While
the year may not be completely finished yet, in retrospect 2010 has
been a hall of a year for the local art scene. The rise of several
small galleries, breakout artists, printworks making a major mark,
graffiti taking prominence, and a number of other occurrences and
finer details too numerous to mention that have helped make Utah art stand out in recent
months. But probably one of the bigger landmark moments came near the
end of last year as one of the more vocal names in the art community
was appointed to a position that no one thought locals would ever
have a say in. Especially ironic considering the name of the
place.
--- During the fall of 2009 it was announced that Adam
Price, the ringleader behind the successful 337 Project and its
offshoot exhibitions, was appointed Executive Director over the Salt
Lake Art Center, bringing with it a sense of renewed optimism from
the art scene over the gallery, that for years was reserved for a
more national and global display with little Utah influence displayed. A
few months later he appointed Micol Hebron as the new Senior
Exhibition Curator, a former CUAC curator and writer for a number of
art publications. And after recent exhibitions catching the attention of the city and press alike, the boundaries of what the Center could be have changed dynamically from what it was just one year ago. I got a chance to chat with the two about taking on
their new roles, the future of the Center and thoughts on local art.
All with photos of what you can currently see on display, some taken
by me and others more professionally shot, that you can check out here. (Artwork
included from Kristin Calabrese, Joshua Aster, Myranda Bair, Zoe
Crosher, Olga Koumoundouros, Alison Pebworth, Mungo Thomsom, Angela
Ellsworth, Shaun O’Dell, Jared Steffensen and Margarita
Cabrera.)
Adam
Price & Micol Hebron
http://www.slartcenter.org/
Gavin:
Hey guys, first off, tell is a bit about yourselves.
Adam:
I’m no longer a lawyer, but am now the Executive Director of Salt
Lake Art Center, which is way more fun.
Micol:
I am the new Senior Curator of Exhibitions at the Salt Lake Art
Center! I am also a practicing artist – I do video, performance,
and installation art. Lately I’ve been working on a photographic
series, and I’ll be starting a series of sculptures this winter. I
also write reviews for ArtForum.com, ArteContexto, ArtPulse, and
sometimes Flash Art, and am on the editorial board of X-Tra
Magazine.
Gavin:
Adam, we'll start with you, how have things been since we chatted
last year?
Adam:
There’ve been a lot of changes for me in the last year, as I’ve
transitioned from one career to another. It is great to be able to
work even more closely with the arts community and to think about how
we can use the position of the Art Center to help develop an already
exciting art scene even further.
Gavin:
About this time last year we found out you'd be taking over as
Executive Director for the Center. How did your name come up what
were your thoughts at the time between hearing about it and getting
the position?
Adam:
It actually wasn’t that long a period of time before the decision
was made, but during most of it I was thinking “Are you crazy?”
I’ve thought that a few times since then, also. Leaving the
practice of law after thirteen years was a big step for me, but so far I’ve
really loved the chance to work with this institution.
Gavin:
What was it like for you taking over that role, not only after
having others depart it so quickly, but coming from a very different
background than most before you?
Adam:
I like to think that my background provides a healthy balance for
the Art Center, but ultimately others will have to make that
judgment. I’m not a curator myself, although I have a real passion
for the visual arts. In practice what that means is that I am free
to spend a lot of my time thinking institutionally about the nexus
between the Art Center and the local community, and, in particular,
how the Art Center, as an institution, can facilitate the growth of a
strong contemporary art scene here. Micol Hebron, our new Senior
Curator, is then the one that is responsible for the exhibition
programming with an eye toward achieving our broad institutional
goals.
Gavin:
What were some of the early changes you started implementing into the
Center once you officially started, and how was it for you planning
events and displays on the way?
Adam:
I really wanted to see the Art Center more engaged with the
community—and vice versa—so many of the changes we made were done
with that goal in mind. Over the summer, for instance, we hosted 50
or 60 nonprofit groups for free, private evenings in our exhibitions.
We’ve prioritized not only exhibition excellence, but
accessibility as well. How can we get the community engaged with us
in a sustained dialogue by, about, and through contemporary art? The
initial response has been encouraging, with attendance increasing
from about 18,000 last year to nearly 80,000 this year.
Gavin:
When did the talks come up to start finding a new curator, and what
was the search like in trying to find someone who would fit with the
Center?
Adam:
We spent a lot of time conducting a nationwide search, because I
wanted to find someone who both shared with me a passion for engaging
the local population, but also could offer a compelling curatorial
approach that reflected a deep knowledge of contemporary art. It
actually turns out that aren’t a ton of people who fit that bill,
but Micol definitely does and I’m thrilled to have her here. Her
first efforts here have been absolutely awesome, and anyone who
hasn’t heard her give a lecture about contemporary art yet really
needs to make it a point to get to one of our events. She’s got
this way of getting people completely excited about art, and a great
sense of humor about her work as well.
Gavin:
The buzz in our art scene was huge when word got out, not just
because of your prior work but because most artists knew you, and
with that came a lot of hope over localized exhibits talking over
halls. How did you react to that kind of regard and pressure
alike?
Adam:
I’m just continuing to work hard at the job, hoping it will make a
difference. I do want to find ways to support the local arts
community. Partly that means bringing in exhibitions of artists from
around the world that may make a valuable contribution to local
artistic practice. Partly that means opening up a new “locals
only” gallery to ensure that local artists always have some
presence here. Partly that means making the Art Center the most
vibrant place we possibly can, so that the idea of spending a Friday
night at a visual arts institution becomes commonplace, rather than a
rarity. I would love for people to get to a point where the first
thing they do when they pick up friends or family at the airport is
say to them “Before you leave Salt Lake, you’ve got to visit the
Art Center. You won’t believe what they are doing there.” If we
reach that point, I think the Art Center will be well on its way to
becoming the kind of vital institution that Utah deserves.
Gavin: Onto
you Micol, how did you first take an interest in art and what were
some early inspirations for you?
Micol:
I had a very progressive, creative family. I grew up in and amongst
artistic ideas from as far back as I can remember. The first eight years
of my schooling was in a Montessori school and that also had a
profound impact on the way that I learned to think. Identifying a
particular "moment" or "event" that inscribed me into the
institution of art is nearly impossible, as I feel that being an
artist is a long, gradual and evolving process that one builds up
over years. It’s not always possible to identify the inception of a
creative identity. It’s not as if I were a Frankensteinian
creation, zapped to life into my identity as an artist by a singular,
momentary catalyst! I think one’s artistic identity progresses over
time, for the course of their lifetime. I remember doing performative
things as a child that would later evolve into "performance art". Spontaneous dances or wearing pieces of costumes to school,
randomly. My brother and I used to make doll-houses using materials
we found in the forest when we lived in Northern California in the
70s. That seemed very artistic to me. Or, for example, it was family
tradition to dye our milk blue or green, or to make purple mashed
potatoes, just for the fun of it. I loved things like that – small
interventions in daily life that caused me to think of things
differently. My aunt was entrenched in the Haight-Ashbury arts
community (San Francisco, early 70s), so we had psychedelic posters
all over our house all the time when I was growing up. Original
posters by Victor Moscoso, Peter Max and Stanley Mouse. Graphically,
those were really incredible, and they presented images of these
really inspiring fantasy worlds. I think that the images and sounds
and experiences to which children are repeatedly exposed are the ones
that really have a lasting impression in your memory or even in your
subconscious. If you think about the first time you went to a
museum, you may not necessarily remember what you saw there. But, the
statue or poster or photograph that you walk by every day for years –
you remember that!
Gavin:
You received your MFA out of UCLA back in 2000. What made you choose
UCLA, and what was their program like for you?
Micol:
At the time it was arguably the best art school in the country. We
used to cite the unlikely factod that at the time it was
statistically harder to get into UCLA for grad school than to get
into Harvard Business School. I was one of three people admitted into
the New Genres program that year. There was (and still is) an
incredible roster of faculty there, but I was particularly interested
in working more with Chris Burden and Paul McCarthy. I had worked
with them a little bit during my undergraduate studies at UCLA, but
wanted to work more intensely with them in a more directed program.
It was a great program – with an all-star list of full time faculty
and visiting artists, but I also had incredible colleagues there. I
learned as much from my fellow students as I did from my professors.
It was very stimulating and competitive and serious. It’s really a
gift to be surrounded by a community that is so passionate and
invested in making and thinking and talking about good art. I have
never worked as hard as I did in grad school. It was a really special
time – when else does one have the luxury to really immerse
themselves in their practice, to study so intensely, to make artwork
all the time, 24 hours a day for 2 or 3 years?!? The program was very
self-directed, and with very high expectations. It was much more
theoretical than "practical", and I studied critical theory, art
history, and strategies of contemporary art more than literal
physical skills, for example. It was not a vocational
program.
Gavin:
What made you choose video and performance art as your main crafts,
and how was it for you displaying your work around Los Angeles and in
other parts of the world?
Micol:
Actually, I like to think of the body (mine and others) as my main
medium and subject. It’s true that I do a lot of video and
performance, but my work takes all forms – it just depends on the
project itself. Each piece or project is created with the material or
mode of presentation that is most appropriate to the concepts of the
piece. The only media that I don't work in are drawing and
painting. I’m a terrible draftswoman and I don’t visualize ideas
well in graphic or compositional terms - it just frustrates me to
try to express my ideas in drawings or paintings. That’s a
potentially very large question. In short, and generally – It’s
very exciting to show my work, but then, I consider that to be one of
the main objectives of making artwork in the first place (to show it,
so that your ideas can be disseminated to a larger public, and can
comprise a dialogue larger than the one in your head!). Every
circumstance and every location/country is different, and yields
different exhibition experiences. I don’t tend to be a very
commercially driven artist, so most of my work is generated from the
desire to create experiences or social inquiries into modes of
behavior and assertion of identity. I am not good at making objects
that sell. So, the good thing is that I do not pander to the market.
The bad think is that I often incur considerable out of pocket
expenses to do a piece.
Gavin:
For years you had an influence over the L.A. Art scene, founded
galleries and collectives, wrote for a number of magazines and
papers, you were even an arts professor at Chapman. What's your take
on the work you did in California and the impact you had over the
years?
Micol:
I don’t know – I guess we’ll have to wait until I die to find
out, right? Just kidding. It’s hard to assess that kind of thing. I
feel very lucky in that I have developed a large community of friends
and colleagues in the art world – particularly in LA. I am proud of
what I did over the past two decades in the art world there, but, I am
both impatient and a perfectionist, and will probably always feel
that there is more to be done. The LA Art Girls is a legacy that I am
particularly proud of. That is an all women artist collective that I
am a part of - and that I started somewhat by accident six years ago.
There are currently 30 women in the LA Art Girls. The primary
objective of the group is to support each other as professional
female artists with an ongoing dialogue about what it means to make
work in today’s contemporary art world. I really believe that
artists need to support other artists, and that artists should
collaborate with arts institutions. I tried to model that behavior in
my endeavors in the LA art world, and hope to model that here as well. Except now I am in the position to advocate the institution
supporting artists, which is very exciting! I like to think that I
have provided resources and opportunities for like-minded artists;
that I have encouraged artists to pursue their practices and be
passionate about what they do; that I have helped build community for
artists other than myself as well. In my writing I have tried to
write about work that I feel genuinely deserves more recognition or
discussion – work that is truly trying to do something unusual, or
risky, or that is physically or intellectually curious; or work that
fills holes in the art world. But, you’d have to talk to people
form the LA art world to get an accurate picture of what my impact
was.
Gavin:
Before the Center you both had an exhibit and curated down at the
CUAC. What was that experience like and how did you enjoy your
exposure to our art scene at that time?
Micol:
It was kind of otherworldly. At first I felt a bit like I had
stepped into a sci-fi movie –or a psychological thriller from the
80s. I find myself in a tiny town in the middle of nowhere,
surrounded by Mormons who were exceptionally nice and totally
invested in contemporary art. Who knew?! So, here is this amazing
contemporary art space that shows great art, in a small 19th century
building on Main Street. And everyone I talk to is engaging me in
intelligent, passionate conversations about art. While driving back
and forth to the Art Center from the ranch where I stayed, I learned
the "rules of the road" as I observe a cornucopia of roadkill and
late-night hunters scavenging the meat. It was pretty surreal for a
city girl from LA! In all seriousness, the people at CUAC – Adam
Bateman, Jared Latimer, Jason Metcalf – were so enthusiastic and
supportive of contemporary art (and my art), that it was hard not to
want to come back. Their attitude was infectious, and they instilled
in me an excitement for Utah that drew me back the following two years,
and then eventually to come live here.
Gavin:
What made you apply for the Senior Curator position, and what motivated you to eventually take the position
after being in California for so long?
Micol:
I was ready for a change and some new challenges with regard to my
role in the art world, and the Center and Salt Lake City both seemed
to be in a really exciting transitional period… It seemed like I
might be able to make a very positive impact upon the Art Center and
the city, given the new leadership and staff here, but also given the
hunger for a larger and more intense contemporary art scene in
downtown Salt Lake in particular.
Gavin:
You took over the position just a few months ago. How was it for you
officially starting and what work have you done since then with the
Center?
Micol:
It was exciting. As the newcomer to an institution that is 80 years
old, but with a whole new staff and vision, there was a lot of
catching up to do, and a lot to do in terms of laying out the
exhibition schedule, establishing contact and relationship with
members of the community, and finding a work flow with my colleagues
on the staff. I have established an exhibition calendar for the next
two years, implemented a monthly video program in the Foyer, started
plans for a Locals Only Gallery, and helped with the exhibitions that
were up and coming up right at the time of my arrival. I have given
lectures and tours to various groups, juried a show for the Glass Art
guild, and opened my first exhibition, Honeymoon, in the Street Level Gallery. I have been trying to meet the constituents of the Salt Lake
cultural landscape, to familiarize myself with the artists and
galleries here, and to get a sense of what type of programming would
be best for the Art Center and for the art community in Salt
Lake.
Gavin:
What's the working relationship between the two of you been like so
far, and how is it adjusting to these new roles in what would be
viewed as a transitional period?
Micol:
Great! Adam is very understanding about my need to look at images
of cute animals several times a day. I have been delighted that he is
such a good sport about performance art – and has participated in two performative activities so far! How progressive is that for an
executive director? I think Adam is a phenomenal asset to the Art
Center. He’s awesome! He has tireless energy for the Center, and
for the art community here, he is a die-hard artist advocate, and is
unfailingly willing to look at new ideas if it means strengthening
the arts scene in Salt Lake City. His enthusiasm and dedication to
the arts here is truly infectious, and inspires and encourages me to
really believe that the Art Center has the potential to have a
prominent and important voice not only in the Salt Lake community,
but in the national dialogue about contemporary art as well. We have
great conversations about the direction of the Art Center, the state
of art in Utah, the nature of contemporary art, and much more. I
really enjoy working with Adam. I also must credit him with being
the first to introduce me to the International Sheepdog Herding
Competition, the chocolates that they sell at Caputo’s, Red Butte
Gardens, and Gilgal Gardens. And, he even started the Greater Salt
Lake Goat Cooperative for me as a welcome present. What more could
you ask for?? ...Hey, do any of your readers have goats that they would
like to volunteer to be the first members of the GSLGC? We’re
aiming to pool goats and share the benefits of landscaping and
cuteness that they afford!
Gavin:
Over 2010 we've seen some very different and interesting features,
namely the Contemporary Masters mini-golf and the Dark Horses/Fallen
Shadows performances. What was the planning like in bringing those to
what's been a near-traditional gallery, and how has the public
response been to them?
Adam:
These were largely experimental efforts as far as the Art Center is
concerned, including as each did a significant public participation
element. Overall, I think both efforts were very successful, but also
created some real burdens for Art Center staff (e.g., keeping the
facility open for 48 hours straight for Gary’s performance, or
performing very regular maintenance on the miniature golf holes as
they broke under heavy use). I would love to do more events that
explore the range of expression in contemporary art, but we’ll need
to pace ourselves as well so that we don’t burn out. I have to keep
reminding myself that we only have seven full-time staff members,
which is a very small number for an institution this size.
Micol:
I was not involved in planning or programming these…. but public
response to Mini-Golf and Dark Horse was great!
Gavin:
Knowing that exhibits are somewhat planned in advance, there are
parts of the gallery you haven't been able to do anything with yet
from prior engagements. What's your take on having all this space to
play with soon and essentially choosing what it will all look like
for the public?
Micol:
Yes….there are shows that will occur in the next year or so that
were planned in advance, but there are also many opportunities for
new programming that are really exciting. I am very excited to bring
great work to the art center and the Salt Lake community – art from
around the nation, around the world, and around Utah! I plan to
implement an exhibition program that is diverse in many ways – with
a balance of local and national/international artists, a variety of
media and types of art, and an inclusive roster of artistic events,
from spoken word to musical concerts, architectural installations,
and experimental/audience participatory projects and off-site
projects involving the larger Salt Lake community.
Gavin:
What are your thoughts on the Center and the coming works you have
going into 2011? And are there any major events you have in the works
that you'd like to let us in on?
Micol:
Those are some pretty broad questions. I assume you are referring to
the exhibitions that we’ve got coming up? I am very excited… and
there’s almost too much in the works to be able to summarize here, you’ll just have to check in with us often! But, to give you a
glimpse: We have arranged to collaborate with Sundance to show the
New Frontier program of new media installations and performance. That
will happen during the festival from January 21–30,
but our iteration of the program will run until March 25th. I will be
programming in a few additional video programs during that time as
well, to run as part of my Looped series in the foyer, and in the
Street Level Gallery and the Project and Exit galleries that we have
adjacent to the Main gallery. Looped is a monthly video program that
I started in the lobby/foyer area of the Art Center – it features a
new artist or curator each month, and the work is always video (not
film or photography). With this frequently changing program, you
can always expect to see something new and exciting as soon as you
walk in the door.
Micol: We also have plans to open a Locals Only Gallery,
which will be curated 3-4 times a year with a local artist. We will
solicit proposals for projects in this space. Proposals will be
selected by a jury, and local artists will be invited to have
exhibitions in that space. We hope to have this up and running by
spring 2011, if not sooner. Keep your eyes on our website and
newsletter for announcements and calls for proposals! In the spring
we have a solo show by an artist named Robert Fontenot. He has a
diverse practice that involves painting, sewing, photography, and
sculpture (bread dough sculpture!). He’s making a whole body of
work specifically for Utah, and it’s going to be incredible. His
show opens April 1st. Next summer we will have an exhibition by the
artist collective Fallen Fruit, from Los Angeles. Fallen Fruit has
done work all over the world, and they have a really unique,
multidisciplinary approach to art-making and community involvement,
using "fruit as a lens" to build discussion and community. Their
project will involve gardens, interactive installations, and some
good things to eat, I promise! In the spring we will also be doing an
off-site project called “Lawn Gnomes Eat Your Hearts Out”. This
is a community participatory lawn sculpture exhibition and
competition! It will be so much fun. Residents of Salt Lake City are
invited to make incredible lawn sculptures in their front yard as
part of the show. We will then organize a series of artist-lead
tours– so that you can walk or bike through the city to see the
show, using GPS devices, artist designed maps, and cell phone tours
to navigate! It will be a juried competition, and the winning
sculpture will be shown in the Art Center. I hope all your readers
will consider participating!
Gavin:
Moving onto local, what are your current thoughts on our art scene,
both good and bad? And is there anything you believe could be done to
make it more prominent?
Micol:
There is an impressive community of artists and art supporters who
are very friendly! That’s one of the things that drew me to Utah in
the first place. People are very friendly and supportive here,
especially in the arts. There are some really great people spaces
that are prominent players in pushing the contemporary art scene
along: The 337 Project has been profoundly influential; House
Gallery, run by Julie Dunker Pattee; GARFO and the Visual Arts
Institute, run by Cara Despain and Kenny Riches; The Central Utah Art
Center, run by Jared Latimer, Jason Metcalf, and Adam Bateman; and
soon Nox Contemporary will be opening, by John and Emily Sproul. Jill
Dawsey’s Salt series at the UMFA is also great. That said... there
aren’t nearly enough galleries here that are addressing the larger
dialogues in contemporary art. Most of what I have seen has focused
on regional and hobbyist artists, and handi-crafts – which are
great, but I’d like to see more of a balance. I think there is not
enough influx and influence from art outside of Utah, and outside of
the US. I’d love to work with the art community here to continue to
broaden the dialogue about what is going on in contemporary art on a
national and global level. I also think that more art from Utah needs
to gain exposure outside of the state! The art scene here seems to be
dominated by painting, and then sculpture comes in second. There is
hardly any video art, and even less performance art. My guess is that
Sundance has dominated the "moving image" camp, and artists don’t
bother putting forth video work, for fear of being dwarfed by the
programming that occurs during Sundance. But, they shouldn’t be
discouraged! Video art plays an important role in the art world
outside of the "indie" film scene. I think people often confuse
"video art" with "independent film", but they are quite
different! As for performance art… there is obviously a very strong
history of dance here, and an affiliation with classical as well as
modern dance. Because that tradition is so strong, I think "live
art" other than dance is hardly considered. But, again, they are
very different things! Performance art is different than dance! I’d
love to see more performance art here too.
Micol: I’d also like to see
more transdisciplinary projects – involving art and architecture,
or art and science, art and ecology, for example. The new
environmental humanities program at the U is very exciting to me, and
I am hopeful that it will play a role in expanding the dialogue in
Utah about what are can be. I also think that the Leonardo will bring
some great ideas to the discussion of art and science, and I really
look forward to seeing what they do there. There needs to be more
critical and rigorous art-writing in Utah. There is a lot of support
for the art scene in the local periodicals (City Weekly, Tribune,
15 Bytes, Salt Lake Magazine, etc.), but again, I’d love to see
this dialogue broadened – I want to see national periodicals
writing about the Utah art scene, I want to see Utah writers writing
about the national art scene, I want to see more art-centric voices
in the articles that I read. Much of what I have read is covered by
people who also write about music, dance, food, etc. While I
understand this to be evidence of the transitional state of
journalism (and the economy!) these days, in my ideal world, there
would be more evidence of voices dedicated solely to the arts in Utah
journalism. There is an incredible history of creative writing here,
and the U of U has a great writing program – let’s get some more
art writers out there! Another great asset of the Salt Lake Area is
the strong population of students that fuel the Utah art scene. I
think the presence of so many schools (Westminster, Weber, Utah
State, U of U) plays a crucial role in influencing the art scene and
dialogue here in Salt Lake.
Adam:
Don’t forget Jeff Lambson at BYU Museum of Art, who has been doing
some very exciting projects!
Gavin: That said, is there anything you believe could be done to make it more
prominent at this point?
Adam: I think that the most important part of creating a prominent
local art community is to have local artists creating great work. The
Art Center has been trying to help on this front, at least from the
financial perspective, through its Not Just Another Pretty Face
program, which is attempting to create a stronger and larger group of
local collectors that could support local artists through
commissions. If successful, this will give local artists more time to
focus on their work instead of trying to figure out how to make ends
meet. We are also opening up our new “Locals Only” gallery early
next year. The purpose of this gallery is to ensure that local
artists always have a presence here at the Art Center, as well as to
highlight for the national arts community at least a few of those
Utah artists that we feel are ready for greater recognition.
Unfortunately, we will probably never have the time and space to
showcase them all. Another piece of this puzzle, however, rests
largely with the artists themselves. As you know I’ve been a very
strong supporter of local artists through the 337 Project and have
been very impressed in that capacity with the quality of work from
the local community overall. Now that I am at the Art Center,
however, I’m a little bit surprised at how few artists actually
come to visit the institution, which really is a fantastic resource.
The Utah arts community can be a bit insular sometimes, and coming to
see work by artists from other parts of the world is one really good
and easy way for local artists to begin to think about their work as
part of the international dialogue through contemporary art. It is
certainly much easier than traveling out-of-state to see new work.
Our art talks, which are often geared specifically to the concerns of
working artists, are another way to do so as well. And with our new
free parking for members, as well as our mini-café that we
just opened, I would like to invite all of our artist readers to come
visit us again. Almost everything we do is intended at one level or
another to support the local arts community, but a lot of those
efforts are wasted unless local artists actually come down to the Art
Center for a visit that we hope will be enjoyable and
thought-provoking.
Gavin:
What's your take on Gallery Stroll this past year and how its been
doing as of late?
Micol: In fairness, I don’t really know what
it was like in the past, but I think Gallery Stroll is a great thing – there are a lot of
people who seem to show up, and it generates a sense of community and
dialogue among people who are interested in the art scene. However,
as noted before, there aren’t enough galleries to visit – hey,
readers, are any of you interested in opening more galleries?!? I
think that the mix of contemporary art, arts and crafts, and retail
is a little confusing.
Gavin:
What can we expect from both of you and the Center going into next
year?
Micol:
Well, hopefully both I and the Center will present encouraging,
challenging, intriguing programming for a large audience in Salt Lake
City.
Gavin:
Aside the obvious, is there anything you'd like to plug or
promote?
Micol:
I’d like to encourage people to really take an active role in the
art community here. To educate themselves about what’s going on in
the city at large, but also in the art world at large! Visit our
website and blog often for updates – or just stop in!! There are
many opportunities for community members to help shape the dialogue
that is generated from the Art Center – by participating in
community projects. Our new Curator of Education, Felicia Baca,
rocks! Coming to lectures and openings, submitting proposals to our
Locals Only Gallery, and by making great art! We are beginning to
revamp our bookstore and lobby space, just wait ‘till you see what
Maggie Willis has in store! And now you can come to the Art
Center for a great cup of coffee or tea, read an art magazine, take
advantage of free internet, free art, and a cool hang-out space! I
look forward to seeing you at the Art Center often!
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