When You Hit The Sculpture, Break Right Past The Expressionists

I am traveling to see family for the holidays so I have a couple retrospective posts scheduled to cover my absence.

If you are traveling or just have a little time off over the holidays, maybe you might want to try something new like visiting a museum or visiting a museum you haven’t been to before.

Back in 2007 I posted an entry that contained links to posts that Tyler Cowen and Donald Pittenger had written about how to walk through an art museum.

About a 18 months ago, The Art Assignment made a video about visiting art museums.

The primary content of each is interesting, but there is some really great stuff in the comments sector of each, especially The Art Assignment video.

If you ever wanted proof that how people enjoy art is dependent upon their relationship with the idea of art and the people with whom they are experiencing it, it is all there.

Everyone has a different rules for themselves when entering a gallery, but it is clear that the social rules they set for themselves also influence their enjoyment.

One person writes that because his style and that of his significant other differ, he spends a lot of time waiting for her at the portal to the next gallery. Another person says their rule is not to accompany or wait for each other at all other than to rendezvous at an agreed upon time.

After reading all the content, I started to think that anyone who says viewing art is a passive experience is a prisoner of their own rules and expectations because there are plenty of options available. (One of the more extreme essentially advocated a zone defense of whatever you were looking at to prevent others from encroaching) May those options need to be promoted more widely.

Internships, The Paid and The Unpaid

I recently got around to reading the Strategic National Arts Alumni Project (SNAAP) special report on internships in arts fields.

There is a lot of interesting findings in the 23 page report, including the (to me) dismaying news that 87% of those who did at least one arts administration internship were unpaid. That is the highest rate of unpaid internships in any of the categories.

What I was most interested in learning was the reality of the claim that the ability to participate in an internship was dependent on receiving support from families. Sure enough, even though there was negligible difference in the amount of debt accrued by students who did an internship and those who did not, those who could depend on support from families more frequently participated in an internship.

Sixty-seven percent of recent alumni who did not intern while enrolled in school indicated that parents or family helped pay for their education; the figure is 8% higher (75%) among alumni who did intern.

The gap in family support is similar between recent alumni who had unpaid internships and those who did not; 75% of former unpaid interns indicated they received such support, compared to only 67% for alumni who did not undertake an unpaid internship.

Gender, race and socioeconomic status also were factors in choosing to do an internship and whether it was paid or unpaid.

Women were more likely than men to have undertaken an internship during their undergraduate education (56% compared to 51%). While women and men were equally likely to ever have done paid internships, women were much more likely to have been unpaid interns (57% compared to 46% for men).

Black and Hispanic/Latino alumni were less likely to have done internships than their White and Asian counterparts. Black and Hispanic/Latino graduates were also slightly less likely to have done paid internships and more likely than White alumni to have done unpaid internships.

First-generation college graduates were less likely than non-first-generation college graduates to have been interns while enrolled in school (51% compared to 56%) as well as before or after graduation (paid or unpaid)…

SNAAP data are consistent with many commentators’ concerns about the intern economy in that women, Black, Hispanic/Latino, and first-generation college graduate arts alumni all appear to have held a disproportionate number of unpaid internships—which, as will be considered below, are tied to significantly weaker career payoffs than paid internships. However, one possible explanation for this over representation might be that these demographic groups tend to cluster in majors in which unpaid internships are more common than paid ones. For this reason, to further investigate the findings above, our study considered the subsample of recent design alumni

The report authors note that in the design sub-sample, the demographic trends are even more pronounced than within the general sample. (Page 9 if you want more detail.)

Most interestingly was their finding that paid internships were more valuable than unpaid internships when it came to finding jobs. Those who did an internship were more successful at finding a job than those who did not (66% vs 57% four months after graduation, 86% vs 77% one year after graduation.)

However, the authors,

“…find that paid internships are even more closely related to finding a job than unpaid internships.

[…]

Figure 6 shows that having an unpaid internship does not appear to be related to finding a job more quickly after graduation. Conversely, having a paid internship has consistently been related to finding a job more quickly after graduation. Recent graduates (2009–2013) who have done paid internships, during school or outside of school, have fared especially well compared to alumni who have never been paid interns, with 89% of the former finding work within one year of graduation compared to 77% for the latter.

Simply securing a paid internship doesn’t necessarily guarantee a job. The authors note that ambitious, talented internship seekers who secure a paid position may apply those same traits to a job search.

They may also be securing the paid internships thanks to family connections and a familiarity and ability to navigate social interactions and systems that first generation students and other demographic groups don’t possess or are comfortable with.

There is a lot of interesting data in the report. If nothing else, you can get a sense of what percentage of undergraduates in your discipline intern and what the paid versus unpaid numbers look like.

With the current conversation about inequity and exploitation related to internships, it can be easy to overlook the finding that those who participate in internships report a higher satisfaction with their training and education experience than those who don’t participate.

Which is not to say they wouldn’t be that much more satisfied if they were paid and treated a little better.

Not As Simple As Subtracting The iPhones

I was really interested to read how a coffee house in NYC was using conversational prompts in an effort to get customers talking with each other. It seemed quite similar to the program a Brazilian bus company created to get people on their buses chatting with each other and inspired me to try something similar at my performing arts center.

It was only when I read the story a little closer that I realized the reason the prompts exist is part of a philosophy which also involves keeping the Wifi off until 5 pm. Turning the Wifi off helps the coffee house serve more customers because fewer people are camping out at the tables all day, but it is also about creating a communal space.

“We truly believe that coffee shops were created for people to engage with one another, and meet new people, and be community hubs,” says Birch Coffee co-founder Jeremy Lyman. “When everybody has their face in their laptop, that can’t happen. We’re trying to create a way for people to be a little more vulnerable.”

Initially I thought to write something about how every time I encounter another anecdote about personal electronic devices causing people to disengage from normal interactions, it offsets arguments about the benefits of allowing their use. Sure they may tell their friends about their experience or research upcoming shows, but is short term economic benefit worth the erosion of social interactions?

But as I re-read the quote above about coffee houses being community hubs where people engage with and meet new people, it occurred to me that this is often the same language arts and cultural organizations use when touting their benefits. This made me question, if the primary format being offered is sitting quietly in a dark room, is there a lot going on that is staving off the erosion of social interactions?

Sure, the fact people have come out and are in physical proximity with strangers rather than at home watching Netflix is fast approaching the point where it will be considered a major victory. Is it really raising the bar and setting a new standard for enabling community involvement and interaction? Subtracting iPhones doesn’t automatically increase a participant’s engagement in an event.

Granted, the primary purpose of a cultural organization is not to stimulate social interactions. Then again, nor is it the primary goal of coffee shops. If it is a value you embrace or claim to bring, it needs to part of the planning.

Recent studies have started to suggest that the term “creative expression” is viewed more favorably than “arts” so arts groups may need to offer more opportunities for interaction and creativity. This is not to say that current practices needs to be abandoned. Rather alternatives will need to be provided if group are going to claim they are a community resource and bemoan the decline of social interactions.

One example that pops to mind (or more accurately, my salivary glands) is the Bach, Bacon and Biscuit event in Chattanooga that Holly Mulcahy recently wrote about.

Think about it-

-Free samples of a new biscuit?
-With BACON!?
-Free Concerto Concert?
-With BACH-ON?

What’s not to like? f that isn’t a recipe for bringing people together and getting them to interact…

Tell Stories For Thanksgiving

When you are eating Thanksgiving dinner with your family and you get asked when you are going to get a real job, or something to that effect, instead of trying to justify yourself with logical arguments and statistics from studies on the value of the arts, simply try telling stories that illustrate why you love what you do.

Maybe it isn’t even related to your discipline and maybe the one incident you talk about isn’t significant enough to convince people your life devoid of career prospects is worthwhile.  The one thing arts people do well, but need to learn to do better outside of their preferred circumstances, is tell stories.

Just to give some examples.

-In the last 12 months, we have had some great shows and offered great experiences at our performing arts center. Among the highlights were a great stage combat workshop that seamlessly involved 25ish people from 10 year olds to college sophomores.

-Last March there was a terrible snow storm that forced us to cancel a performance. Fortunately, the group was willing to perform the next day. While they were waiting, they wandered around town. The owner of the coffee shop still tells me how charming they were.

-The three year old grandson of one of our patrons has to walk by the performing arts center a couple times a week on his way to and from daycare and still asks if he can go inside and see the Tuvan throat singers that performed here over a month ago.

-A couple weeks ago I went to the local museum to listen to an artist demonstrate how she created the effect on her work using encaustic. It was a lot of fun, especially when she started to debate the relative merits of hair dryers, heat guns and embossing tools as part of the fusing method. Afterward many of us went to a local rib place and had dinner.

I kept these examples brief and left out many of the compelling details in the interest of holding a reader’s attention. As a subject of conversation the last story about the encaustic workshop might be the best simply because I am not a visual artist and know as little with about the discipline as those with whom I am having dinner. There is less danger of using language or focusing on minutiae relevant only to insiders. (Though you probably had to be there to understand the heat gun v. hair dryer v. embossing tool conversation.)

I think relatives around a dining table can relate to stories about: artists skilled enough to involve participants of all ages; artists who are committed to seeing a performance happen and have positive interactions with community members; strange, unfamiliar singing styles from other countries that even excite little kids; visual artists who are accessible in the explanation of their work and as potential dining partners.

Even if you don’t do the best job telling your stories and your relatives don’t quite get it, you can simply say you are thankful that you have been able to provide opportunities where people learned interesting things and enjoyed themselves. If they are interested, you would be able to involve them in the future.