Arts Access and the Politics of Empowerment in the Twin Cities A PROJECT SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Melissa May Metzler IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF LIBERAL STUDIES May 2016 © Melissa May Metzler, 2016 Contents Introduction……………………………………………………………………. 1 1 – Visual Arts: A Strong Local Community …………………………………. 6 2 – Arts Access, and Trends and Values in the Twin Cities …………………. 16 3 – Minnesota’s Clean Water, Land, and Legacy Amendment ……………….
24 4 – Arts Access Grant …………………………………………………………. 31 5 – Grant Reviews and Interview Process ……………………………………. 36 6 – Complex Barriers Prevent Access …………………………………………. 45 7 – Conclusions, Key Recommendations, Applications for Research, Further Study Recommended …………………………………………… 54 Appendix A: Volunteering and Civic Engagement in Minneapolis-St Paul……… 58 Appendix B: Projected Demographic Changes in the Twin Cities……………… 59 Appendix C: Vote Yes and Legacy Amendment Logos………………………….
60 Appendix D: Organizations that endorsed The Vote Yes Campaign……………. 61 Appendix E: Letter from MCA Executive Director Sheila Smith……………… 63 Appendix F: Arts Access Grant recipients FY 2011, 2012, and 2013 ………… 64 Appendix G: Project Distribution Versus Twin Cities Population ……………… 65 Appendix H: Interview questions …………………………………………… 66 Selected Bibliography………………………………………………………… 67 i Acknowledgements This project would not have been possible without the non-profit administrators who met with me to talk about their experiences with Arts Access grants. I thank them for their time and their candor. I admire them for their willingness to take on enormous challenges in their daily work.
I have an immense amount of gratitude for Dr. Our conversations served as lifeboats when I was drowning in information. Her guidance, reassuring manner, and patience helped me persevere in the toughest moments. Finally, I want to thank my husband, Mark Colin.
His support and belief in me helped encourage me to complete this degree. As usual, I appreciate his enthusiasm, and especially the interest he expressed in this project from the very beginning. ii Introduction Background (the canvas) The year 2008 was historic in Minnesota. A majority of legislators, and then state voters, supported the largest arts and culture amendment in American history.
Voters agreed to tax themselves for twenty-five years to support what is now known as the Legacy Amendment against the backdrop of the Great Recession, which ran from approximately late 2007 to mid- 2009. Since then, despite millions of dollars of grant money awarded to the arts each year, it is unclear to many people how Legacy Amendment funds are used. We should all feel ownership in publicly funded programs, including those approved by taxpayers. Although there are many arts supporters, there are some elected officials who seek to divert funds away from their intended use or repeal the tax entirely (Kaszuba “Repeal”).
Legislators regularly search for funds to support other projects. If Legacy fund uses remain unclear, or when there is focus on a few questionable projects instead of the many good projects it funds (Shaw), those arts funds become a more likely target to divert to other needs. It is vital that Legacy funds are viewed as a critical resource dedicated to arts access that should not be taken away. Intent (my aspirations) One of my objectives is to create awareness about how Arts Access grants – part of the Legacy funds–– are being used to lessen barriers to access.
In this project I describe challenges, and recommend how Arts Access funds can be used to best meet community needs. Analysis of uses will enable stakeholders to understand how the intent to increase access is being fulfilled and can be improved. Ultimately, I want to discover and share how access can be improved 1 permanently. What are the causes of inequities in Twin Cities’ arts access, and how can we remove them? Approach (my subject) I chose to focus solely on the Arts Access grant program.
Arts Access is a pilot program funded by the Arts and Cultural Heritage Fund to increase access for underserved communities. Minnesota State Statute 129D.17 reads in part: “Funding from the arts and cultural heritage fund may be spent only for arts, arts education, and arts access, and to preserve Minnesota's history and cultural heritage.” As defined on the Minnesota State Arts Board website, the Arts Access pilot program provides “Project grants that arts organizations can use to broaden arts opportunities for underserved groups by reducing or eliminating barriers to participation.” It was well outside the scope of the Master of Liberal Studies project guidelines to explore all grant programs established by Legacy Amendment funding. I decided to focus on learning how Arts Access grants reach and impact those who have little or no exposure to visual art. Although Arts Access grants are awarded to all types of arts organizations, I undertook research and conducted personal interviews only with visual arts administrators based in the Minneapolis-Saint Paul metropolitan area who received Arts Access grants for fiscal years 2011, 2012, or 2013.
Focusing on this time period created a manageable project. Limiting it to visual art coincided with my personal knowledge. I needed to develop an understanding of how barriers prevent underserved communities from engaging with visual art. I knew I wanted to examine how strategies are currently developed and implemented using Arts Access funding to reduce or eliminate barriers.
While a grant program should be a major step toward removing barriers for underserved individuals, 2 administrators described complex barriers during the interviews I conducted. Although some barriers can be removed, in many cases, grants provide a temporary fix. When money from the Legacy Amendment runs out in 2034, or if it is redirected before then, access will be lost. Interdisciplinary Method (a mixed-media painting) Throughout this study I use perspectives and information gained through the disciplines of art and art history, museum studies, politics, and leadership theory.
I also use my own experiences working in the Twin Cities’ arts community, and past experience working in Wisconsin politics. These lenses allow me to examine the amendment and this program, and consider how Arts Access grants can best fulfill community values and expectations. Insight (I am your curator) The topic of arts inclusion and citizen participation sits at a point that joins several of my interests. First, I have a long-time interest in the political process.
During the early 1990s, I was employed by the Wisconsin legislature and also travelled the state working for several political candidates. I developed an appreciation for democracy and informed citizen involvement. In more recent years, my passion as a practicing visual artist, my gradual progression towards arts leadership, and my observation and study during many years of visits to art museums and exhibitions have further developed my opinions. I care about art’s accessibility, because I know it has the ability to enrich, inform, and help shape people’s lives.
Artists, curators, and visual arts audiences have contemplated complex concepts, learned about history and cultural changes, and shaped their own identities using artwork as a tool. I am among these people. In a healthy democracy, it is essential that artists and art venues explore critical topics and facilitate expression through art. It is equally important that audiences have access to these resources.
3 More than once I have been ignored as a visitor to art spaces. These were experiences that angered and frustrated me. I knew this was not how an experience with visual art should be, so I was undeterred. But what about those who do not have knowledge of visual art or lack a comfort level? They may never go back to another visual art event.
In 2011, I established Flow Art Space. I wanted to provide opportunities for artists and create a welcoming atmosphere. Since then I have hosted forty-four exhibitions and several special events that have featured hundreds of local, regional, and national artists. A mission formed: show many women artists, feature a variety of media, and look for diverse messages delivered through art.
These goals came out of my attendance at many museum and gallery exhibitions where women and artists of color were underrepresented, from class lectures and reading about diverse artists, and my long-time involvement with Women’s Art Resources of Minnesota (WARM). Seminal Works (the masterpieces) I am unaware of other academic projects that study Legacy Amendment arts funding, but I believe it is critical that research examine it and the projects it makes possible. Members of the legislature monitor distribution of the funds. Organizations like Minnesota Citizens for the Arts and Grant Makers in the Arts have released important data, reports, and information about the amendment and lessons learned, but these groups may be viewed as biased sources.
Some news stories have appeared about use of the funds, but they are often brief, rudimentary, and devoid of insight. Sometimes, they are negative, such as an article that ran in Twin Cities Business Monthly. It pointed out there is no oversight body for the Arts, and that the nature of its subjectivity makes it difficult to track actual outcomes (Beal and Lutman). 4 Focus (a commissioned painting) I wrote this thesis for you – the arts’ advocate, the taxpayer, the politician, and those who are interested in working with underserved communities.
Of course, I also wrote it for Master of Liberal Studies’ program readers. I promise to take you on an exploration of the Twin Cities’ visual arts community. I describe trends, access, local values, and changing demographics that contributed to support for the amendment. I discuss details of the amendment, and then chronicle the unlikely coalition and shrewd strategies that helped secure its victory.
I describe the Arts Access program, explore the significant work it funds, and explain the barriers underserved communities face. I end with my findings, applications for use, and recommendations for further study. 5 Chapter 1 Visual Arts: A Strong Local Community I begin with a description of Twin Cities’ art resources. This is not meant to be a comprehensive list or exhaustive description of resources; instead I offer a sample to illustrate the depth of the visual arts community prior to passage of the Legacy Amendment.
These examples demonstrate that historically many Twin Cities’ residents valued art. Given many pre- existing resources, the referendum may have seemed unlikely to pass. Geographic boundaries The Twin Cities’ metropolitan area is comprised of the city of Minneapolis, the city of Saint Paul, and surrounding suburbs. There is some question about defining the area.
A seven- county region is governed by the Metropolitan Council regional governmental agency and planning organization. However, the United States Office of Management and Budget classifies sixteen total counties as the Minneapolis-St. Paul–Bloomington MN-WI Metropolitan Statistical Area. This combined area had a population of close to three million, eight hundred thousand residents in 2013.
Resources Museums The Twin Cities is home to art museums of varying sizes. The most iconic institutions are the three Minneapolis museums that underwent recent, high profile additions. Major architects were hired to expand the Walker Art Center (Herzog & de Meuron, completed in 2005), the Minneapolis Institute of Art, now known as Mia (Michael Graves, completed in 2006), and the Weisman Art Museum (Frank Gehry, completed in 2011). 6 Mia had nearly six hundred and eighty thousand annual visitors as noted in its 2012/2013 annual report.
The Walker reported five hundred and eighty thousand visitors and reached nearly two hundred and thirty thousand people by touring performing and visual art, according to a December 10, 2013 letter written by its executive director and posted on its Website. Both institutions enjoy international reputations. The entrance fees make a difference in some visitors’ ability to participate in art, especially when the income gap continues to grow larger. Mia has free, daily entry with the exception of special exhibitions.