is wrong with Minnesota artist that they put so emphasis on the accouterments of their "careers" and do not focus on the "work".

Do you understand what Coyote says to you?

For two years while I loved on Columbus avenue three blocks over from Powderhorn Park I went on Saturday mornings and set up a stall tent; and painted. Large canvases and some study sketches on paper. I did "sell" paintings, I answered questions, talked about the weather, local politics, the best fruit that day. I was an artist at the market place. I shared my art with the people who came. I was paid by a grant, fellowship, program; I made a gift of my art to the people who lived with me in the community. I was a positive representative of the contemporary art community to the everyday person who came out of their home to the market.

If you can understand this then there is hope for our art community. I am smug with validation by Ann's lammenful article on the "failure" of the young talents featured at the SOO; but I am also saddened. Much in the same way I was saddened by the year by year aging of the Art Crawl in Saint Paul. Where did the young artists go? They were outsted by the "serious crafters" who could pay their way with the proceeds of their crafts; "cuckoo clocks"???

> Welles mentions Switzerland's artistic output being
> the cuckoo clock vs. the outcome of Renaissance
> Italy. I am not sure what the relation of safety is
> to lasting beauty. But, certainly realness is at the
> center of it.

What is real? In my reading up on the Chicano Art Movement that is a recurring theme; we Chicano Artists use the "unreal" to sketchout the unseen real. Do you understand that when the Chicano Artist Jimmy Longoria cam here to the Walker's forums to perform "Coyote Art" he blurred the line between the real and the unreal? Do you see the "dance" of tangoing with the institutions and the hordes of art wanta bes that is like dancing on a bed of coals on the roof top edge of the MIA?

My friend the true artist( true to his art) makes the edge the only stage that is acceptable to him. The craftsman who chooses to stay in the safe place never grows the market for his work and the results are, in time self evident: Ann writes a review of a show as if the Coyote had set the outline!

With love you may not understand. I advise you to; go to Kmart, by a stall tent, talk to the organizers of the Farmers Market, get the fee waved and go every Saturday you can and Dance, share, teach for free to the community that is now your home. Give them love and they will bathe you in it.

In the fall, if you have done this; you will be one of the few Minnesota Artist to really see and understand the Chicano Show!

Come dance with the spirit of Coyote.

chicano art
minnesota art
maep panelist

>
> Here is the article.
> http://www.spiked-online.com/Articles/0000000CA592.htm

ps.. the link does not work.

Colin Rusch

Posts: 1,435
Registered: Oct 16, 2002

Re: Dialogue
Posted: Jun 30, 2004 4:11 PM

Here is the link again. More on the post later.

http://www.spiked-online.com/Articles/0000000CA592.htm

Colin

Colin Rusch

Posts: 1,435
Registered: Oct 16, 2002

Re: Dialogue
Posted: Jul 1, 2004 12:28 AM

Jaime,

Its interesting you mention being in a neighborhood and developing relationships with the people that live and work there. I just did a show five blocks from my house in the Robert Shoes building and in the Sears building parking lot. It was my sixth show at the Robert's shoes building in the last 18 months. My next three projects will be in my neighborhood. The farmer's market is a nice idea. But, I am not so interested in the conversation with the attendees of the market. But, I am interested in the deeper more down to earth conversation that comes from intimacy with another person. I am using intimacy not in the romantic sense but in the sense of deep familiarity and caring. Relationships that are based in that kind of love and respect are the basic components or community and of developing meaningful art experiences. I like performing for audiences of 20-50 people in small spaces. That feels like plenty.

There is certainly something going on in the art community. In many ways art makers are poised to help make sense of the dramatically shifting social relationships of our world. And there is something about how we are all connected to each other that is not insightfully articulated in political, sociological, or economic terms. Whether we, as artists, own that role remains to be seen. What is it to be meaningfully connected to another person or people in a market based, global, techno-scientific society?

Colin

jaime longoria

Posts: 1,161
Registered: Oct 7, 2002

Re: Dialogue
Posted: Jul 1, 2004 9:19 AM

> Jaime,
>
> Its interesting
( no, not interesting: meaningful! Colin, the great misery of comptemporary artists is of thier own makeing; they separate themselves from the community in which "live" with false assumption that becasue they are "artiste" that they understand Art/Life better than the audience; it is this self delusion that leads them away from the audience{children can smell the fakes, just like the Somali and African American teenage girls did with the MAEP exhibitions} I was present in the market place as a "real" painter; anyone could ask for information about my "view" and I recieved them from my identity as an "artist" who lived down the street. Ask the community about how Shoebox is recieved. It still does not 'breakdown" the barrier the artists themselves build against the people in the community. Every artist needs to learn to pay attention to the audience. Most of Minnesota Artists sneer at the audience and then whine of a lack of finacial support for the arts/ get real! We art not thier children; we must render a service to the people if we expect them to give up thier money so we can indulge ourselves in our "donut" and eat it too!

you mention being in a neighborhood
> and developing relationships with the people that
> live and work there.

I just did a show five blocks
> from my house in the Robert Shoes building and in the
> Sears building parking lot. It was my sixth show at
> the Robert's shoes building in the last 18 months. My
> next three projects will be in my neighborhood. The
> farmer's market is a nice idea. But, I am not so
> interested in the conversation with the attendees of
> the market. But, I am interested in the deeper more
> down to earth conversation that comes from intimacy
> with another person.
Intimacy can not be forged in the spacious environment of Artists lives; it comes from sharing the "fundamental" acts of life. That will only come from you existing in a world where life is real. All artists attempt to suspend reality. You need the "neighbor" who tells you his life story and asks you for yours. It is in commoness of life that we find the true friend that is there when the power goes out, the drive buy shooting breaks your windows, shares the horror of the death of the little girl doing her homework at the kitchen table;....

I am using intimacy not in the
> romantic sense but in the sense of deep familiarity
> and caring. Relationships that are based in that kind
> of love and respect are the basic components or
> community and of developing meaningful art
> experiences.
It is time to stop talking of the idea of community and start recognizing it; right infornt of you.

I like performing for audiences of 20-50
> people in small spaces. That feels like plenty.

Colin: the stall tent is 10 foot by 10 foot, the market has at best 35 people for any time longer than 20 min.

>
> There is certainly something going on in the art
> community. In many ways art makers are poised to help
> make sense of the dramatically shifting social
> relationships of our world.
No they are not; They don't give up the "infinite adolence" that drew many of them to "art making". American Artist still see art as year round art camp; hence the need for the "next" interesting art// but the truth is that is all empty;; thats' what Ann article on the SOO show is all about. The great emptiness of "interesting" work.

And there is something
> about how we are all connected to each other that is
> not insightfully articulated in political,
> sociological, or economic terms.

Coyote Art is the work of a Social Political Performance Artists valiantly engaged in doing battle with Minnesota Nice Racism!!!

Look into my eyes my brother and see what is here and there right before you!!

Whether we, as
> artists, own that role remains to be seen.

Read this danm post from the beginning!!! See how Coyote Art has forged a rift in the status quo!!!

Read your own words to the Coyote! You have been. lovingly tricked into saying things that when they come out of the mouth of "brown" man terrify but when they come out you and others it is a "nice idea".

Powderhorn is a Sacre Place; it is being Gentrified; decide what impact you chose have by living there: will you find and affirm the sacreness or will you only continue to raise the property values and displace the "humans" who will have once "lived" there?

What is it
> to be meaningfully connected to another person or
> people in a market based, global, techno-scientific
> society?
>

This Coyote Piece introduces ancient Chicano values to Anglo artists.

check with Sam, Gabriel and Ray offline about thier encounter with the Coyote( please note; coyote is not a human; he is a shamanistic enbodiment of a communal spirit; he has been both terrifying and conforting to the most engaged partisipants on this medium; the intent has been to guide the Artists back to the prehistoric truth of art makers; we serve.)

The modern form of the economic exchange between artists and others in the "tribe" are only superficially different.

Every time I painted in the market; a vender, sometimes several came and lovingly offered a gift of thier product in appreciation of my "gift" to them.

You can not understand this idea until you feel the gift.

coyote infinity
chicano artist
minnesota artist
maep panelist

Colin Rusch

Posts: 1,435
Registered: Oct 16, 2002

Re: Dialogue
Posted: Jul 5, 2004 12:21 AM

Jaime,

Tell me more about the Farmer's Market. There is something there that I am not clear on yet. Maybe it is akin to the transformative gift you mention. I am not sure doing a day long performance at the market would be a true and generous act from me at this point. Mankwe has been organizing performances for the Farmer's Market lately. I think she is taking a break though right now. Have you seen any of the work she has facilitated?

Colin

jaime longoria

Posts: 1,161
Registered: Oct 7, 2002

Re: Dialogue
Posted: Jul 6, 2004 11:06 AM

Bueno; my brother you ask the first right question that all artists should ask; do I through my art give honestly of myself to the community?

I am have permanent smirk on my face as I read about the changing terrain; the G going for "regionalism" in the "playwright level"; the general disillusionment with the works of the 'young careerists' the question of "aged" artists and their "life" fates!

The second question is; is this the reason that my art is not well received? That is a vital question that the Anti Longoria People have sensed but refused to hear.

I am sorry that you missed the Sands performance. It was awe inspiring; the audience went wild. A lady next to me hooted and hollered and whistled and cheered as if a mananical sports fan dwelt within her.

Andy, who was enrolled in their workshop at the U at the same time was speechless with awe. Uri made Dance Man Stuff! Toni brought "Grace" back to the modern dance stage.

Together in their "teaching" they gave to Andy the understanding of the humanity possible in dance.

At the recital for the workshop, one of the other teachers made truly profound statements to the students and the audience; most notable,...you were given a gift; a gift to share,... go out into the dangerous world and share,...

The tents are available at $89.00 in most stores. The point is not to create a "artist" timed dance; the people come and go in less than twenty minutes. A dancer doing what Coyote did as a painter would have to become aware of the people and their eyes; They will tell you what is the "length" of the dance; they will also tell you what works and what does not.

The Anti-Longoria negate the "people" and then complain that they are not supported.

Toni and Uri thanked the students for being students! It brought tears to my eyes; they are masters and they are humble.

Be a humble dancer(artist) and greatness awaits you.

coyote infinity
minnesota artist
chicano
maep panelist

> Jaime,
>
> Tell me more about the Farmer's Market. There is
> something there that I am not clear on yet. Maybe it
> is akin to the transformative gift you mention. I am
> not sure doing a day long performance at the market
> would be a true and generous act from me at this
> point. Mankwe has been organizing performances for
> the Farmer's Market lately. I think she is taking a
> break though right now. Have you seen any of the work
> she has facilitated?
>
> Colin

Bob Schulz

Posts: 416
From: Brooklyn Park, MN
Registered: Aug 15, 2003

Re: Dialogue
Posted: Jul 6, 2004 10:15 PM

They have discoveries to make,

Colin Rusch

Posts: 1,435
Registered: Oct 16, 2002

Re: Dialogue
Posted: Jul 6, 2004 10:37 PM

I'm glad to hear about Uri and Toni's approach as teachers. So often dance artists are only left with their egos at the end of long careers. I see so many ungenerous performances because the artists themselves don't have much in the tank. Your remarks about their teaching in heartening.

Regarding your point about "aged" artists, it is sad for me to keep hearing about "mid-career" artists struggling with their economic viability. Part of me feels sorry for them and frustrated with how the arts are valued in this country. And part of me doesn't understand how they could be so self-righteous. A country that has never valued the arts and so thoroughly defined by its market based economy does not sound like a reliable environment for stability as an artist. Furthermore, Minnesota suffers from a bit of a glass ceiling in terms of substantial funding. The local economy can't support many mid-career artists. They need to draw resources from other parts of the country and world or start creating deeper markets/support for their work locally. This gets back to your comments about the Farmer's Market. I think the work necessarily changes when you consider it in context of an audience. In that context dance starts to look different and is presented differently than it does in a black box theater. That is part of my interest in smaller audiences. It is a more intimate environment where I can start to understand what is meaningful about my work to the people who attend my shows. Dance as an art form is not going to die, but it is going to take different shapes as it survives. Big Modern Dance productions feel like dinosaurs to me in so many ways.

jaime longoria

Posts: 1,161
Registered: Oct 7, 2002

Re: Dialogue
Posted: Jul 7, 2004 11:45 AM

> Jimmy, I embrace common people myself.

And you honored me by introducing yourself at the Crawl.

And I would
> say that common is certainly the measure of celebrity
> given the brevity of the latter and the authenticity
> of the former. The famous will always imagine the
> infamous are struggling with inferiority complexes
> when they themselves may in fact be projecting.

Fear is far too common among those who are not comfortable with the "common".

I
> thought your showing at the Art Crawl was marvelous.
> An real example of extending yourself to the town
> and the people. And your hospitality and the
> pleasant repartee I experienced left me feeling
> warm. I don't know you personally, but you are real,
> and you are a painter.

Thank you. I, in turn, too am a fan of your painting.

>
> I too do much the same when I take my pathetic fare
> out into the world. And I meet the people and we
> chat about things like the music in the "Pianist,"
> or the weather, or some artist down the hall, and we
> never expect less or more than the cards we can,
> with our limited intelligence, deal.

Every year I learn to understand the adage "less is more".

If careers can
> be created, if the issue can be forced, constructed,
> intoned in some way to inveigle oneself into
> celebrity, so be it. God bless them all, the stars
> we do not emulate, and our own efforts to give a
> little to our towns, cities and common citizens, in
> our own, so easily dismissed, manner.

Remember the absoluteness of the truth that "all fame is fleeting".

>
> And I realize that critics, writers, curators,
> directors, do not have time for this kind of drivel.
> They have discoveries to make, complex observations
> to reflect and international connections to cement.

How busy they are to not stop and think of what they do.

> So, to the few who do post, I'm in their debt for
> r their attention. That's one reason to keep this
> site up and running. It's an interface between the
> high and the low.

And do remember my friend we have "audience". Others do read what we "commune" and there a quiet "nodding" of heads on the truth of what we share here.

And Bob, with great affection and love, we are the "community".

coyote infinity
maep panelist

jaime longoria

Posts: 1,161
Registered: Oct 7, 2002

Re: Dialogue
Posted: Jul 7, 2004 12:08 PM

> I'm glad to hear about Uri and Toni's approach as
> teachers. So often dance artists are only left with
> their egos at the end of long careers. I see so many
> ungenerous performances because the artists
> themselves don't have much in the tank. Your remarks
> about their teaching in heartening.

It is also "leadership". And it is this that is lacking in the Art Scene. My hope is that they will found a school to inspire other dancers; to feel the spirits of the young artists not yet on the stage.

>
> Regarding your point about "aged" artists, it is sad
> for me to keep hearing about "mid-career" artists
> struggling with their economic viability. Part of me
> feels sorry for them and frustrated with how the arts
> are valued in this country. And part of me doesn't
> understand how they could be so self-righteous.

And ignorant of others; what of the fate of typesetters, wood workers, trades men, real plumbers and carpenters? Many crafts have fallen by the wayside. Done away by the nature of progress. Cameras and video fill the eyes of the home dweller. Hardly anyone has the 'real" time to contemplate a painting; a work of art. We like in a "overstimulated" world. "Next" is the real esthetic quality of 'consumable' art. "Value" is a lost and archaic quality.

A
> country that has never valued the arts and so
> thoroughly defined by its market based economy does
> not sound like a reliable environment for stability
> as an artist. Furthermore, Minnesota suffers from a
> bit of a glass ceiling in terms of substantial
> funding. The local economy can't support many
> mid-career artists. They need to draw resources from
> other parts of the country and world or start
> creating deeper markets/support for their work
> locally.

The Crafters and Art Fair Exhibitors all have worked out their individual success or failure and either quit or prosper according to their own volition. Artists must understand that Fine Art is a "business".

This gets back to your comments about the
> Farmer's Market. I think the work necessarily changes
> when you consider it in context of an audience. In
> that context dance starts to look different and is
> presented differently than it does in a black box
> theater. That is part of my interest in smaller
> audiences. It is a more intimate environment where I
> can start to understand what is meaningful about my
> work to the people who attend my shows. Dance as an
> art form is not going to die, but it is going to take
> different shapes as it survives. Big Modern Dance
> productions feel like dinosaurs to me in so many
> ways.

"Theater" is always risky business. Dance in a "box" is even riskier.
Filling seats is the real issue that I wish the "Performing Artists" community address. Call me and lets have coffee to have inform you what I am doing in that realm as a consultant.

A note here: Dance is an ancient human art form; essential to a healthy community. A thoughtful loving community finds the way to "afford" it.

jimmy longoria
coyote infinity
maep panelist

Colin Rusch

Posts: 1,435
Registered: Oct 16, 2002

Re: Dialogue
Posted: Jul 7, 2004 11:56 PM

Jaime,

I'm glad you bring up leadership. I agree with you that the arts are lacking leadership. I keep hearing about filling seats but I am not hearing about quality of work. The leadership that I am encountering in the arts is talking about everything but the work itself as if the work is a given. Any good business person knows when they are offering something of real value versus perceived value. And we desperate lack the structures of criticism in this city that tackle concerns of value and quality head on, particularly in the dance world. Some of the writing on mnartists.org is starting to fill that niche and it sounds like VACUM is making some headway. But, there is a lot of work to be done.

I think as a whole dance artists in the Twin Cities are not putting out a lot of high quality work. However, there are a lot of good ideas partially developed. I think many artists, myself included, struggle to finish work or to see what is really there and just present that. I was glad to hear about the Space T.U. Embrace show being sold out and getting such an enthusiastic response. Most audiences know when they are encountering quality work. I am not so excited about the aesthetic of their work, but the quality is exciting.

Today I had an interesting conversation about the value of technology. It fell into the same category of an aesthetic of "Next." It is about gratification rather than satisfaction. My friend was arguing that the technologies that actually survive are rarely the best technologies. They are the technologies that most simply and directly address a need. He compared washing machines and refrigerators in Europe and the US. He's English but much prefers American appliances because they are less complicated, more reliable, and easier to use despite the fact that the European models are probably "better" technology.

I'm curious about your consulting. Are these projects with organizations or individuals?

Colin

jaime longoria

Posts: 1,161
Registered: Oct 7, 2002

Re: Dialogue
Posted: Jul 8, 2004 11:51 AM

> Jaime,
>
> I'm glad you bring up leadership. I agree with you
> that the arts are lacking leadership. I keep hearing
> about filling seats but I am not hearing about
> quality of work. The leadership that I am
> encountering in the arts is talking about everything
> but the work itself as if the work is a given. Any
> good business person knows when they are offering
> something of real value versus perceived value.

The consumer follows!!! This is the rub; Artists do not know that Art, in whatever form, is "consumed". The Educational 'Method" over the last 50 years has failed to instruct Art students on the fundamental "function" of Art. A revolution is called for. Hence "Coyote Art".

And
> we desperate lack the structures of criticism in this
> city that tackle concerns of value and quality head
> on, particularly in the dance world. Some of the
> writing on mnartists.org is starting to fill that
> niche and it sounds like VACUM is making some
> headway.

My Brother, I am laughing(lol) VACUM must first find "Honor" . Just changing tone with the times does not indicate that they are getting it! Criticism is a craft that must practiced as an Art form. It requires study, reflection and integrity. Do you believe that the VACUM mob can overnight develop integrity?

Remember A.R.T. they were the principals behind its convening; and they have not reconvened since. It was a ploy to "shade" out Minnesota Mediocre. You even gave them a "featured status" post! The MIA gave them "credibly"! And what was the result? Pissing and moaning about no support! Where was the discussion of the issues of Art? What was telling though was that they "closed" it to anyone who was not of their mind set. That was the saddest part. It showed their fear. They are afraid of "truth".

Come on Colin how can expect these people to "see" honest, real Art when they are in front of it? They live their blindness joyfully. The Art community really needs some soul searching. We need our institutions revamped; VACUM needs a "mission" retreat!

But, there is a lot of work to be done.

I think they are to afraid to succeed.
>
> I think as a whole dance artists in the Twin Cities
> are not putting out a lot of high quality work.

The question how much "class" time are they putting in?

Andy is blessed in having a workshop at the U at the same time he is rehearsing for a student production here in Hopkins ( we are very proud of him; from 9:00 am to 9:00 pm he is working at dance) That is a hell of a lot of time to spend on his 'art'. He does make the observation that there is a great difference in the 'endurance' of his fellow high school students and those who attend the U workshop. The observation is that we do not 'teach' at the high school level the 'intensity' needed to perform at the U level. Perhaps we need to go back all the way to elementary art education to establish the right "work ethic" in future Artist.

> However, there are a lot of good ideas partially
> developed. I think many artists, myself included,
> struggle to finish work or to see what is really
> there and just present that.

Is this part of the desire for instant gratification; like the two MFA?

I was glad to hear
> about the Space T.U. Embrace show being sold out and
> getting such an enthusiastic response. Most audiences
> know when they are encountering quality work. I am
> not so excited about the aesthetic of their work, but
> the quality is exciting.

For serious Artist; Quality is the Aesthetic.
( I am sorry for the harshness of that statement but it is what I confront myself with everytime I enter the studio.)
>
> Today I had an interesting conversation about the
> value of technology. It fell into the same category
> of an aesthetic of "Next." It is about gratification
> rather than satisfaction.

So do you understand my criticism of the MAEP?

My friend was arguing that
> the technologies that actually survive are rarely the
> best technologies. They are the technologies that
> most simply and directly address a need.

Hence painting never dies! I produce digital drawings and print them out but they do not have the same power as the brush! Sumi E brush paintings are thousands of years old and they still stand as beautiful while Photography can only capture our "interest".

We have a real and true need for images that mean something beyond the interest of the season.

He compared
> washing machines and refrigerators in Europe and the
> US. He's English but much prefers American appliances
> because they are less complicated, more reliable, and
> easier to use despite the fact that the European
> models are probably "better" technology.

And that is the basic truth of an American aesthetic! Simple, durable and functional!

>
> I'm curious about your consulting. Are these projects
> with organizations or individuals?

Both.

There is great change occurring in the funding mentality. Those individuals and organizations that "plumb" the depths of the change will continue; others will perish! Change is good.
>
> Colin

coyote
maep panelist

Colin Rusch

Posts: 1,435
Registered: Oct 16, 2002

Re: Dialogue
Posted: Jul 8, 2004 3:07 PM

Jaime,

Do you know much about the wine industry? It seems to me that they have done an incredible job of promoting themselves and tapping into cultural structures that support the consumption of products. Our notion of consumption is a bit confused as a field. Consumption is not necessarily tied to disposability. An incredible piece of art never really gets old, its life force continues on if well made. The language of the marketplace is a bit misleading.

Work ethic and finishing is not only a habit but a value and in the US, the predominant value is about investment in an efficient manner. Put as little in to get as much out. The truth of that perspective is shaky. Despite our long work schedules we have become lazy as a people in order to survive. Where is the time for deeply restorative practices in our culture? Not just maintenance practices.

Frankly I have not been following VACUM closely. Most of my information comes from Ann. I don't think a transformation in the local critical community will happen over night but a group of critics trying to promote their field and support each other is positive. It's tragic the Center for Arts Criticism closed because the Jerome Foundation endowment tanked.

Regarding ART, that was a funny situation. I was skeptical at first because of how the question was framed and then the invite list. There weren't any performing artists involved. But then it kept building momentum to the point where it had enough energy to warrant consideration. The follow up is disappointing and typical of artists. So many people in the arts are spread too thin. We are not able to really build much except a body of work bit by bit. Additionally, our interests and skills are oriented towards project based initiatives. Do a thing once and move on. Substantial value happens through repetition of something and long sustained effort. There is a lot of not-sexy activity involved in creating value.

I very much like the statement For serious Artist; Quality is the Aesthetic. It is a keeper.

Regarding funding, I had lunch with a friend today. She was telling me about conservative funders putting most of their money into Gen Op rather than project based endeavors. They are basically funding smart people doing good work and saying go for it. Progressive funders need to figure this out. In so many ways the project based funding helps clarify initiatives but it does not lead to long term results in as efficient a manner.

Would you like to make a featured collection for mnartists.org? We can connect via e-mail to work out details. My approach with it is changing. We have been trying to use the collections as a way to get artists registered, but we really need better tools for experiencing the work on the site. Let me know what you think.

Colin

Ray Rolfe

Posts: 3,263
From: Northeast Minneapolis
Registered: Sep 5, 2001

Re: Dialogue
Posted: Jul 8, 2004 9:26 PM

Thankyous

I was wondering what ever happened to ole A.R.T

Michael Fallon

Posts: 201
Registered: Jul 3, 2003

Re: Dialogue
Posted: Jul 9, 2004 9:25 AM

edit

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