Will Hudson become center of arts February 1993
For years, there was a widely held belief in the New York
metropolitan area that art in New Jersey is a contradiction in terms. Not
because art doesn't exist here, but because people think of it on a level so
primitive that it takes an archeologist to dig it up, and a Rosetta stone to
figure out what it means.
The same thing, of course, might have been said of the
Aztecs before Cortez went stomping around them with hobnailed boots. New
Jersey, to many, has always been that vague land across the Hudson with little
shape and so sense of self-worth. While Walt Whitman lived here, it is his New
York City poetry that is most quoted.
During the 1970s, however, development pushed forth from
Manhattan, engulfing many of the communities this side of the Hudson River and
by the 1980s had transformed much of the landscape of Hudson County into a
model-miniature of the Big Apple. Early on during this expansion, art
flourished largely due to ample grants connected with programs like CETA. Over
the years, those grants began to shrink as the federal government reduced
shares earmarked for cities and states.
While many grants still exist and more are hoped for with
the changed administration in Washington, many artists have had to adapt to a
new reality and a new means of funding their work. The word for struggling
artists in the 1990s might well be "survival." How individuals find
financing and an audience may challenge them as much as creating their art. For
local artists, it may also mean how to generate a self-contained environment
for art and draw people over the Hudson from New York.
The days of the isolated artist may soon give way to a new
reality in which the motto of survival comes from the ranks of unions: "We
can get anything we want if we organize." Many artists may now rely more
heavily upon good marketing skills, steering committees and networking than
inspiration. Studying trends could replace integrity of vision as visual
artists scurry to find places to display their craft.
In Hoboken, artists have banded together into a coalition of
survival called the Creative Alliance. In this group, members struggle to find
within their own membership resources in which to continue their work. While
largely represented by visual artists, it struggles to pull together talents in
a networking data pool.
For written word, there are classes on writing. For the
musician, there are searches for available places to play. For the visual
artist there are agreements with stores, galleries and other mediums for
display. Inexpensive work spaces are sought after and relayed to needy members.
"Little things
grow out of the alliance," said Linda D'Amico, who has just given up her
position as program director for the education series. "I've met wonderful
people there. You kind of create for yourself and people help you. It's not so
much a service oriented group as an opportunity to meet other artists."
But even here, fund-raising has become a way of life as the
group looks towards incorporating money-making events to make up for shrinking
grants. A steering committee organizes events and sets priorities for the
direction of the group. Their educational programs include bringing in speakers
and other professionals, holding workshops, offering training <197>
especially in business. Two recent workshops involved lessons about the gallery
process
"Not just how to find them, but how to get yourself out
into them, how to act like a professional, what they look for and how artists
can think more as business people," D'Amico said.
Creative tax planning, self promotion, copyright trade
secrets and career planning have also been subjects of their programs.
A nagging complaint among some members and former members is
the inability to break through the bureaucratic tendencies to get individual
projects done. Some would like the organization to take a more active role in
promoting artists.
"Sure, some people want us to do more," said
D'Amico. "But the largest part of the Alliance is social interaction. Some
people are unhappy with that. But over the last two years we've found we need
to do what we already do better, rather than take on new projects."
D'Amico said anyone who had a specific project can get other
people to help put it on.
"People should understand that what you create is what
you create. You can't depend on any group to give that to you. But the Alliance
doesn't want to expand its projects. We
just don't have the time and we don't want to spread ourselves too thin."
Business support comes in various ways like the artist tour
co-sponsored every year by the Jersey Journal. The Alliance works with the city
with the Water Front Arts Festival. They also issue a directory of members with
name, address, phone number and what they do, listing skills. Sometimes,
members use this as job resource, calling other artists when some project needs
that skill.
"We're looking for space of our own," D'Amico
said. "While many local restaurants have been very supportive in showing
artists, we really want a space of our own."
She said this is still down the road. The Alliance has just
recently incorporated and is now seeking non-profit status that would give them
access to state and federal arts grants. Once that's happened, then they can
look into acquiring space of their own.
While they are stable as a group and seem to find strength
in their solidarity, their connection with the outside world seems tenuous. A
large question for their future is how they make that connection stronger and
what kind of fund-raising projects will draw in the general public. Two years
ago, they took over the Waterfront Festival; now they look for other projects
similar in nature.
@lift=Niche for <169>film<170> vs.
<169>movies<170>
An apparently more community-centered organization in the
area is Projected Images, which runs films twice a week at Live Tonight, a club
on Washington Street in Hoboken.
"Live Tonight likes us because we're different,"
said director Geri Fallo. "They like to be connected with art."
Unlike Creative Alliance, Projected Images has already gone
through the ritual of non-profit and presents itself on two fronts which bring
it closer to the community.
Reels on Wheels services various institutions countywide
such as hospitals, schools and community centers with films programs, allowing
it access to many more grants than available to the Alliance. But it also has a
clear focus as to what services it wants to provide in the way of art.
Projected Images also has a membership, but with a more
market oriented approach, giving members T-shirt and discount cards, rather
than insider-like access to its services. It never seems to forget its service
to the larger community.
"We're trying to be an alternative to New York,"
Fallo said. "We want people to have an option."
By displaying rare and exotic films before they hit the
video stores, Projected images has created a viable market. It also attaches
itself to other projects like the recently concluded "Love &
Chaos" art show in Jersey City where it put on Woody Allen's
"Husbands and Wives."
Fallo said she sees a good future, though competition with
videos is fierce. She selects those films she thinks will bring people out
while maintaining quality. Her shows have attracted a broad mix of people:
urban professionals, senior citizens, blue- and white-collar workers.
"People see the sign in the wind and just come
in," she said.
Funding comes from a variety of sources: block grants,
county partnership from the arts, as well as membership fees and admission at
the door. The non-profit status help get grants. Admission can cover 75 to 90
percent of costs depending on the film.
"If we have more money at some point we can risk taking
a chance on a better film," Fallo said.
@lift=
Fine arts in the
gallery scene has a closer connection to the community as it seeks to attract
new customers into backroom spaces. Some galleries have become the natural
outgrowth of other businesses as they discovered a new market.
Two years ago Traders
of Babylon on First Street in Hoboken discovered this by accident, when the
jewelry store owners were approached by a local school, asking to put on an art
show. The event was a smashing success with nearly 600 visitors attending over
the length of the show. It inspired the owners to consider regular showings of
professional artists.
Now the gallery puts
on a new show monthly except over the summer and many people come. Although the
recession has impacted sales, things seem to be on the rise. The new Pater Bill
show sold a painting the first night. The last show resulted in three sales. In
December, the gallery sold seven paintings as part of its holiday group show
The gallery is
usually pretty busy on weekends, and the owners have built up a substantial
mailing list, letting people know when a new show has arrived. Odd things
happen from time to time, like the sale of a painting left over from the
Christmas show. The owner normally put the current painter's work in the
window. But many of Peter Bill's pieces were simply too large. So they
supplemented the current stock with older painters. Someone passing by saw one
he liked and bought it. Perhaps a good sign for the future.
There seems to be no
shortage of artists. Trader of Babylon sometimes books artists as far in
advance as a year. The Peter Bill show was booked last September. Currently,
they are reviewing slides and resumes for shows next winter. They will book
group show for next Christmas with an emphasis on lower priced paintings for
people to buy as gifts. While last Christmas' sales were not what they
expected, the large turnout inspired confidence that things may look up for
next year.
@lift=
Another approach to
the gallery scene is a recent innovation by Ahn Behrens, an art consultant for
Cooper Gallery in Jersey City. Behrens has no qualms about tying art to the
business community.
"We have some corporate clients," she said.
"And we're looking for more." She has begun to target corporations
moving their back offices into Hudson County from places like New York City.
"Corporation clients have the most money to spend and can afford to
purchase paintings," she said.
Her first client, who she declined to call a sponsor, was
attracted to Cooper Galley by an opening. He liked what he saw and has since
purchased 14 paintings <197> 12 for the corporate offices, two for
himself.
She said word spreads and people bring other people.
"I met a group of guys from the financial center,"
Behrens said. "One of them was buying art for his company. He came to buy
one artist and found himself buying another, too."
Corporations are growing more interested in local artists,
she said. At least one corporate buyer comes to each of her openings. The
Cooper Galley does an opening about once a month. But she says she is also
seeking people who would not normally attend such openings. She was one of the
organizers of the "Love & Chaos" exhibit at the Community Gallery
in Jersey City, which was designed to make art affordable to ordinary people.
But she is also a writer and poet, who has begun to connect
events by presenting poetry and films at her art shows.
"The literary events attract a different crowd,"
Behrens said.
@lift=Lionizing literature
Rosette Capotorto, who has jointed Behrens in coordinating
the literary side of these projects, said art is expanding in Hudson county,
and her goal is to prove it isn't just for "ivory tower
intellectuals." But both Behrens and Capotorto find funding this side of
art tough.
"We take collections at the door and get enough to pay
the poets," Behrens said. "If we're lucky we get back our investment
on food and postage."
For this part of the cultural scene, Behrens and Capotorto
hope to obtain grants.
"There are a number available through various
foundations," said Capotorto <197> though they may have to form a
formal organization in order to qualify. But there is a sense growth in the
air. Jersey City seems to be growing as a cultural center. At 111 First St., a
block-long building has been converted to artist space. While management is
interested in renting these spaces, the whole building seems a magnet for
creativity.
Part of it is Jersey City itself, said Capotorto.
"I used to think Hoboken was top in the arts," she
said. "But Jersey City is cheaper, rougher and more diverse. We get people
from all over here." In Hoboken the arts seem all to be separate,
Capotorto said. "The theory with Jersey City artists is to see how the
world interrelates."
The blending isn't something people are trying for. It is
something that happens, and she has good feelings about the future here, though
want to seek a wider diversity in cultures for the word arts as well as the
visual. She would like to promote more bi-lingual events.She knows Japanese
writers, writers in the hood, and wants to start inviting more culturally
diverse writers who will bring friends and connect more firmly with the local
community.
"We want to say: now that we've met you, come on
in," Capotorto said.
<<<<<<Side bar>>>>>
Jersey City Museum sees itself filling a dual role in Hudson
County fine arts, one that highlights the history of arts in the county as well
as presenting contemporary artists to the public.
"We have a
unique niche in the county," said Ann Holcomb, the museum's public
relations associate. The museum preserves the material culture in both the fine
and decorate arts like maps, walking sticks and pottery, as well as presenting
regular exhibits of area artists, keeping an extensive slide registry of their
work.
"We have a
strong history of contemporary art," said Gary Sangster, the museum's
curator. "The New York Times said we have the best exhibit of contemporary
art in the state."
The library which is
dedicated to fine arts maintains historical records and artifacts on Hudson
County, documenting this history of the arts, their economics and their
connection to the community.
Education is a big
part of this process. The museum offers workshop to teachers and students, and
forges a clearer understanding of the fine arts as an experience.
"That process
comes through education and carefully planned exhibitions," said Sangster.
"It's the beginning in the appreciation for the importance of
culture."
@lift=
But the museum is struggling despite an impressive array of
shows like the history of print show currently on display. Lack of room and
money have become problems which need to be worked out.
"We're moving
our collection," Holcomb said. "We restructured our space and looking
for more. The city is well aware that we're struggling to survive."
Some of their
collection is going into storage for lack of space and without money it cannot
expand. Holcomb said the museum is currently contemplating a possible campaign
to raise funds.
"We need to
renovate our space to bring it up to professional museum," she said. Cut
backs in state grants last year have caused belt tightening and making programs
leaner.
"We do get money
from foundations and private sources," Holcomb said. But it still isn't
easy to make ends meet.
Funding trends have
an optimistic side, said Director Nina S. Jacobs.
"We've come through a difficult time and the recession
has had a trimming effect on the level of our funding and the ways funders
supply support. I see more opportunity for funding of educations programs and
for special projects."
Corporations are
shifting to education, Jacobs said. She quoted a funding report on arts and
culture in New Jersey which said business support for arts has declined nearly
18 percent between 1988 and 1991.
@lift=
Jacob said the museum
is a private non-profit that relied heavily funds from the city and state. The
county supplied money for special projects, but not much more. But foundation
funding, corporate and private donations, as well as membership fees all
contribute to the financing package.
The audience for the
museum is diverse because the population of Jersey City is diverse. Several
thousand school children take advantage of the museum's programs which are open
to schools throughout the county.
Children make up a
lion's share of the museum's attendance, but there are extensive educational
programs for adults, too, and others come from all over like art lovers,
history buffs and artists seeking to learn more about their craft.
"Artists come
because of the special nature of the museum," Jacob said.
She said the current
exhibit on printed letters has brought a whole new audience: graphic designers,
publishers, print people, people who worked in the American Type Founders upon
which the show is based.
"Everything for
industry was the unofficial motto the chambers of commerce when this was a
manufacturing town," Jacob said. This show like others the museum has
presented and will present has researched companies based in Jersey City over
150 years that have had a national impact. Product and industrial designs
created by these companies are part of the county's art.
"We're seeing
the art trends of the day and looking at their world and the links between the
arts and design," said Jacobs.
The Collgate company
hired artists. So did the perfume company Renne LaLique. Maxwell Parish was one
of many artists to do design work here.
"We originally
planned one large exhibit on manufacturing then realized there were so many
topics and individual shows. We decided to do yearly shows," said Jacobs.
But research takes a long time. In the case of the print show, it took two
years. The show ran three months.
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