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The New Face of Arts Leadership in the West - westaf - The Western ...

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to say “no” and learn to say “yes” to your<br />

time. Also, I am a motivational speaker for a<br />

lot <strong>of</strong> organizations. I come by and talk about<br />

keep<strong>in</strong>g your word. <strong>The</strong> only time that you<br />

are go<strong>in</strong>g to do someth<strong>in</strong>g is by keep<strong>in</strong>g your<br />

word because if you don’t, after a while, you<br />

are just go<strong>in</strong>g to talk—you are not go<strong>in</strong>g to<br />

walk <strong>the</strong> walk. People are go<strong>in</strong>g to know that,<br />

and people aren’t go<strong>in</strong>g to take you seriously.<br />

You are at this young age where you have <strong>the</strong><br />

whole future <strong>in</strong> front <strong>of</strong> you. Look at yourself,<br />

Tatiana. You are go<strong>in</strong>g to Aust<strong>in</strong>. You can<br />

def<strong>in</strong>itely do a lot more than what you are do<strong>in</strong>g<br />

by say<strong>in</strong>g “no” and say<strong>in</strong>g “yes” to yourself.<br />

You talked about <strong>the</strong> nonpr<strong>of</strong>it and <strong>the</strong> <strong>in</strong>dependent-artist<br />

th<strong>in</strong>g—artists sell<strong>in</strong>g <strong>the</strong>ir own<br />

work. I know many people <strong>in</strong> Sacramento and<br />

<strong>in</strong> <strong>the</strong> Bay Area. <strong>The</strong>re are so many networks<br />

that we have that we don’t use <strong>the</strong> Internet or<br />

Web sites as much as we should. A few years<br />

ago, I started putt<strong>in</strong>g my photography and<br />

poetry on a Web site and boom—I blew up. I<br />

stopped do<strong>in</strong>g stuff for free, and I was gett<strong>in</strong>g<br />

paid to do stuff. Also, I was gett<strong>in</strong>g o<strong>the</strong>r<br />

contacts. You get yourself <strong>in</strong> a situation where<br />

you know that say<strong>in</strong>g “yes” to yourself and<br />

follow<strong>in</strong>g through is go<strong>in</strong>g to be a key recipe<br />

to your success. And I want to applaud you.<br />

Tony Garcia: I also wanted to thank you,<br />

Tatiana. I thought her presentation brought up<br />

many really <strong>in</strong>terest<strong>in</strong>g po<strong>in</strong>ts and was nicely<br />

structured, too. Tatiana has a tremendous<br />

eye, and I love <strong>the</strong> curatorial work she did.<br />

One <strong>of</strong> <strong>the</strong> th<strong>in</strong>gs that resonates with me <strong>in</strong><br />

terms <strong>of</strong> what she brought up was <strong>the</strong> issue<br />

<strong>of</strong> <strong>in</strong>frastructure. We started to talk about it <strong>in</strong><br />

terms <strong>of</strong> succession, and for me, as an artist who<br />

built an organization around him to support <strong>the</strong><br />

work that he wanted to do and <strong>the</strong>n to support<br />

o<strong>the</strong>r artists, <strong>the</strong> core <strong>of</strong> what we did, what<br />

we learned <strong>in</strong> those early days, was to build<br />

<strong>in</strong>frastructure. Succession affects stability, and<br />

it affects support for <strong>in</strong>dividual artists. Without<br />

build<strong>in</strong>g those organizations <strong>in</strong> our communities—and<br />

this has been go<strong>in</strong>g on for some time—<br />

and hav<strong>in</strong>g an <strong>in</strong>frastructure that can cont<strong>in</strong>ue<br />

to regenerate, <strong>the</strong>n what we have is a bunch <strong>of</strong><br />

<strong>in</strong>dividual artists struggl<strong>in</strong>g. For us, <strong>the</strong> tragedy <strong>in</strong><br />

my community as well is that <strong>the</strong>re are a number<br />

<strong>of</strong> <strong>in</strong>dividual artists who are reach<strong>in</strong>g <strong>the</strong> end <strong>of</strong><br />

<strong>the</strong>ir careers, and <strong>the</strong>y don’t have health <strong>in</strong>surance;<br />

<strong>the</strong>y don’t have burial <strong>in</strong>surance. Lalo<br />

Delgado, a well-known poet: We had to raise<br />

money <strong>in</strong> <strong>the</strong> community to get him buried.<br />

But <strong>the</strong>re is a connection. If our organizations<br />

were strong enough that <strong>the</strong>y could <strong>the</strong>n come<br />

to us, I th<strong>in</strong>k that when you are talk<strong>in</strong>g about <strong>the</strong><br />

culture wars, Danielle, part <strong>of</strong> it was that, dur<strong>in</strong>g<br />

that time <strong>of</strong> cut backs, what happened is that it<br />

became much cheaper for organizations and<br />

presenters to book <strong>in</strong>dividual artists ra<strong>the</strong>r than<br />

groups. Consequently, <strong>the</strong>re was not a f<strong>in</strong>ancial<br />

need to be part <strong>of</strong> a group. You could make<br />

your money on your own, and one outcome<br />

was <strong>the</strong>re was a big rise <strong>in</strong> <strong>in</strong>dividual artists. I<br />

am not say<strong>in</strong>g <strong>the</strong>re is anyth<strong>in</strong>g bad about<br />

<strong>in</strong>dividual artists, but once you are established<br />

as an <strong>in</strong>dividual, <strong>the</strong>re is little need to come<br />

toge<strong>the</strong>r and f<strong>in</strong>d ways <strong>of</strong> rely<strong>in</strong>g on each o<strong>the</strong>r<br />

to survive. <strong>The</strong> outcome was that we all split up<br />

and lived our little lives, and we did not feed<br />

those organizations and feed that whole cycle<br />

<strong>in</strong> order to create a work<strong>in</strong>g <strong>in</strong>frastructure.<br />

When we first opened our organization, we<br />

didn’t pay our actors. <strong>The</strong>y got 35 bucks for<br />

<strong>the</strong> entire run, and <strong>the</strong> money we received<br />

from grants went <strong>in</strong>to pay<strong>in</strong>g salary for my staff.<br />

Some people might th<strong>in</strong>k that’s unfair, but you<br />

know what my staff did? <strong>The</strong>y went out and<br />

got more money <strong>in</strong> order to pay <strong>the</strong> rent, <strong>in</strong><br />

order to pay <strong>the</strong> heat, <strong>in</strong> order to build market<strong>in</strong>g<br />

strategies, <strong>in</strong> order to build opportunities <strong>in</strong><br />

<strong>the</strong> schools. Now my artists receive significant<br />

money for be<strong>in</strong>g part <strong>of</strong> it, but if we didn’t do<br />

that, we would not have lasted. Last February,<br />

we paid <strong>of</strong>f <strong>the</strong> mortgage on our facility, and<br />

<strong>the</strong>re are probably a number <strong>of</strong> artists who<br />

could have been paid a lot more, but we<br />

had to make a choice. It is a real strategic<br />

choice, and it is a real commitment to your<br />

organization. I can’t say <strong>in</strong>frastructure enough.<br />

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