I recently attended my second annual
Americans for the Arts conference, which is preceded by a smaller conference
focused on public art. Last year, I had only been at the UrbanArt Commission
for five months and was very much still learning my role as Executive Director
while also trying to absorb all of the conversations and information at the
conference. (Reading between the lines, I was pretty overwhelmed and very
awkward.) I was particularly looking forward to this year’s conference in
Boston with a better grasp of my role, the organization and the vision we are
working towards. Also, people watching at an art conference is always
fascinating.
A growing focus for me and the UAC team has
been how can the work we do overlap with other disciplines and industries in a
way that creates more buy-in and support for the arts. Feel free to read a
previous blog post or view a presentation where I go on a bit more about this… I was
heartened to see so many sessions and conversations popping up at the
conference that focused on the intersection of the arts and engaged
citizenship, innovative communities and equity. Keynote and plenary session
speakers all touched on the recent (hate-fueled) tragedy in Orlando and the
contentious upcoming election, grappling with how art can interact with and
react to these very real and heavy situations playing out around us. One
session leader demanded that more and different people need to be responsible
for how our cities and experiences are shaped. That artists and art organizers
should be part of that process. Donna Brazile, Vice Chairwoman of the
Democratic National Convention, counseled that in demanding a seat at the
table, you may have to bring your own folding chair.
And in the midst of all of this energy and
call to action, Memphis earned some main stage spotlight. The ArtsMemphis’
Community Engagement Fellows Program, led by the fearless Linda Steele, won the
first ever Robert E. Gard Award for the intersection of arts and community
life. I had the great privilege of participating in this program while working
for Ballet Memphis and was invited to help accept the award with a number of
other current and past fellows in attendance. What a beautiful and proud moment
for a room of 1,500 some odd people to hear about and applaud a program here in
Memphis.
You may be able to tell at this point that I
came home from this experience fully charged and eager to keep Memphis in the
mix of this broader, national conversation. We are working hard to inject these
ideas into the work we do and are looking forward to continue sharing that with
all of you.
