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Minutes_ARTAB_01.20.2015
Minutes of the meeting of the Arts and Culture Board City of Georgetown, Texas January 20, 2015 The Arts and Culture Board met on Tuesday, January 20, 2015 at 4:30 p.m. in Classroom 211 of the Georgetown Public Library, 402 W. 8 th Street MEMBERS PRESENT: Gary Anderson, Philip Baker, Shana Nichols, Betty Ann Sensabaugh, Liz Stewart, Amanda Still and Melissa Waggoner Regular Session A. Citizens who wish to address the board. — None were present. B. Announcements of upcoming events. — Liz Stewart announced that Joshua Long will perform on Thursday, January 22 in the Sun City Ballroom. Stewart also noted that the Georgetown Symphony Society will present Anton Nei on February 15 at 4 p.m. to perform in the Kleft Center. C. Consideration and approval of minutes of December 16, 2014 Arts and Culture Board meeting. — Betty Ann Sensabaugh moved to approve the minutes as distributed. Liz Stewart seconded the motion, which passed unanimously. D. Introduction of Dana Hendrix. — Eric Lashley. Lashley introduced the new Fine Arts Librarian, Dana Hendrix, to the Board. Hendrix explained that she has had a lifelong love of the arts and is excited to begin a new position at the library. Dana comes to us from a 23 year career at Southwestern University. The board then introduced themselves to Dana, E. Report regarding the operation of the Georgetown Art Center for the month of December. — Eric Lashley. Lashley noted that Greg Davis provided the exhibit for Georgetown Art Center January 30-March 8, which featured a longer, 3-hour art reception and 12 minute video. Lashley reported that Georgetown Art Works discussed having a members only reception for future exhibits that would begin an hour before the reception open to the public. Georgetown Art Works is also working on providing an Open Studio Hour for its members. The Dell & White exhibit ends on January 24. The board discussed content of the monthly report provided by Georgetown Art Works. Lashley noted a need for up- to- date information from the treasurer of Georgetown Art Works, so the report will be more accurate. F. Consideration and approval of grant applications and funding for 2015. —Eric Lashley. Lawren Weiss distributed a spreadsheet (attached to these minutes) that summarized and compared the proposals that had been submitted. Eleven organizations submitted proposals: East View High School Band, East View High School Percussion Ensemble, Georgetown Art Works, Georgetown Festival of the Arts, Georgetown High School Jazz Program, Georgetown Symphony Society, Getsemani Community Center, Palace Theatre, SU NATIVE, Williamson County Symphony Orchestra and the Williamson Museum. The requests totaled $21,500 but the Board had budgeted $20,000 for grants, which is $3,000 more than the previous year. Discussion followed that examined the qualities of each proposal. Awards were proposed as follows: 1. East View High School Band -- $500 2. East View High School Percussion Ensemble -- $1,000 3. Georgetown Art Works -- $2,500 4. Georgetown Festival of the Arts -- $2,500 5. Georgetown High School Jazz Program -- $2,500 6. Georgetown Symphony Society -- $2,500 7. Palace Theatre -- $2,500 8. SU NATIVE -- $1,500 9. Williamson County Symphony Orchestra -- $2,000 10. Williamson Museum -- $2,500 Still moved to grant the awards as proposed, in a total amount of $20,000. Stewart seconded the motion, which passed unanimously. G. Report on meeting with the Main Street and Convention and Visitors Bureau managers concerning Austin Monthly advertising. —Amanda Still. Still reported that Main Street has signed a new contract with Austin Monthly. After meeting with the magazine, Still will present her plans to Georgetown Art Works. Still reported that advertising plans have been well received thus far. H. Report on Texans for the Arts conference call concerning the Texas Commission on the Arts budget request. — Eric Lashley. Lashley reported that he and Jane Estes had a conference call with Ann Graham with Texans for the Arts. They discussed future lobbying efforts to get $20 million for the state's cultural districts. Lashley plans to attend the Texas Commission on the Arts Lobbying Day, Wednesday, January 28. Local artist perspective and report on the Atlantic Monthly article, The Death of the Artist- and the Birth of the Creative Entrepreneur. —Gary Anderson. Anderson discussed his thoughts on the article named above and the Board discussed how it relates to local artists and advertising for the arts. J. Report and possible action regarding expenditure of funds from the Arts and Culture Board budget. —Lawren Weiss, Eric Lashley. Lawren Weiss noted that only one expense had been paid during the previous month: $25.50 to GTX Awards, for 2 plaques for Michael Epps' pieces displayed in the Sculpture Tour. Lashley asked the board how they would like to proceed with the proposed mural on The Co -Op building facing the library plaza. During November's Arts and Culture Board meeting, the board voted in favor of funding a mural project, which would cost $3,000 for the chosen artist's stipend and up to $500 to reimburse the artist for materials used. Lashley explained that after several attempts, he was not able to make contact with Co - Op owner, Faith Clark. The board agreed to give Faith until mid -February and then move on to another project if she doesn't respond. K. Consideration of dates of coming meetings. —Eric Lashley. Philip Baker explained that he could not attend the regularly scheduled meeting for February. Anderson stated that he could make the meeting on the fourth Tuesday, but would have to leave early. After some discussion, Melissa Waggoner moved to reschedule the Arts and Culture Board meeting for Tuesday, February 24. Still seconded the motion, which passed unanimously. Chair Baker adjourned the meeting at 5:46 p.m. Respectfully submitted, Liz St art, Secretary Philip Bpier, Chair 2/18/2015 For Organizations I Americans for the Arts Americans for the Arts Arts Action Fund National Arts Marketin Pra1_ct AARRTnership Movement Animating Democracy An Organizational Membership with Americans for the Arts is ideal for local arts agencies and service organizations as well as their staff or board members. With this option, your organization holds the membership and you and a number of your colleagues (depending on the membership level you choose) can be among the designated staff members receiving benefits. Be a part of a national dialogue of more than 1,400 local arts agencies and service organizations. Gain access to resources in support of your organization's operations and/or programming, participate in professional development opportunities, enjoy increased visibility, and gain access to expert advice from specialists in the field. Organizations have several choices when determining which membership is best for them, but the true determining factor is how many staff an organization has. The second determining factor is if your organization would like a Standard Membership or a Premium Membership. http://www.americansforthearts.orglbecome-a-member/for-organizations#standard 1/8 2118/2015 For Organizations I Americans for the Arts Americans for the Arts Standard Organizational Memberships allow members at the Basic, Choice, Core, Strategic or Preferred levels equal access to a set of standardized member benefits and services. The only difference between these levels is the number of staff members receiving benefits. Upon joining or renewing your organization's membership, please submit staff names, titles, e-mail addresses as well as board/commission member addresses and phone numbers to membershio65)-artsusa. oLq (mai1to:membershW@artSusa.O[g) to ensure that they receive access to Americans for the Arts member benefits. Please note that it is the responsibility of the membership primary contact to keep their staff/board roster up-to-date and allocate which of their staff or board are able to receive the aforementioned benefits/services. Organizational memberships run on a calendar cycle expiring on December 31 each year, regardless of your join date. Please contact membership aartsusa.org (mailto:membershiD(@.artsusa.ora) with any questions about membership periods, joining or renewing, staff/board rosters, or any other questions you may have. Please allow two weeks for membership payment processing and activation of member benefits. Two annual printed subscriptions to Arts Link (/node/277 8) $60 off Americans for the Arts Job Bank (http://iobbank.artsusa.or_q/) postings and FREE internship postings Direct access to Americans for the Arts staff experts for project or professional advice Access to discounted member rates for event registrations to Americans for the Arts annual events plus eligibility to apply for event scholarships 50 percent off first -year Premium Membership Special member -only discounts for online store purchases to South Arts'ArtsReady Emergency Preparedness (https://secure.artsusa.ora/eweb/DvnamicPaae.aspx? Program (https://www.artsready.org/) Site=AFTA&WebKey=8e3d 1 e25-0037-436e-9845- 1 d4fdce94ac7) Organizational listing on the pARTnership Movement Electronic delivery of Monthly Wire (http://www.partnershipmovement.org/) website (/node/27726#monthlywire) e-newsletter Eligibility to join our professional network listservs and eligibility to serve on Americans for the Arts Leadership Network Councils Access to FREE, unlimited professional hftp:IAAtww.americansforthearts.orglbecome-a-membertfor-organizations#standard 2/8 2/18/2015 For Organizations I Americans for the Arts development webinars (/node/32 9) - live and on demand Access to the Monographs ,/node/27727 Web Series Electronic access to the transcript of the Clancy Hanks Lecture on Arts and Public Policy_(/node/28224) FREE Advocate membership for each designated staff or board member to the Americans for the Arts Action Fund (http://www.artsactionfund.org/) The membership levels below are suggested by your organizations paid staff size. Joining at any of the levels below also provides benefits to an unlimited number of your organization's board/commission members. employees: employees: employees: employees: employees Basic Level Choice Level Core Level Strategic Preferred Level Level If your organization has more than 30 paid employees, or is interested in more premium services and discounts, please consider joining at one of our Premium levels, which offer membership benefits for an unlimited number of staff as well as other benefits. See below for more information about our three Premium levels. http://www.americansforthearts.org/become-a-member/for-organizabons#standard 3/8 Notice of Meeting for the • Arts and Culture Advisory Board of the City of Georgetown January 20, 2015 at 4:30 PM at Small conference room, 2nd floor, Georgetown Public Library, 402 W. 8th Street The City of Georgetown is committed to compliance with the Americans with Disabilities Act (ADA). If you require assistance in participating at a public meeting due to a disability, as defined under the ADA, reasonable assistance, adaptations, or accommodations will be provided upon request. Please contact the City at least four (4) days prior to the scheduled meeting date, at (512) 930-3652 or City Hall at 113 East 8th Street for additional information; TTY users route through Relay Texas at 711. Regular Session (This Regular Session may, at any time, be recessed to convene an Executive Session for any purpose authorized by the Open Meetings Act, Texas Government Code 551.) A Citizens who wish to address the Board. As of the deadline, no persons were signed up to speak on items other than what was posted on the agenda. B Announcements of upcoming events. C Consideration and approval of minutes of December 16, 2014 Arts and Culture Board meeting. • D Introduction of Dana Hendrix, Fine Arts Librarian. --Eric Lashley E Report regarding the operation of the Georgetown Art Center for the month of December -- Eric Lashley F Consideration and approval of grant applications and funding for 2015. --Eric Lashley G Report on meeting with the Main Street and Convention and Visitor Bureau managers concerning Austin Monthly advertising. --Amanda Still. H Report on Texans for the Arts conference call concerning the Texas Commission on the Arts budget request. --Eric Lashley. I Local artist perspective and report on The Atlantic Monthly article, The Death of the Artist- and the Birth of the Creative Entrepreneur. --Gary Anderson J Report and possible action regarding expenditure of funds from the Arts and Culture Board budget -- Lawren Weiss, Eric Lashley K Consideration of dates of coming meetings -- Eric Lashley CERTIFICATE OF POSTING 1, Jessica Brettle, City Secretary for the City of Georgetown, Texas, do hereby certify that this Notice of Meeting was posted at City Hall, 113 E. 8th Street, a place readily accessible to the general public at all times, on the day of , 2015, at , and remained so posted for at least 72 continuous hours preceding the scheduled time of said meeting. Jessica Brettle, City Secretary City of Georgetown, Texas Arts and Culture Advisory Board January 20, 2015 SUBJECT: Citizens who wish to address the Board. As of the deadline, no persons were signed up to speak on items other than what was posted on the agenda. ITEM SUMMARY: FINANCIAL IMPACT: This item has no direct financial impact. SUBMITTED BY: Lawren Weiss C City of Georgetown, Texas Arts and Culture Advisory Board January 20, 2015 SUBJECT: Announcements of upcoming events. ITEM SUMMARY: FINANCIAL IMPACT: This item has no direct financial impact. SUBMITTED BY: Lawren Weiss C City of Georgetown, Texas Arts and Culture Advisory Board January 20, 2015 SUBJECT: Consideration and approval of minutes of December 16, 2014 Arts and Culture Board meeting. ITEM SUMMARY: FINANCIAL IMPACT: This item has no direct financial impact. SUBMITTED BY: Lawren Weiss ATTACHMENTS: Description Type O Minutes December 2014 Backup "Jawrial • • Minutes of the meeting of the Arts and Culture Board • City of Georgetown, Texas December 16, 2014 The Arts and Culture Board met on Tuesday, December 16, 2014 at 4:30 p.m. in Classroom 211 of the Georgetown Public Library, 402 W. 8th Street MEMBERS PRESENT: Gary Anderson, Philip Baker, Shana Nichols, Betty Ann Sensabaugh, Amanda Still and Melissa Waggoner Regular Session A. Citizens who wish to address the board. — None were present. B. Announcements of upcoming events. — Lawren Weiss reminded the board members who are eligible and wish to continue being a member of the Arts and Culture Board, to turn in their Boards and Commissions applications by the January 9, 2015 deadline. Weiss also asked board members to notify her if they wish to attend the Texas Commission on the Arts' State of the Arts Conference, January 28-30. Philip Baker presented the board two thank you notes from Vice President of Georgetown Art Works, Micki Avery, one thanking the board for • contributing to the Georgetown Art Center's success in their first year. The second note thanked the board for funding an ad in Community Impact newspaper promoting the Benini exhibit. This is the Art Center's best attended exhibit to date. Weiss passed out a thank you letter from Doug Groves of the Chisholm Trail Communities Foundation, thanking the board for the grant for the Festival of the Arts Fund. C. Consideration and approval of minutes of November 18, 2014 Arts and Culture Board meeting. — Melissa Waggoner moved to approve the minutes as distributed. Shana Nichols seconded the motion, which passed unanimously. D. Report reaardina the operation of the Georaetown Art Center for the month of November. — Eric Lashley, Gary Anderson. Diane Gaume sent a revised edition of the report for September 2014, as well as new reports for October and November for the board to review. Weiss provided a hard copy (attached to these minutes) of the reports to the board. The board discussed the reaction from Georgetown Art Works regarding the Board's decision to withhold funding for the month that reports are not submitted. After discussion, Eric Lashley told the board that the monthly report would be included in the agenda packet, if it's received on time. Discussion moved on to the happenings at Georgetown Art Center. Lashley reported that the • door count was lower than the previous month. Jeffrey Dell and Cassidy White will display their art from December 19 - January 24. The artists' reception will be held on Saturday, January 10, from 7 - 9 p.m. and the artist talk will be on Sunday, January 11 at 1:30 p.m. E. Report and possible action regarding expenditure of funds from the Arts and Culture Board budget. — Lawren Weiss, Eric Lashley. Weiss noted the expenses that had been paid the • previous month: $900 to Terry (Tunes) Parks, for three pieces displayed at the library for the Sculpture Tour, $290.75 to Williamson County Sun for the Call for Grant Proposals, and $600 to Michael Epps for 2 pieces displayed on the Sculpture Tour. Looking for feedback from the board, Amanda Still explained her ideas to create a stable donor base for the arts in Georgetown. One of Still's plans includes teaming up with Austin Monthly Media to promote events such as Gallery Georgetown. Still also hopes to create a special committee where members pay a certain amount to join and then receive perks throughout the year for being a member. After some discussion, the board expressed their approval for Still to move forward with her plans and to keep them updated through the process. F. Report on Fine Arts Librarian position. — Lashley reported that he hopes to hire a Fine Arts Librarian in the beginning of 2015. Lashley also hopes that he/she will be able to attend the Texas Commission on the Arts' conference at the end of January. G. Update on Utility Box Art Project. — Lashley reported that he would soon take pictures of the utility box on 8th street, so the call for artist can be sent out. Lashley hopes to send out a call for entries as soon as possible with a deadline of mid -February, so the board can make an artist selection at the February meeting. isH. Consideration of dates of coming meetings., — Eric Lashley. All members present said they would be able to attend the regularly scheduled January 20, 2015 meeting. Chair Baker adjourned the meeting at 5:25 p.m. Respectfully submitted, tStrt, Secretary 0 Philip Bake Chair 1.-;;�;: ART CENTER :xhibits APR 11 PREVIEW EVENT Empire Falling Jeffrey Dell & Cassie White Sarah Parent -Ramos December 191h,2014 ovember 7th to December 141h, 2014 to January 241h 2015 Education Programs, Art Talks & Events Monthlyclasses — partnership with Cordovan Art School • Slowly growing students in weekday recurring classes Workshops & Classes • No Adult Workshops • Kids Workshops • Santa's Artsy Elves — 2 session • Winter Wonderland — Cancelled — No Registrants Artist Talk: None Christmas Stroll 12/6 & 7 — Free Family Studio Activities December 2014 Monthly Report Prepared by Georgetown Art Works Exhibit Art & Gift Shop Sales, Memberships, and Donation Activity Area DEC 2014 YTD 2014 Gift Shop Sales Details still iri progress Exhibit Art Sales Of reconciling. i start pr W ding , Donations reports TOTAL • 0 December 2014 Monthly Report Prepared by Georgetown Art Works Financial Update: P&L Statement — November 2014 Income Expenses Items Nov 2014 YTD 2014 Donations & Sponsorships $401.12 $16,110.29 Membership $380.00 $4,932.73 Sales (Gift Shop & Exhibit Art) $3,971.62 I $26,820.87 Education Programs (Workshops & Classes) $185.00 $15,398.63 Exhibits (Submission Fees for Juried Exhibits) $950.00 $10,855.00 TOTAL $5,887.74 $77,251.77 Payouts to Artists $1,373.10 $12,812.53 GROSS PROFITS $4,514.64 $64,439.24 • Items Nov 2014 YTD 2014 Administrative (bank fees, insurance , legal fees, storage, etc...) $428.03 $7,166.04 Marketing (flyers, signs, advertising) $787.56 $20,570.02 Operations & Supplies $610.16 $5,822.16 Events (receptions, artist talks,11Y Friday) $3,222.27 $15,797.16 Education Programs (Instructor Fees & Supplies) $0.00 $10,662.16 $2,614.16 $8,580.89. Exhibits $1,540.09 Volunteer Support $1,230.40 TOTAL EXPENSES $8,892.58 I $70,421.59 Net Income: November =-$4..377.94 YTD =-$51982.35 CURRENT FIXED December 2014 Monthly Report Prepared by Georgetown Art Works Financial Update: Balance Sheet — November 2014 Assets Liabilities & Equity Account Amount Cash Drawer $207.41 Checking $6,135.50 Savings $635.92 l_ Paypal $244.47 TOTAL CURRENT $7,223.30 Art Easels 1 $1,529.82 Furniture & Equipment $5,801.22 Studio Window Treatments $1,534.25 Software $856.02 TOTAL FIXED $9,721.31 TOTAL ASSETS $16,944.61 Account Amount LIABILITIES Payable to Artists $3,234.67 Sales Tax Payable $1,664.77 TOTAL LIABILITIES $4,899.74 EQUITY Temporarily Restricted $2,565.75 Unrestricted Net Assets -$15,461.47 Net Income $5,982.35 TOTAL EQUITY $12,044.84 TOTAL LIABILITIES & EQUITY $16,944.61 December 2014 i ART 1! CENTER Monthly Report Prepared by Georgetown Art Works 1*11&Cas White Closed(r Years Exhibit: Jeffrey Exhibit: Jeffrey Exhibit: Jeffrey Exhm Jeffrey EXh&d: Jeffrey ExiebR: Jeffrey Exhibit: Jeffrey DeA&casse No&Case De8&Ca55>e D4&Cassre Dell&Cassie Des&Cass ie MAP "ito Whs. VA WrO* 3 Artist Re, v ►i Exhibit. Jeffrey Eirrbt Jrfimy Eshbd -reff ey Eerie Jaffrey FA lmtd Jrtlrt=t Exhibit: Jeffrey Del &Cassle No4ctss* DellSCASSW DO!Caasff WVl_:ti,x Dell&Cassre *%U White Whfir war A%Ite Nkatr Artist Tak De! & Lecture Series f**e Catalonia: Muse ftaven & Home Of he Arts 51 1 Exhibit JeffrE Exhibit: Jeffrey Exhibit: Jeffrey Exhibit: Jeffrey Exhibit: Jeffrey Exhibit: Jeffrey Exhibit: Jeffrey Dell &Cass* De11&Cassie Dell &Cassie Dell&Cassie Dell &Cassie Dell &Cassie Dell &Cassie V"e White White White White White White Lecture Series: Workshop: The Catalonia: Muse. Art of Forensics Haven & Horne of the Arts S2 Notes • This report includes activity from December a very light month due to holidays • Financial reports are for November. • We will provide a full 2014 Year in Review with complete 2014 financial broken out by month in February • We are tracking many things in 2015 and the goal is to provide details by month in tracking sheets with analysis. • We are in a transition period January through March as we place new committee chairs and board members. An updated organization chart and 2015 goals will be provided in March. Lecture Series: Exhibit: Kumbh Exhibit: Kumbh Catalonia: Muse. phela 1401a Haven & Horne of the Arts S3 Artist Reception- Must Attend Event — going to be a Greg Davis treat for all senses • "MrArowH ART CENTER Exhibits Letters of Sacrifice By Jenn Hassin November 1 to 30', 2014 Empire Falling Sarah Parent -Ramos November 7ch to December 141h, 2014 Artist Reception: 11/15, 7 to 9 PM Estimated attendees: 125 Education Programs, Art Talks & Events • Monthly classes — partnership with Cordovan Art School • Slowly growing students in weekday recurring classes • Workshops & Classes • 4 weekend workshops scheduled • Brushes & Bottles Monthly — 3 students • Basket weaving— 11/15 — 8 students • Expressive Arts Workshop (2 sessions) —cancelled • Olds Masters Workshop — cancelled — no registrants • Artist Talk: 10/12 Sue Brister (Art Hop Judge) • Ladies Night Out— 11/20 • Lighting of the Square — 11/28 November 2014 Monthly Report Prepared by Georgetown Art Works Exhibit Art & Gift Shop Sales, Memberships, and Donation Activity Area NOV 2014 YTD 2014 Gift Shop Sales Details still i i progress Exhibit Art Sales of reconcilin q. Sponsorships Will start providing , Donations reports TOTAL November 2014 Monthly Report Prepared by Georgetown Art Works Notes • This report includes information on the traffic, educational programs, events and exhibit happenings at the art center • Financial data will be provided on a one month delay. It takes time to get all the areas review and numbers reconciled. The December report will include November financial data. • In 2015 reports we will provide comparison to 2014 in the monthly reports where applicable. • We plan on having a "Year in Review 2014" available to share in early February. • 2015 Planning meetings and compiling dates and creating a calendar is the focus for December. • 2015 Exhibit Calendar is complete • 2015 Event scheduling is 80% complete • Education Programs — Workshops — 70% scheduled January through May • 2015 Summer Camp — goal to finalize in early January • Monthly Art Classes — finalize in December for January to May period • Openings on Board and Committee Chairs — vote to fill at January Board meeting • New exhibit Dell & White (print makers) opens December 19th and runs through January 24th, 2015. • No reception in December due to the holiday. Artist reception and artist talk will be in January. • c,Coace OwN ART CENTER Exhibits DEADLINE AUG 22 rmro��a;!��rr $S000 IN CAS , IZEt. ENTER Now! October 1 to 31, 2014 Juried competition exhibit with 205 pieces displayed at 5 venues Artist Reception: 10/11, 2to4 PM Estimated attendees: 225 Education Programs, Art Talks & Events • Gallery Georgetown — 10/25/2014 • annual gallery tour with an estimated 400+ attendees • Sold artist donated 5x7 original pieces - over 100 sold • Silent Auction —Over $1,000 raised • Raffle — 10 items given away (donated art) • Monthly classes — partnership with Cordovan Art School • Slowing growing students in weekday recurring classes • Workshops & Classes • 6 weekend workshops scheduled • Teens Zombie Apocalypse — 4 students • Basket weaving - 4 students ( • Figure Painting in Oil with Jennifer Balkan — 7 students • Brushes & Bottles Monthly — 6 students • Expressive Arts Workshop (2 sessions) — 5 students • Olds Masters Workshop — cancelled — no registrants • Artist Talk: 10/12 - Sue Brister (Art Hop Judge) October 2014 Monthly Report Prepared by Georgetown Art Works Visitors & Volunteers September 11 add YTD to in 2015 Exhibit Art & Gift Shop Sales, Memberships, and Donation Activity Area OCT 2014 YTD 2014 Gift Shop Sales Details still in progress of reconciling. Will provide details in 2015 reports — Number of pieces I Exhibit Art Sales Sponsorships Donations TOTAL • Income Items Oct 2014 Donations & Sponsorships $2,794.38 Membership $235.00 Sales (Gift Shop & Exhibit Art) $1467.83 Education Programs (Workshops & Classes) $1,940.00 Exhibits (Submission Fees for Juried Exhibits) $35 TOTAL $6,237.21 Payouts to Artists $1,191.32 GROSS PROFITS 1 $5,280.89 October 2014 Monthly Report Prepared by Georgetown Art Works Financial Update: P&L Statement Expenses YTD 2014 $18,330.82 $4552.73 $21,827.60 $15,213.63 $9,905.00 $69,829.78 $11,439.43 $58,109.46 Items Oct 2014 YTD 2014 Administrative (bank fees, insurance , legal fees, storage, etc...) $410.16 $6,738.01 Marketing (flyers, signs, advertising) $4,558.94 $19,782.46 Operations & Supplies $580.68 $5,495.07 Events (receptions, artist talks,11t Friday) $219.17 $12,574.89 Education Programs (Instructor Fees & Supplies) $360.00 $10,662.16 $4,160.90 Exhibits $5,996.73 -$5.00 $309.69 Volunteer Support TOTAL EXPENSES $10,284.85 $61,529.01 Net Income: October =-$5,003.96 YTD =-$3,138.66 • CURRENT FIXED October 2014 Monthly Report Prepared by Georgetown Art Works Financial Update: Balance Sheet Assets Liabilities & Equity Account I Amount Cash Drawer $207.41 Checking $10,379.14 Savings $214.10 Paypal $298.30 TOTAL CURRENT $11,098.96 Art Easels $1,529.82 Furniture & Equipment $7,335.47 Software $856.02 TOTAL FIXED $9,721.31 TOTAL ASSETS $20,820.27 Account Amount LIABILITIES Payable to Artists $2,896.87 Sales Tax Payable I $1,500.59 TOTAL LIABILITIES I $4,397.46 EQUITY Temporarily Restricted $3,600 Unrestricted Net Assets Net Income I $15,961.47 -$3,138.66 TOTAL EQUITY TOTAL LIABILITIES & EQUITY $16,422.81 $20,820.27 Exhibits September 5 to 28, 2014 Juried exhibit with 35 artists' works. Artist Reception: 9/13, 7 to 9 PM a Estimated attendees: 200 Education Programs, Art Talks & Events • Launched monthly classes —partnership with Cordovan Art School • Classes meet once a week, pay monthly • 10 classes in variety of age groups, mediums, time slots • Tuesday through Friday • 98 student spots available • % capacity — still calculating • Monthly Bottles & Brushes • Workshops • 3 weekend workshops scheduled • Pastels cancelled —didn't meet minimum students • Painting Jump Start-4 students • Basketweaving — 6 students • Paint Out in the Square — en Plein Air — artist painting on the square • 24 artists painting around the square, lunch and discussion • Artist Talk: Valerie Fowler, September 14tn • Artist Demo in Studio: Sonia Borgialli, upcoming workshop September 2014 Monthly Report - REVISED Prepared by Georgetown Art Works Exhibit Art & Gift Shop Sales, Memberships, and Donation Activity Area Sept 2014 YTD 2014 Gift Shop Sales Details still iri Prowess Exhibit Art Sales of reconciling. Sponsorships i provide eptem er Donations report TOTAL $4,829.66 $34,334.67 • MOVATOWN! ART CENTER Income Items I Sept 2014 Donations & Sponsorships $1,367.00 Membership $453.23 Sales (Gift Shop & Exhibit Art) $3,481.66 Education Programs (Workshops & Classes) $5,024.20 Exhibits (Submission Fees for Juried Exhibits) $0.00 TOTAL 1 $7,891.20 Payouts to Artists $3,713.30 GROSS PROFITS $4,177.90 September 2014 Monthly Report - REVISED Prepared by Georgetown Art Works Financial Update: P&L Statement Expenses YTD 2014 $15,536.44 $4,317.73 $20,359.77 $13,273.63 $9,870.00 $61,731.03 $10,248.11 $53,109.46 Items Sept 2014 YTD 2014 Administrative (bank fees, insurance , legal fees, storage, etc...) $286.59 $6,327.85 Marketing (flyers, signs, advertising) $3,448.55 $15,223.52 Operations & Supplies $411.33 $4,914.39 Events (receptions, artist talks,lst Friday) $1,297.60 $12,355.72 Education Programs (Instructor Fees & Supplies) $812.90 $10,302.16 Exhibits $99.49 I $1,805.83. $35.00 Volunteer Support I $314.69 TOTAL EXPENSES $6,391.46 $51,244.16 Net Income: September =-$2,213.56 YTD = $1,865.30 • c ORGATOw►+ ART CENTER CURRENT September 2014 Monthly Report Prepared by Georgetown Art Works Financial Update: Balance Sheet Assets Liabilities & Equity Account I Amount Cash Drawer $207.41 Checking $14,288.29 Savings $434.39 Paypal $56.19 TOTAL CURRENT $14,986.28 Art Easels $1,529.82 Furniture & Equipment $7,335.47 Software $856.02 TOTAL FIXED $9,721.31 TOTAL ASSETS $24,707.59 Account Amount LIABILITIES Payable to Artists Sales Tax Payable $3,713.30 I $1,194.06 TOTAL LIABILITIES I $4,907.36 EQUITY Temporarily Restricted $3,600 Unrestricted Net Assets Net Income $15,961.47 $238.76 TOTAL EQUITY $19,800.23 LTOTAL LIABILITIES & EQUITY $24,707.59 City of Georgetown, Texas Arts and Culture Advisory Board January 20, 2015 SUBJECT: Introduction of Dana Hendrix, Fine Arts Librarian. --Eric Lashley ITEM SUMMARY: FINANCIAL IMPACT: This item has no direct financial impact. SUBMITTED BY: Lawren Weiss • is Arts of Georgetown, Texas Arts and Culture Advisory Board January 20, 2015 SUBJECT: Report regarding the operation of the Georgetown Art Center for the month of December -- Eric Lashley ITEM SUMMARY: Per the Operating Agreement, Georgetown Art Work will provide a monthly report to the Arts and Culture Board for review. This allows the Board to review exhibit and event information at the Art Center as well as finances/expenses for the previous month. FINANCIAL IMPACT: This item has no direct financial impact. SUBMITTED BY: Lawren Weiss • 0 • City of Georgetown, Texas Arts and Culture Advisory Board January 20, 2015 SUBJECT: Consideration and approval of grant applications and funding for 2015. --Eric Lashley ITEM SUMMARY: The Arts and Culture Board sent out a call for proposals from local nonprofits on December 5, 2014. The deadline for proposals is 5 pm on January 16, 2015. The Board has up to $20,000 to award applicants, however the maximum funds given to a single organization is not to exceed $3,000. FINANCIAL IMPACT: Funding for this project will come from the Arts and Culture Board's regular $20.000 budget for scholarships/grants. City of Georgetown, Texas Arts and Culture Advisory Board January 20, 2015 SUBJECT: Report on meeting with the Main Street and Convention and Visitor Bureau managers concerning Austin Monthly advertising. --Amanda Still. ITEM SUMMARY: FINANCIAL IMPACT: This item has no direct financial impact. CTIRIVTTTTFTI RV- City of Georgetown, Texas Arts and Culture Advisory Board January 20, 2015 SUBJECT: Report on Texans f'or the Arts conference call concerning the Texas Commission on the Arts budget request. --Eric Lashley. ITEM SUMMARY: • City of Georgetown, Texas Arts and Culture Advisory Board January 20, 2015 SUBJECT: Local artist perspective and report on The Atlantic Monthly article, The Death of the Artist- and the Birth of the Creative Entrepreneur. --Gary Anderson ITEM SUMMARY: FINANCIAL IMPACT: This item has no direct financial impact. SUBMITTED BY: Lawren Weiss ATTACHMENTS: Description 0 The Atlantic article Type liackup %Lw rial 16 City Hall Versus City Streets White Flight �*. Destroyed the Mississippi Delta By Alan Huffman It's Here: ESPN Without Cable By Derek Thompson t. SIGN IN SIGN UP SEARCH Get The Atlantic on Facebook IN FOCUS I FEATURES I APPS I BOOKS I NEWSLETTERS I EVENTS I SUBSCRIBE Childhood Guilt, Why the NYFD Adult Depression? Turned Its Back By Jenny Chen on the City By Ta-Nehisi Coates JANUARY/FEBRUARY 2015 The Death of the Artist —and the Birth of the Creative Entrepreneur Hard-working artisan, solitary genius, credentialed professional —the image of the artist has changed radically over the centuries. What if the latest model to emerge means the end of art as we have known it? WILLIAM DERESIEWIC7 I DEC 28 2914, 7.43 PM ET • Javier Jaen PRONOUNCE? THE WORD A RTIST, to conjure up the image of a solitary genius. A sacred aura still attaches to the word, a sense of one in contact with the numinous. "He's an artist," we'll say in tones of reverence about an actor or musician or director. "A true artist," we'll solemnly proclaim our favorite singer or photographer, meaning someone who appears to dwell upon a higher plane. Vision, inspiration, mysterious gifts as from above: such are some of the associations that continue to adorn the word. Yet the notion of the artist as a solitary genius —so potent a cultural force, so determinative, still, of the way we think of creativity in general —is decades out of • date. So out of date, in fact, that the model that replaced it is itself already out of date. A new paradigm is emerging, and has been since about the turn of the millennium, one that's in the process of reshaping what artists are: how they work, train, trade, collaborate, think of themselves and are thought of —even what art is —just as the solitary -genius model did two centuries ago. The new Clealu'19 A Warning From ilo ,�`1)ry ExPlosi�� iktfIgU115 i"' Life. 1941: Don't Wash W01'. P Laundry With Gasoline "The greatest danger of all: the invisible menace of static electricity." paradigm may finally destroy the very notion of "art" as such —that sacred spiritual substance —which the older one created. Before we thought of artists as geniuses, we thought of them as artisans. The • words, by no coincidence, are virtually the same. Art itself derives from a root that means to "join" or "fit together" —that is, to make or craft, a sense that survives in phrases like the art of cooking and words like artful, in the sense of "crafty." We may think of Bach as a genius, but he thought of himself as an artisan, a maker. Shakespeare wasn't an artist, he was a poet, a denotation that is rooted in another word for make. He was also a playwright, a term worth pausing over. A playwright isn't someone who writes plays; he is someone who fashions them, like a wheelwright or shipwright. A whole constellation of ideas and practices accompanied this conception. Artists served apprenticeships, like other craftsmen, to learn the customary methods (hence the attributions one sees in museums: "workshop of Bellini" or "studio of Rembrandt"). Creativity was prized, but credibility and value derived, above all, from tradition. In a world still governed by a fairly rigid social structure, artists were grouped with the other artisans, somewhere in the middle or lower middle, below the merchants, let alone the aristocracy. Individual practitioners could come to be esteemed —think of the Dutch masters —but they were, precisely, masters, as in master craftsmen. The distinction between art and craft, in short, was weak at best. Indeed, the very concept of art as it was later understood —of Art —did not exist. ALi, 0 F TH I S began to change in the late 18th and early 19th centuries, the period associated with Romanticism: the age of Rousseau, Goethe, Blake, and Beethoven, the age that taught itself to value not only individualism and . originality but also rebellion and youth. Now it was desirable and even glamorous to break the rules and overthrow tradition —to reject society and blaze your own path. The age of revolution, it was also the age of secularization. As traditional belief became discredited, at least among the educated class, the arts emerged as the basis of a new creed, the place where people turned to put themselves in touch with higher truths. Art rose to its zenith of spiritual prestige, and the artist rose along with it. The artisan became the genius: solitary, like a holy man; inspired, like a prophet; in touch with the unseen, his consciousness bulging into the future. "The priest departs," said Whitman, "the divine literatus comes." Art disentangled itself from craft; the term.fine arts, "those which appeal to the mind and the imagination," was first recorded in 1767. "Art" became a unitary concept, incorporating music, theater, and literature as well as the visual arts, but also, in a sense, distinct from each, a kind of higher essence available for philosophical speculation and cultural veneration. "Art for art's sake," the aestheticist slogan, dates from the early 19th century. So does Gesamtkunstwerk, the dream or ideal, so precious to Wagner, of the "total work of art." By the modernist moment, a century later, the age of Picasso, .Joyce, and Stravinsky, the artist stood at the pinnacle of status, too, a cultural aristocrat with whom the old aristocrats —or at any rate the most advanced among them — wanted nothing more than to associate. • It is hardly any wonder that the image of the artist as a solitary genius —so noble, so enviable, so pleasant an object of aspiration and projection —has kept its hold on the collective imagination. Yet it was already obsolescent more than half a century ago. After World War II in particular, and in America especially, art, like all religions as they age, became institutionalized. We were the new superpower; MORE IN ENTERTAINMENT Agent Garter, Super -Riveter KATIE KILKENNY No One Needs to Know Who Paul we wanted to be a cultural superpower as well. We founded museums, opera McCartney Is houses, ballet companies, all in unprecedented numbers: the so-called culture NOAHBERLATSKY boom. Arts councils, funding bodies, educational programs, residencies, magazines, awards —an entire bureaucratic apparatus. • As art was institutionalized, so, inevitably, was the artist. The genius became the 11. Chris Christie's Sports Sin professional. Now you didn't go off to Paris and hole up in a garret to produce Pf g DASHIELL BENNETT your masterpiece, your Les Demoiselles d'Avignon or Ulysses, and wait for the world to catch up with you. Like a doctor or lawyer, you went to graduate school —M.F.A. programs were also proliferating —and then tried to find a position. That often meant a job, typically at a college or university —writers in English departments, painters in art schools (higher ed was also booming) —but it MAGAZINE ARCHIVE sometimes simply meant an affiliation, as with an orchestra or theater troupe. Saul Bellow went to Paris in 1948, where he began The Adventures ofAugie March, but he went on a Guggenheim rant, and he came from an assistant r'' C ) professorship. gg g �fftl/l�ll` ©l�!(�f l' MIDUEE CRISIS ' The training was professional, and so was the work it produced. Expertise —or, w i II ' 3EXT in the mantra of the graduate programs, "technique" —not inspiration or tradition, became the currency of aesthetic authority. The artist -as -genius could Jan/Feb 2015 December 2014 November 2014 sometimes pretend that his work was tossed off in a sacred frenzy, but no self- respecting artist -as -professional could afford to do likewise. They had to be seen 04,E ; to be working, and working hard (the badge of professional virtue) and it helped ! i!��'a a if they could explain to laypeople—deans, donors, journalists —what it was that ` yii.+�k�.r~' Lit -AV they were doing.~ The artist's progress, in the postwar model, was also professional. You didn't October 2014 September 2014 YJV4I Issue burst from obscurity to celebrity with a single astonishing work. You slowly c I climbed the ranks. You accumulated credentials. You amassed a resume. You sat ` • on the boards and committees, collected your prizes and fellowships. It was safer than the solitary -genius thing, but it was also a lot less exciting, and it is no surprise that artists were much less apt to be regarded now as sages or priests,' much more likely to be seen as just another set of knowledge workers. Spiritual July/Aug 2014 June 2014 May 2014 aristocracy was sacrificed for solid socioeconomic upper-middle-class-ness. More back issues. Sept 1995 to present. ARTISAN, GENIUS, PROFESSIONAL: underlying all these models is the market. In blunter terms, they're all about the way that you get paid. If the artisanal paradigm predates the emergence of modern capitalism —the age of the artisan was the age of the patron, with the artist as, essentially, a sort of feudal dependent —the paradigms of genius and professional were stages in the effort to adjust to it. In the former case, the object was to avoid the market and its sullying entanglements, or at least to appear to do so. Spirit stands opposed to flesh, to filthy lucre. Selling was selling out. Artists, like their churchly forebears, were meant to be unworldly. Some, like Picasso and Rilke, had patrons, but under very different terms than did the artisans, since the privilege was weighted in the artist's favor now, leaving many fewer strings attached. Some, like Proust and Elizabeth Bishop, had money to begin with. And some, like Joyce and van Gogh, did the most prestigious thing and starved —which also often meant sponging, extracting gifts or "loans" from family or friends that amounted to a kind of sacerdotal tax, equivalent to the tithes exacted by priests or alms relied upon by • monks. Professionalism represents a compromise formation, midway between the sacred and the secular. A profession is not a vocation, in the older sense of a "calling," but it also isn't just a job; something of the priestly clings to it. Against of F'�C s .i !. _7i -, E 1 ,l 1—i I: .r.il }. .., ... JUST IN City Hall Versus City Streets ADAM CHANDLER L� • the values of the market, the artist, like other professionals, maintained a countervailing set of standards and ideals —beauty, rigor, truth —inherited from the previous paradigm. Institutions served to mediate the difference, to cushion artists, ideologically, economically, and psychologically, from the full force of the marketplace. Some artists did enter the market, of course, especially those who worked in the "low" or "popular" forms. But even they had mediating figures —publishing companies, movie studios, record labels; agents, managers, publicists, editors, producers —who served to shield creators from the market's logic. Corporations functioned as a screen; someone else, at least, was paid to think about the numbers. Publishers or labels also sometimes played an actively benevolent role: funding the rest of the list with a few big hits, floating promising beginners while their talent had a chance to blossom, even subsidizing the entire enterprise, as James Laughlin did for years at New Directions. THERE WERE OVERLAPS, of course, between the different paradigms —long transitions, mixed and marginal cases, anticipations and survivals. The professional model remains the predominant one. But we have entered, unmistakably, a new transition, and it is marked by the final triumph of the market and its values, the removal of the last vestiges of protection and mediation. In the arts, as throughout the middle class, the professional is giving way to the entrepreneur, or, more precisely, the "entrepreneur": the "self- employed" (that sneaky oxymoron), the entrepreneurial self. The institutions that have undergirded the existing system are contracting or disintegrating. Professors are becoming adjuncts. Employees are becoming independent contractors (or unpaid interns). Everyone is in a budget squeeze: downsizing, outsourcing, merging, or collapsing. Now we're all supposed to be our own boss, our own business: our own agent; our own label; our own marketing, production, and accounting departments. Entrepreneurialism is being sold to us as an opportunity. It is, by and large, a necessity. Everybody understands by now that nobody can count on a job. Still, it also is an opportunity. The push of institutional disintegration has coincided with the pull of new technology. The emerging culture of creative entrepreneurship predates the Web —its roots go back to the 196os—but the Web has brought it an unprecedented salience. The Internet enables you to promote, sell, and deliver directly to the user, and to do so in ways that allow you to compete with corporations and institutions, which previously had a virtual monopoly on marketing and distribution. You can reach potential customers at a speed and on a scale that would have been unthinkable when pretty much the only means were word of mouth, the alternative press, and stapling handbills to telephone poles. I A contact is not a collaborator. Coleridge, for Wordsworth, was not a contact; he was a partner, a comrade, a Abond self. Everybody gets this: every writer, artist, and musician with a Web site (that is, every writer, artist, and musician). Bands hawk their CDs online. Documentarians take to Kickstarter to raise money for their projects. The comedian Louis CK, selling unprotected downloads of his stand-up show, has tested a nascent distribution model. "Just get your name out there," creative types are told. There seems to be a lot of building going on: you're supposed to build your brand, your network, your social -media presence. Creative entrepreneurship is spawning its own institutional structure —online marketplaces, self -publishing platforms, ISIS Is Losing Its Greatest Weapon: Momentum DAVEED GARTENSTEIN-ROSS Taming Christian Rage FMMA GREFN f� SET YOUR POCKETS FREE y .. X GO FROM i TO THIS startslrn:rrti+ty}ou»rallct nonprofit incubators, collaborative spaces —but the fundamental relationship remains creator -to -customer, with creators handling or superintending every aspect of the transaction. • So WHAT WILL all this mean for artists and for art? For training, for practice, for the shape of the artistic career, for the nature of the artistic community, for the way that artists see themselves and are seen by the public, for the standards by which art is judged and the terms by which it is defined? These are new questions, open questions, questions no one is equipped as yet to answer. But it's not too early to offer a few preliminary observations. Creative entrepreneurship, to start with what is most apparent, is far more interactive, at least in terms of how we understand the word today, than the model of the artist -as -genius, turning his back on the world, and even than the model of the artist as professional, operating within a relatively small and stable set of relationships. The operative concept today is the network, along with the verb that goes with it, networking. A Gen-X graphic -artist friend has told me that the young designers she meets are no longer interested in putting in their io,000 hours. One reason may be that they recognize that io,000 hours is less important now than 10,000 contacts. A network, I should note, is not the same as what used to be known as a circle — or, to use a term important to the modernists, a coterie. The truth is that the geniuses weren't really quite as solitary as advertised. They also often came together —think of the Bloomsbury Group —in situations of intense, sustained creative ferment. With the coterie or circle as a social form, from its conversations and incitements, came the movement as an intellectual product: impressionism, imagism, futurism. • But the network is a far more diffuse phenomenon, and the connections that it typically entails are far less robust. A few days here, a project there, a correspondence over e-mail. A contact is not a collaborator. Coleridge, for Wordsworth, was not a contact; he was a partner, a comrade, a second self. It is hard to imagine that kind of relationship, cultivated over countless uninterrupted encounters, developing in the age of the network. What kinds of relationships will develop, and what they will give rise to, remains to be seen. No longer interested in putting in their io,000 hours: under all three of the old models, an artist was someone who did one thing —who trained intensively in one discipline, one tradition, one set of tools, and who worked to develop one artistic identity. You were a writer, or a painter, or a choreographer. It is hard to think of very many figures who achieved distinction in more than one genre — fiction and poetry, say —let alone in more than one art. Few even attempted the latter (Gertrude Stein admonished Picasso for trying to write poems), and almost never with any success. But one of the most conspicuous things about today's young creators is their tendency to construct a multiplicity of artistic identities. You're a musician and a photographer and a poet; a storyteller and a dancer and a designer —a multiplatform artist, in the term one sometimes sees. Which means that you haven't got time for your io,000 hours in any of your chosen media. But technique or expertise is not the point. The point is versatility. Like any good • business, you try to diversify. What we see in the new paradigm —in both the artist's external relationships and her internal creative capacity —is what we see throughout the culture: the displacement of depth by breadth. Is that a good thing or a bad thing? No doubt some of both, in a ratio that's yet to be revealed. What seems more clear is that the new paradigm is going to reshape the way that artists are trained. One recently established M.F.A. program in Portland, Oregon, is conducted under the rubric of "applied craft and design." Students, drawn from a range of disciplines, study entrepreneurship as well as creative practice. Making, the • program recognizes, is now intertwined with selling, and artists need to train in both —a fact reflected in the proliferation of dual M.B.A./M.F.A. programs. The new paradigm is also likely to alter the shape of the ensuing career. Just as everyone, we're told, will have five or six jobs, in five or six fields, during the course of their working life, so will the career of the multiplatform, entrepreneurial artist be more vagrant and less cumulative than under the previous models. No climactic masterwork of deep maturity, no King Lear or Faust, but rather many shifting interests and directions as the winds of market forces blow you here or there. WORKS OF ART, more centrally and nakedly than ever before, are becoming commodities, consumer goods. Jeff Bezos, as a patron, is a very different beast than James Laughlin. Now it's every man for himself, every tub on its own bottom. Now it's not an audience you think of addressing; it's a customer base. Now you're only as good as your last sales quarter. It's hard to believe that the new arrangement will not favor work that's safer: more familiar, formulaic, user-friendly, eager to please —more like entertainment, less like art. Artists will inevitably spend a lot more time looking over their shoulder, trying to figure out what the customer wants rather than what they themselves are seeking to say. The nature of aesthetic judgment will itself be reconfigured. "No more gatekeepers," goes the slogan of the Internet apostles. Everyone's opinion, as expressed in Amazon reviews and suchlike, • carries equal weight —the democratization of taste. Judgment rested with the patron, in the age of the artisan. In the age of the professional, it rested with the critic, a professionalized aesthete or intellectual. In the age of the genius, which was also the age of avant-gardes, of tremendous experimental energy across the arts, it largely rested with artists themselves. "Every great and original writer," Wordsworth said, "must himself create the taste by which he is to be relished." But now we have come to the age of the customer, who perforce is always right. Or as a certain legendary entertainer is supposed to have put it, "There's a sucker born every minute." Another word for gatekeepers is experts. Lord knows they have their problems, beginning with arrogance, but there is one thing you can say for them: they're not quite so easily fooled. When the Modern Library asked its editorial board to select the ioo best novels of the zoth century, the top choice was Ulysses. In a companion poll of readers, it was Atlas Shrugged. We recognize, when it comes to food (the new summit of cultural esteem), that taste must be developed by a long exposure, aided by the guidance of practitioners and critics. About the arts we own to no such modesties. Prizes belong to the age of professionals. All we'll need to measure merit soon is the best-seller list. The democratization of taste, abetted by the Web, coincides with the democratization of creativity. The makers have the means to sell, but everybody has the means to make. And everybody's using them. Everybody seems to fancy himself a writer, a musician, a visual artist. Apple figured this out a long time isago: that the best way to sell us its expensive tools is to convince us that we all have something unique and urgent to express. "Producerism," we can call this, by analogy with consumerism. What we're now persuaded to consume, most conspicuously, are the means to create. And the democratization of taste ensures that no one has the right (or inclination) to tell us when our work is bad. A universal grade inflation now obtains: we're all swapping A -minuses all the time, or, in the language of Facebook, "likes." • It is often said today that the most -successful businesses are those that create experiences rather than products, or create experiences (environments, relationships) around their products. So we might also say that'under producerism, in the age of creative entrepreneurship, producing becomes an experience, even the experience. It becomes a lifestyle, something that is packaged as an experience —and an experience, what's more, after the contemporary fashion: networked, curated, publicized, fetishized, tweeted, catered, and anything but solitary, anything but private. Among the most notable things about those Web sites that creators now all feel compelled to have is that they tend to present not only the work, not only the creator (which is interesting enough as a cultural fact), but also the creator's life or lifestyle or process. The customer is being sold, or at least sold on or sold through, a vicarious experience of production. Creator: I'm not sure that artist even makes sense as a term anymore, and I wouldn't be surprised to see it giving way before the former, with its more generic meaning and its connection to that contemporary holy word, creative. Joshua Wolf Shenk's Powers of Two, last summer's modish book on creativity, puts Lennon and McCartney with Jobs and Wozniak. A recent cover of this very magazine touted "Case Studies in Eureka Moments," a list that started with Hemingway and ended with Taco Bell. When works of art become commodities and nothing else, when every endeavor becomes "creative" and everybody "a creative," then art sinks back to craft and artists back to artisans —a word that, in its adjectival form, at least, is newly popular again. Artisanal pickles, artisanal poems: what's the difference, after all? So "art" itself may disappear: art as Art, that old high thing. Which —unless, like me, you think we need a vessel for our inner life —is nothing much to mourn. WILLIAM DERESIEWICZ is the author of Excellent Sheep: The Miseducation of the American Elite and the Way to a Meaningful Life. 1 ALL POSTS AROUND THE WEB Millennials Are Ditching Delivery for This Dinner Hack Eater for Plated You Don't Need to Trust Someone Wearing a Tie to Make a lot of Money Wired I Wealthfront And the Best Stock for 2015 is ..... VentureCapital News The Essential Wardrobe Staple for The Pilot, The Punk, and The Rebel The Line 87 Yr Old Trainer Shares Secret To Losing Weight tic Greens fhe Best Credit Cards of 2015 Next Advisor 10 bodyweight exercises you can do without the gym Lululemon Introducing the Small Business Spotlight Series SaicsFarce Sponsored Links by Taboola City of Georgetown, Texas Arts and Culture Advisory Board January 20, 2015 SUBJECT: Report and possible action regarding expenditure of funds from the Arts and Culture Board budget -- Lawren Weiss, Eric Lashley ITEM SUMMARY: FINANCIAL IMPACT: Arts & Culture Board Expenses FY 2014-15 Account # 100-5-0218-5 Item Amount Balance Opening Balance 49,625.00 10/16/2014 plaques for Tour sculptures (GTX Awds) 30.00 49,595.00 10/16/2014 sculpture honorarium Pokey Park x2 600.00 48,995.00 10/21/2014 Community Impact ad (1/3 share) 1,116.66 47,878.34 11/5/2014 Letters of Sacrifice memorial- Jenn Hassin 1,200.00 46,678.34 11/18/2014 sculpture honorarium Terry Tunes x3 900.00 45,778.34 12/4/2014 Wilco Sun ad- Call for grant proposals 290.75 45,487.59 12/8/2014 sculpture honorarium Michael Epps x2 600.00 44,887.59 12/18/2014 plaques for Michael Epps sculptures (GTX Awds) 25.50 44,862.09 Art Center exper 12/22/2014 invoice -Letters of Sacrifice promo materials 800.00 44,062.09 Marketing/prom Public art/Sculp Scholarships & G Training & Admii Art Center Marketing/ Public Art/ • Balance Promotion Balance Sculpture Tour Balance Starting $3,000.00 Starting-$10,000.00 Starting $15,000.00 $3,000.00 $1,116.66 $8,883.34 $30.00 $14,970.00 $290.75 $81,592.59 ' $600.00 $14,370.00 $800.00 $7,792.59 $1,200.00 $13,170.00 $900.00 $12,270.00 $ 600.00 $11, 670.00 $25.50 $11,644.50 Scholarships/ Grants Balance Starting $20,000.00 $20,000.00 T City of Georgetown, Texas Arts and Culture Advisory Board January 20, 2015 SiJR.iF,CT! Consideration of dates of coming meetings -- Eric Lashley Board. I January 20, 2015 Arts and Culture Board P.O. Box 409 Georgetown, TX 78626 Dear Arts and Culture Board, The Georgetown Symphony Society thanks you for your generous donation of $3725 during 2014. Your support of the Symphony is deeply appreciated. Contributions such as yours provide the resources we depend on to fulfill our mission of presenting the finest in classical music. Our patrons, those new to the area, and especially the school children who are enriched by our education programs will all benefit because of your generosity and support. Thank you again for your trust in our mission and for your benevolence. Sincerely, Joanne Harrah President - Georgetown Symphony Society For tax purposes, this letter will serve as our official acknowledgment of your contribution. The Georgetown Symphony Society, Inc. is a 501(c)(3) corporation and did not provide any goods or services in whole or partial consideration for this contribution. Thank you again for your support. P.O. Box 2476 Georgetown, TX 78627 T 512.864.9591 F512.943.5111 www.georgetowntexassymphony.org CASSIEWHITE & JEFFREY DELL DECEMBER 19, 2014 - JANUARY 24, 2015 ARTIST RECEPTION: SATURDAY, JANUARY 10, 7-9 PM ARTIST TALK: SUN DAY, JANUARY 11,1:30PM Cassie White's work originates from experimentation and playfulness. Using various pieces of fabric cut and seasoned with layers of ink, contrasting textures and shifting gradients create spatial tricks. Shapes and colors from the natural world are arranged to create supernatural forms, revealing visual conundrums Like telling a story from two sides simultaneously, her work is both delicate and clumsy, saturated and empty, flowing and stagnant. Likewise, it is permanent and fleeting; the prints are but a trace of what once was there but is now gone. ART CENTER EXPERIENCE ART. GEORGETOWN ART CENTER 816 South Main Street Georgetown, TX 78626 512 930 2583 GeorgetownArtCenterTX.org JEFFREYDELL& CASSIE WHITE DECEMBER 19, 2014 - JANUARY 24, 2015 ARTIST RECEPTION: SATURDAY, JANUARY 10, 7-9 PM ARTIST TALK: SUNDAY, JANUARY 11,130PM Jeffrey Dell's work is about the anticipation of pleasure. The anticipation is often more powerful than the pleasure itself This is true for things we crave, like sweets, sex or mind altering substances, but it's also true of perception. His recent work is simultaneously illusionistic and abstract. The illusionism seduces us with a kind of magic, but inevitably that moment arrives when we are confronted with the flatness of the image The abstraction is a result of culturally evolved signs for illusionism: the gradient shadow. the overlap of planes, etc. These are elements that tell us what to see and we are often willing participants. A RT CENTER EXPERIENCE ART. GEORGETOWN ART CENTER 816 South Main Street Georgetown, TX 78626 512 930 2583 GeorgetownArtCenterTX.org