INSIDE THIS

ISSUE:

From the Director 2

A Fond Farewell 3

Profound Changes

and Challenges

5

Mission Impossible 6

The Most Important Issue in Arts Administration

7

ARTMARCH & Ni Una Mas

8

Student & Alumni

Updates

10

Arts Advocacy Day: Reflections

Arts Hearing Testimony Offers Art As Driving Force to Many

April 13th was a big day for Philadelphian Arts Advocates as some of the bright-

est, emerging arts professionals alongside the biggest, established names in art

and culture from the city joined together in Washington DC to fight for increased

federal arts funding. Part of this year‟s Arts Advocacy Day was a Congressional

Arts Hearing before the House Appropriations Subcommittee on the Interior,

where art proponents from around the nation took a stand on the benefits of and

need for rich, cultural programs.

Bob Lynch, President and CEO of Americans for the Arts, and Rocco Landes-

man, Chairman if the National Endowment for the Arts (NEA), both took the

stand to make the $180 million dollar ask for the NEA. Lynch pointed out the

increase from 7,000 to 668,000 arts centric organizations, nonprofit and for-

profit, since the NEA was first established in 1965. Landesman concluded his

testimony by pointing out that the entire 50 million dollars that the NEA received

from the American Recovery and Reinvestment Act of 2009 (ARRA) went to all

of the nation‟s 435 congressional districts to help fund creative projects in every

American community.

Mavericks of D.C. Individual empowerment is at the very heart of American democracy. Let my

voice be heard; let my ideas be a catalyst for change in American life! Arts Ad-

vocacy Day 2010 was just that, the opportunity for vocalizing the government‟s

support of the arts. This year, in Washington D.C., over 500 individuals from arts

organizations across the country assembled to fight for continued support from

the government. This record number of writers, musicians and administrators

came forward on a united front to advocate topics of deep concern to all those

involved in the arts, and, more importantly, the audiences who attend arts events.

For me, this was the first time where I really felt that my voice was being heard

in the political process. It felt so empowering

to have a politician or his aide sitting in front

of me, listening to me and almost literally

asking, “what do you want me to do?” Fi-

nally, the moment had come to speak and be

heard, to help all the artists, my friends who I

love so dearly, to give them something back.

Rather than leading you through every mo-

ment that would be of some interest to most

of you, I thought I would hone in on some-

thing that really struck me. On our second

day in D.C., we had, of course, an orientation

of sorts to prepare us for what we were going

to experience the next day on Capitol Hill. It

was during this orientation that Rocco Lan-

desman, Chairman of the NEA, showed up.

If you‟re a real administrative geek, this is an

exciting moment.

(Continued on Page 4)

(Continued on Page 4)

Dear Readers,

This time of year comes too quickly. In a few weeks, we will witness the graduation of students

who have completed their theses and we wish them well as they transition from students to

alumni, becoming part of the extensive network of Drexel Arts Administration graduates work-

ing in the field.

This year, we transitioned to an online newsletter format that has a new look and an immediate

impact. Thanks to all who gave us their feedback on the new, green Artsline, we appreciate all of your comments

and do incorporate them in earnest. Let us know as you change your email or contact address, as we value your read-

ership.

The newsletter was only one of the changes in the program this year. As expected, Jim Undercofler joined our fac-

ulty making a significant imprint. He is working with a group of alumni to serve their ongoing professional develop-

ment needs through networking events and symposia. His blog, State of the Art, http://www.artsjournal.com/state,

has taken the industry by storm as he explores issues in cultural development and administration that the arts and the

people who lead them are facing. With his investigation we are developing instruction in cultural entrepreneurship to

attend to the emerging interests of our students to re-imagine the cultural industries and how they are constructed.

We see this as part of a larger trend in imagining new models for the delivery of arts and culture that go beyond the

traditional nonprofit organization.

I have been thinking lately that the cultural field is at the end of the notion of a formula for American cities as cultur-

ally sophisticated. It seems as if the 20th century carried a prescription of cultural sophistication that suggested every

important city should have a museum, an orchestra, a ballet, a theater company and an opera. Towards the end of

that century, due to shifts in population, politics and consumption, a changing philanthropic landscape and a trend

toward deconstructionism this notion of a civic framework based on culture has reached the end of its arc. The ques-

tion is what will replace this framework? This is why we believe it crucial to explore new models for the delivery of

arts and culture and why we will be examining these issues and their implications as the program continues to evolve.

And, since everything evolves and changes, we have more transition to announce. I hope you will join us in con-

gratulating Professor Ximena Varela on her appointment at the American University which she will assume this com-

ing fall. Ximena has been a student in the program and a valued teacher and colleague. We wish her every success

as she relocates to the Washington, DC area to be closer to her family. She will be working through the summer to

assist us with the thesis students, so please feel free to contact her to wish her well. Stay tuned for an invitation to an

event this summer that celebrates Ximena and all that she has accomplished at Drexel.

Ximena‟s departure will precipitate the administration of a national search for a third Arts Administration faculty.

We will keep our readers updated on the progress of this search and welcome your attendance at the presentations of

the final candidates which should take place in winter term in March. Your input is very valuable as we identify this

important faculty member.

And, of course, congratulations go to the students who will be receiving their degrees at graduation on June 12. We

know that you will continue to build the reputation of this program by the work you do in the cultural community and

the creativity of your leadership.

Best wishes for a beautiful spring and a relaxing summer,

Cecelia Fitzgibbon

Letter from the Director

PAGE 2 SPRING 2010

PAGE 3 SPRING 2010

Dear friends,

This summer I will be leaving Drexel to join the faculty of the Graduate Arts Management Program at Ameri-

can University in Washington, DC. This was not an easy decision to make; I am very proud of our Arts Ad-

ministration program have been privileged to witness many years of its continued growth and success.

In my time here I have been fortunate to work with the exceptional faculty of the on campus and online Arts

Administration Program, as well as the Entertainment and Arts Management Program. Thank you first and

foremost to Cecelia Fitzgibbon, for your leadership and vision, and for all you have contributed to my personal

and professional growth. Thank you to my wonderful colleagues: Xela Batchelder, Jean Brody, Larry Epstein,

Brian Moore, and Jim Undercofler. I have no intention of missing you, because I know we will remain in fre-

quent contact!

When I first joined the faculty at Drexel, a mentor gave me a jar inscribed with the words “Ashes of Problem

Students.” I am happy to say that in my seven years here I have never had occasion to use it (being tempted

doesn‟t count). The Arts Administration students have been my life. My greatest thanks go to them: Thank

you for your stimulation, energy, and enthusiasm. Thank you for your questions and your challenges, your

suggestions and your critiques. Thank you for inspiring me, expanding my ideas, teaching me so much about

so many things that matter.

As I begin to pack my boxes and grade the final batch of papers, I am acutely aware that I am leaving behind a

community of caring, creative, passionate people, who work hard every day to make the world a better place

for art and artists, and for all of us. I leave with you my best wishes for the future, and the hope that you will

remain in touch. This is the age of email and Skype, and I am only moving down the road a bit, after all.

I am excited to begin this new phase of my life at American University. If the faculty and students I meet there

are half as wonderful as the ones I leave here, I will be lucky indeed. Just in case, though, I am taking the

“Ashes of Problem Students” jar with me.

All the best,

xvarela@gmail.com

Skype: xvarela

A Fond Farewell

Arts Hearing Testimony Offers Art As Driving Force to Many (Continued from Page 1)

PAGE 4 SPRING 2010

Philadelphia Mayor, Michael Nutter, a testifier in the hearing, remarked that because Philadelphia is a city of close

-knit neighborhoods, his quest for creative ways that the arts can improve life in the city, health, housing, prisons,

the environment, safety, education and youth development resulted in his re-establishment of a city-wide Arts and

Culture Office. Mayor Nutter added that ARRA funds allocated to the city went towards artist spaces, low-income

neighborhoods, the Philadelphia Museum of Art, Arts in the Park, the Kimmel Center, Philadanco, The Pig Iron

Theater and Spiral Q, all of which are vital arts organizations in the city.

In the audience to support Philadelphia‟s mayor was Tom Kaiden, Director of the Greater Philadelphia Cultural

Alliance, John McInerney, Vice President of Marketing and Communications for the Alliance, and an impressive

group of Drexel Arts Administration Graduate students.

Kyle MacLachlan and Jeff Daniels, Hollywood actors, also testified at the hearing. Mr. MacLachlan spoke about

his start in a community theater that received NEA funding. Mr. Daniels called himself a product of American

theater who used his star power to renovate an old warehouse into a theater in Chelsea, Michigan. According to

Mr. Daniels, “careers have begun in this old warehouse. Because of the arts, my sleepy little hometown is now a

destination.” Rep. Moran (VA), presiding over the hearing, impressed with the talent in the room, exclaimed

“Wow, it‟s amazing the amount of people the NEA has given a professional kick-start to.”

The hearing concluded with Brigadier General Nolen Bivens of the US Army making a stirring and most convinc-

ing case for supporting the arts in America: “I‟m here to present, really, three policy areas in which my experience

in the military has shown me that support for the arts and culture can improve our national security needs. It‟s one,

provide a pathway to stronger cultural diplomacy, [two], improve quality of life for our wounded warriors, and

[three, assists with] veterans returning into a civilian life.”

Now we patiently wait to see if the moving and insightful testimony

given on April 13th did enough to convince members of the Appropria-

tions Committee to support the arts and the National

Endowment to the tune of $180 million. Arts advocates,

keep your eyes and ears open!

Mavericks of D.C. (Continued from Page 1)

It‟s like a chess fanatic running into Bobby Fischer. One of the most stirring moments of his speech was when he

thanked us for our service and tireless efforts in support of the arts. He‟s supposed to say stuff like that, he‟s a pub-

lic figure, and to a jaded mind it means nothing more than mere words. However, one never really thinks that they

would hear the Chairman of the NEA thank you for what you do. Audiences enjoy what we do, and we can assume

that Mr. Landesman does as well, but rarely are we thanked in this manner for the services that we provide to our

communities, friends, and families.

The NEA holds so many cards, and many of us believe that they have them all. However, we forget the fact that

someone above them is actually shuffling the deck, and that the NEA is only one maverick at a table of card sharks

all searching for an ace to win their hand. The NEA needs help too, and, with the perception of artistic excellence

almost always in question, the NEA has difficulty increasing, or even sustaining the amount of funding available

for the arts. We need to continue to promote the arts as a pillar of integrity in America, something that runs parallel

with the advancement of thought, politics, mathematics, and philosophy.

I‟m certain that I need not convince any of you of the importance of the arts. But I should encourage you to con-

tinue in your advocacy and delve into it in any way that you can. Advocacy is dire to our existence as a sector of

American industry, to the communities we serve and to the children we

raise. Continue to advocate and do the best that you can to let the gov-

ernment know that you exist, and that the arts has something valuable

and irreplaceable to offer the American people.

By: Amy Scheidegger Candidate for MS in Arts Administration

Arts Advocacy Director

http://www.artsusa.org

By: Nathan Black

Candidate for MS in Arts Administration

Arts Advocacy Director Elect

PAGE 5 SPRING 2010

Profound Changes and Challenges

Cataclysmic events, such as our recent (and ongoing) Great Reces-

sion, often provide an awakening or sudden awareness of condi-

tions that existed before them, but were obscured by abundant

resources. Arts organizations, especially the “monumental” ones

are now coming to grips with long-predicted shifts in the Ameri-

can demography, and with dramatic changes in how people,

mostly younger than 55, access, or even conceptualize the arts in

their lives. The latter changes were enhanced or caused by digital

technology and all of its amazing permutations.

Our American population is being increasingly enriched by Lati-

nos from Spanish-speaking countries throughout the world. Addi-

tionally, people from countries with Islamic religious traditions are

adding to the great diverse American tradition. The challenge to

many arts organizations that were founded on the high art of

Europe is profound, as these demographic changes question their

societal centrality, as well as the body of their repertoire.

Recent quality reports, including the NEA‟s Survey of Public Participation in the Arts,

tell us that people are, in fact and as predicted for years, behaving differently as arts par-

ticipants. Several differences especially stand out. The first is that arts participants

choose to access the arts in an eclectic manner and make attendance decisions closer to

event itself, as opposed to far in advance. Further, participants have made the decision

that the “experience” is critical to return visits, and possess an appetite to be involved in

the art making itself.

The death of the subscription model has been predicted now for almost 25 years, but arts

organizations have not had the wherewithal to address new models. Now this shift must

be addressed regardless, as finding solutions will mean vitality; burying heads in the

ground, death. The crafting of the arts “experience” has recently gleaned increasing at-

tention. New generations of arts participants respond positively to what happens before, during

and after the arts event. Preparing audiences well in advance through engaging methods, making

the parking and transportation to the event easy, providing for intermission and after-event ameni-

ties, and following up after the event are now critical elements in insuring that participants will

come again. And of course, the arts experience itself must be of the highest quality!

The NEA report demonstrates that people are accessing the arts in high numbers via the Internet,

and in doing so are becoming directly involved in the making of art. These experiences range

from the creation of photography to participation in the creation of music (www.artistshare.com).

For arts organizations, finding creative mechanisms for audience engagement in the creative proc-

ess will surely assist them in developing deep relationships with their audiences.

These challenges are profound and real. Hopefully the influential foundation funding community

will recognize organizations‟ needs to rethink, retool and reform their organizations, and provide

necessary support. Additionally, future leaders of these organizations must genuinely commit

themselves to creating a new future for the arts in America, not simply preserving the institutions

created in the past.

(James blogs at artsjournal.com/state) By: James Undecofler

Professor, Arts Administration

Westphal College of Media Arts and Design

Drexel University

“The challenge to

many arts organiza-

tions that were

founded on the high

art of Europe is

profound”

Mission Impossible

PAGE 6 SPRING 2010

“I’m always optimistic concerning things that most people

think can’t be done.” – Albert C. Barnes

The Barnes Foundation, established in 1922, has a history of controversy

following the death of its founder, Dr. Albert C. Barnes, in 1951. There

has been debate over who controlled it, who and how many should have

access, now culminating in the argument about where it should be located;

in Merion or on the Benjamin Franklin Parkway in Philadelphia. There has

been much said in the media and through other sources expressing opin-

ions about this most recent dispute but what has been missing in all the

sound bites is the true mission of the Barnes Foundation. Dr. Barnes had a

collection of a number of the best pieces of artwork in the world and he

arranged them in his own unique way. This makes the Barnes eccentric,

but what makes the Barnes special is Dr. Barnes‟s intention for these art-

works. He never intended the collection for pure display like a museum.

He did not see the purpose in that model, saying, “Art appreciation can no more be absorbed by aimless wander-

ing in galleries than can surgery be learned by casual visits to a hospital.” He saw the artwork as a tool for teach-

ing. He understood that by taking classes in visual aesthetics you would broaden your understanding not just of

art, but of all things. He believed artwork was, “a source of insight into the world, for which there is and can be

no substitute.”

Dr. Barnes created the Foundation to deliver education in the broadest sense, not with schoolbooks and lecture,

but with the teacher opening the student to new ideas and new possibilities. He did not create it for those who

were learned in traditional academics or of high stature, but for the common person in the hopes of “teach[ing] to

use the qualities of mind, heart, and soul, with which he has been endowed by nature, in such a way that he will

be able to understand what the thinkers have done and what the artists have done.” Having risen out of poverty

himself Dr. Barnes personally understood the values of education and learning and wanted to share that with

those who needed it most. His goals were clear and audacious and he was inspired and supported by the people

who surrounded him. One of Dr. Barnes‟s biggest inspirations, John Dewey a great educational reformer of the

early 20th century, said on the occasion of the founding of the Barnes Foundation:

“I feel confident we can open our eyes and look into the years ahead, to see radiating from this

institution, from the work of this Foundation, influences which are going to effect education in

the largest sense of that word: development of the thoughts and emotions of boys and girls,

youths, men and women all over this country, and to an extent and range and depth which makes

this, to my mind, one of the most important educational acts, one of the most profound educa-

tional deeds of the age in which we are living”

The ideal is so big it seems impossible to ever meet but it is clear that Dr. Barnes was committed and

inspired by it. Today the decision to move the Barnes Foundation has been made, the plans have been

drawn, ground has been broken on the Parkway, and the foundation has been laid. The new building

will offer an auditorium for the Barnes to expand its public programs, a special exhibition space where

curators will create shows that expand our understanding of the collection and will be in a location that

is more accessible to the „common man‟ Dr. Barnes was interested in serving.

There are many that are saddened by the fact that the move is now official because of their reverence

for the original location and their grief should be acknowledged. However, what cannot be ignored is

that the vision of Dr. Barnes and his counterparts was so big that it remains extremely vital today and

that disagreement on the location of the tool for this mission should

not stop us all from working to fulfill it. By: Aidan Vega

Candidate for MS in Arts Administration

Barnes Foundation

The Most Important Issue in Arts Administration...

PAGE 7 SPRING 2010

As editor of ArtsLine, prior to compiling this issue I considered whether or not to try to organize it around a central

theme relating to arts administration. However, while I am fairly knowledgeable about the field, I cannot claim to

have the wisdom and experience of our faculty. I submitted the following question to the faculty of the Arts Admini-

stration and the Arts and Entertainment Management faculty: “What is the most important issue in Arts Administra-

tion?” What follows are some of their responses:

Professor Laura Solomon brings up an issue exacerbated by the current economy:

I think the most critical issue facing arts organizations is the changing public perception of tax-exempt arts organiza-

tions as “less charitable” than other charitable organizations. This perception has led to a shift in donation patterns, in

favor of organizations which provide social services and serve basic needs, as they are perceived as more worthy. I

am concerned that this shift will persist after an economic recovery. The perception also has the insidious effect of

making arts organizations vulnerable to government regulators and legislators who see them as easy targets for new

taxes and assessments and/or the repeal of existing real estate and sales tax exemptions.

Professor Jean Brody points to a problem that originates from the state of the nonprofit field:

I think the most important question facing the nonprofit arts field today is the continued saturation of the nonprofit

arena. We have too many nonprofits, with more being created every day. Many existing organizations will need to

justify their continued existence, or find a way to join forces with other groups, or fold responsibly. Not all new or-

ganizations being created are going to be here ten years from now. Each existing organization will need to consider its

own future, and how to manage its existing resources ethically and responsibly.

Professor Allison Trimarco questions the very nature of nonprofit organizations:

I think our most important issue overall is that the typical business model for arts organizations is not faring well to-

day. The "old school" model requires a high number of productions/exhibits annually, along with massive fundraising

efforts that then require fairly sophisticated staffing, financial management, board development, etc. This goes along-

side the heavy demands of audience development. The organization gets so much bigger than the art, that it can stifle

creativity, make the organization risk-averse, and ultimately defeat the artistic purpose. We have to find new ways of

structuring arts organizations so that they remain in support of innovation, rather than obstacles to it.

Professor Ximena Varela points to the issue of Digital Divide:

Paul DiMaggio, noted Princeton University sociologist and writer on arts and culture, has been calling attention for

some time to the social divisions that arise from the digital divide. This has tremendous implications in terms of audi-

ence development, in particular for those organizations interested in reaching lower-income audiences, who may not

have access to the technology (iphones, websites, etc.) on which arts organizations seem to be relying ever-more heav-

ily to deliver content. This is not to argue against using technology in innovative ways, but rather to note that good

audience development should probably be a hybrid of high and low tech options, suited to the target audience.

Professor James Undercofler brings up an issue with arts in education:

I believe the most important issue is the gap between arts education and professional performing and visual arts or-

ganizations. This gap threatens the very vitality of the arts in America. Yes, professional arts organizations offer arts

education programs and many integrate these programs into public and private school curricula, but for the most part

these programs are marginal to the core operation of K-12 arts education. From my experience I am confident in say-

ing that unless professional arts organizations get serious about connecting, and opening a true dialogue with K-12 arts

educators, our present audience declines will accelerate, and our K-12 arts programs will continue to deteriorate.

Professor Roy Wilbur brings up an issue that on its face seems obvious but on consideration is extremely important:

Arts organizations must consider their audiences when planning programs. An arts organization‟s capacity should not

affect the staff and board‟s strategic thinking when engaging audiences with its artistic programs. Who are the target

audiences for those programs based on the mission and artistic vision, long range plans, programmatic content, and

demographics of the community in which the organization is located? What is the experience we want them to recall

following their engagement with us? We must begin to consider our audiences from the moment a program is con-

ceived and curate the experience with them in mind. This will also help to inform the marketing strategies and tools

utilized for informing our audiences, as well as the language and imagery we incorporate into our communications.

Compiled by Michael Brown, Editor of ArtsLine

ARTMARCH for Juárez &

Ni Una Mas at the Leonard Pearlstein Gallery On Saturday, May 15, ARTMARCH for Juárez marked the

opening of the ambitious new exhibition Ni Una Mas at

Drexel University‟s Leonard Pearlstein Gallery. Envisioned

as a mass demonstration and collaborative work of perform-

ance art that will serve as a vehicle for social change, both

the march and the exhibition respond to the epidemic of

femicides that has taken place in Ciudad Juárez, Mexico (El

Paso‟s border-hugging twin city), since the early 1990s. The

murders continue today, largely with impunity. The tally of

victims is nothing short of catastrophic: there are differing

official totals which report anywhere from 400-700 killed or

missing women in the last decade, but with unreported and

undiscovered victims, the actual number could be in the

thousands.

The rally began at the 33rd Street Armory, where hundreds

of participants assembled, some coming from Drexel, with many contingents representing their fraternity or soror-

ity, but others hailing from Philadelphia at large. Women wore pink shirts, the color of the memorial crosses stuck

into dusty desert soil for victims in Juárez, and men wore black shirts. At 3:00 p.m. the event began with instruc-

tions and rehearsal for the call and response chants by Joe Gregory, Head of Drexel‟s Art and Art History Depart-

ment. Introductory comments followed, including speeches by Abbie Dean, a Drexel Trustee and Curator at Leo-

nard Pearlstein Gallery; Diana Washington Valdez, Pulitzer Prize nominated journalist of the El Paso Times; and

Marisela Ortiz, founder of Mothers of Juárez and the mother of a victim. Of particular note was Larry Cox, Execu-

tive Director of Amnesty International USA, who proved himself an incredibly rousing and motivational orator.

ARTMARCH was then off to the streets with its police escort, leaving the Armory and processing down Market

Street, before turning North on 36th and then East on Filbert to arrive at the new site of Leonard Pearlstein Gallery.

Women marchers formed a central column of pink, flanked on either side by files of the black-shirted men. When

prompted by Joe Gregory through a bullhorn, participants chanted the slogans “Ni Una Mas,” and “Save the Girls:

Not One More” to an accompanying drumbeat .There was also an instrumental cue by a brass band: when they

played a dissonant note, the women participants would each shout the name of a different Juárez murder victim.

Arriving at the gallery, the women threaded carnations bearing the name of a victim or the designation

“Unidentified” into a chain-link fence. An iconic pink cross, which has become the painful visual symbol associ-

ated with Juárez, was also planted at the site.

If you have visited Leonard Pearlstein Gallery at Drexel University in the past, forget all previous knowledge. No

longer ensconced in the limiting compartment off of Nesbitt Hall‟s lobby, Ni Una Mas inaugurates a new and ex-

pansive gallery space, used effectively in the current offering and brimming with potential for future exhibitions. It

is a somber yet worthy debut for the building, located on Filbert Street between 36th and 34th Streets, considering

the emotional and thematic heft of Ni Una Mas (Not One More).

Some of the artwork deals directly with the murders, while other pieces are more nuanced in approach or were

even created years before the current crisis began. Taken as a whole, the exhibition is ambitious in size, gathering a

combination of twenty artists, a number of whom are titans of the international art world, and placing them along-

side artists of emerging and lesser-known mid-career status. The mixing of these artists could have been a terrible

albatross, where the celebrities suck all the air out of the room. However, here the combination is seamless, with

all the pieces working in concert to amplify the cause that Ni Una Mas underlines.

The contributions of Frank Bender are a fascinating example of the exhibition‟s thematic power. He is a self-taught

forensic facial reconstruction expert who has worked on numerous high-profile cases and has bootstrapped himself

into something of an outsider artist slash social crusader. Bridging a crossroads between art, science, and crime

PAGE 8 SPRING 2010

PAGE 9 SPRING 2010

scene investigation, his work, already imbued with a healthy

dose of altruism, is elevated here by context and proximity.

Then there is Yoko Ono‟s Heal, a new work contributed espe-

cially for Ni Una Mas. Consisting of a slashed sheet of can-

vas, viewers are invited to mend the cuts with provided nee-

dles, thread, and fabric for patches. She allows for partici-

pants‟ creativity to flow freely in the stitching, depending on

their interaction for the ongoing completion of the work. In

this way, it also becomes a performance piece. The silhouette

from the back, as many hands work upon it, is elegiacally

poetic.

Emerging artist Andrea Marshall had to be my favorite, offer-

ing a series of photo works and a painting. Yes, this is another

female artist who uses identity-skewing role play in self-

portraits to comment on the way women are perceived and treated by men. But there is a certain energy which

makes her work different. Though the influences are obvious (Kahlo, Dali, Man Ray, Warhol, Cindy Sherman, et

al.) she uses them judiciously, blending with tact and extrapolating something that feels new-ish. This is not a

backhanded compliment; she exemplifies Millennials, and our penchant for mash-up and remix, done right.

Lise BjØrne Linnert, who performed at the beginning of ARTMARCH

for Juárez, has created something akin to a war memorial for the femi-

cide victims. Thousands of names, all uniquely hand-embroidered

onto strips of cloth tape, are mounted across a pink wall. Their spac-

ing holds a hidden meaning, using Morse code spelling to write out

the American and Mexican national anthems. The title Desconocida,

Unknown, Ukjent seems at least partly a misnomer, as it enshrines the

names of the victims unless their identities are truly unknown. Regret-

tably, the work is ongoing due to the ever rising total of dead; it is

staggering to be confronted with the sheer range of casualties.

Away from the main gallery, down a corridor, and past the restrooms

is Teresa Serrano‟s gripping, though profoundly unsettling video La

Piñata, wherein a man demolishes a girl-shaped piñata with exponentially

increasing aggression. He begins by pacing around the effigy with menac-

ing intent, first caressing her with his staff. Then he begins to swing, sometimes making contact and breaking off a

limb, sometimes swinging so violently that he misses. He continues until her head is all that dangles from the wire,

before finally bashing it to the ground. The installation of the work is a stroke of genius: viewers stand in a dark-

ened room and look through a large pane of glass into the adjacent room where the video is projected onto a wall.

Whether this setup was intentional or a happy accident of necessity is a mystery, but I will give the benefit of the

doubt. Its effect is like that of looking through a two-way mirror, evoking the atmosphere of a police station inter-

rogation room or, more appropriately with this work, an execution chamber.

There is far too much art for me to continue to dissect individually, and the greater part of it is excellent. Ni Una

Mas is a powerfully poignant journey; I noted one viewer standing outside the gallery overcome with emotion. It

dares to shock, enthrall, evoke outrage, promote healing, and argue the case for why it all matters, never once turn-

ing preachy. There is also beauty nestled

among the depictions of moral decay. It

demands nothing less than one‟s undi-

vided attention and commands that the

viewer not only be made aware of the

Juárez murders, but also want to advocate

for their end.

ARTMARCH for Juárez & Ni Una Mas at the Leonard Pearlstein Gallery (continued)

Visitors engaging with Yoko Ono’s Heal

Portion of Lise BjØrne Linnert’s Desconocida, Unknown, Ukjent

By and Photos Courtesy of Jeffrey Bussmann

Jeffrey Bussmann works as the Development Assistant at the Institute

of Contemporary Art at the University of Pennsylvania. He is currently

a Master‟s student in the Drexel Arts Administration Program. His

blog, Post-Nonprofaltyptic (http://postnonprofalyptic.blogspot.com), is

a collection of reviews and musings about visual art exhibitions in and

around Philadelphia and New York

Arts Administration Student & Alumni Updates!

Let your classmates

know what you‟ve

been up to!

Send all updates to

ArtsLine@drexel.edu

SPRING 2010

Victoria Hanks (‟10) started working as Pro-

gram Director of the Cadence Cycling Founda-

tion this past April. The Cadence Cycling Foun-

dation is a nonprofit organization that helps kids

create opportunities through cycling. For more

information about the Cadence Cycling Founda-

tion, visit www.cadencefoundation.org

Kera Jewett (‟09) recently accepted a position

of Annual Fund Manager at Hartford Stage in

Hartford, CT. Hartford Stage is an award win-

ning nonprofit professional theatre, recognized

as one of the leading resident theatres in the na-

tion. For more information about the Hartford

Stage, please visit www.hartfordstage.org

Dorilona Rose („09), Operations Manager in the Department of Materials Science and

Engineering at Drexel University, is a recipient of the Drexel University 2009-2010

Harold M. Myers Award for Distinguished Service. This is the most prestigious service

award presented to a faculty or staff member of the Drexel community who has gone

above and beyond their position in service to the university community. The award,

consisting of a certificate of recognition and $2000, was presented at a Faculty Recogni-

tion Dinner on Wednesday, June 2 in Behrakis Grand Hall.

Liz McClearn (‟09) and husband

Alex welcomed their daughter,

Evelyn Constance McClearn, on

March 1, 2010. Kimberly Hassmiller (‟09) has become a Trustee

on the Board of the Mile Square Theatre in Hobo-

ken, NJ. Additionally, she is also now engaged to

Matthew Oley.

Maggie Lawler Kirk ('09) is an intern at The Philadelphia Foundation and a

project volunteer for Delaware Greenways and the Delaware Association of

Nonprofit Agencies. She is also currently working part-time as a host for

Delaware State Parks event department and is training for the 2010 Census.

Michele Blazer recently became Director of Development at the Chamber

Orchestra of Philadelphia.

Lesa Franz is currently working for a green company, Hypercat-ACP, out of

West Chester, PA as in their Customer Service Department and as an Ac-

countant. She is also a founder of Coatesville Community Bike Works

(CCBW), a nonprofit organization which received its 501(c)(3) status this past

fall. CCBW was awarded a contract to work with the Coatesville School Dis-

trict in an afternoon program at South Brandywine Middle School teaching

bicycle safety, repair, and proper handling. Services will be ramping up this

summer as the organization be holding Bike Shop Repair Nights and a few

Bicycle Rodeos. For more information visit www.coatesvillebikeworks.org

Page 10

PAGE 11 SPRING 2010

Message from the Outgoing Board President

My time as President of the AAGA for the 2009-2010 term is coming to an end, and

all I can say is what a great year it was! I will speak for the entire board when I say

that learning from each other and from everyone who has helped or participated in

any way has been a wonderful experience. I am so very grateful for such a wonderful

team of hard working and brilliant individuals, and will be very sad to see our time

together end. I know these people have impacted my life in a very special way, and I

am very grateful for all of you.

The AAGA had some incredible events this year that were a great addition to the pro-

gram and a lot of fun! The Brown Bag Symposium in the fall helped to raise addi-

tional funds for six Drexel AADM students to go to London to present their theses at

the International Conference on Social Theory, Politics, and the Arts. Our fall

Speaker Series, “Boosting Your Board” featured Carol Haas Gravagno about motivat-

ing boards to fundraise during stormy times. The 7th Annual Art Auction included

over 180 donated items and helped to send 15 students to the 2010 National Arts Ad-

vocacy Day. All were very successful and terrific events! The current board is partnering with the incoming 2010-

2011 AAGA board to bring the AADM and EAM communities a special panel and workshop event, Outstanding

Tips for Standing Out: How to Land a Job in Arts Management. This event will take place on June 28 from 6-

9PM. Keep your eyes peeled for more information.

As I said, I am so very grateful for everyone who has supported the AAGA, not only this year, but all previous years

and especially the years to come. These events and opportunities would never have been possible without your sup-

port. I would especially like to thank Jim Undercolfer, Ximena Varela, and Cecelia Fitzgibbon for your continuous

strength and support to not only me, but also to the entire AAGA. I would like to give special recognition to the

AAGA Faculty Advisor, Ximena Varela. Professor Varela has been a wonderful teacher, colleague, advisor, and

friend, and we will truly miss you! Best of luck in your next chapter and please keep in touch with the Drexel

AADM community!

A big congratulations to the incoming 2010-2011 AAGA Board! You will all be great leaders and I cannot wait to

see what new and insightful events and opportunities you will bring. Thank you all once again; it has been a fantastic

ride!

-Jennifer Schick

President, AAGA 2009-2010

SPRING 2010 Page 12

Meet the 2010-11 Board!

As Events Director I will work diligently in organizing the annual Arts Auction as well as

the welcome back party. I would also like to establish monthly events where alumni and

current students can meet and network. I feel there is an opportunity for connecting to past

students as well as students who are at various stages in the program. These events will be

social and creative in nature. I will be responsive to the students of the AAGA to make the

most out of the events for the upcoming year.

As President I will support and advocate for current students and alumni of the Arts Admini-

stration Graduate Program. I will provide my fellow Board Members and classmates with

the encouragement and assistance they need to insure their ongoing success. I will work

closely with the elected Board Members to establish and execute attainable organizational

goals. I plan on creating an early sense of ownership among incoming students by clearly

communicating the mission and purpose of the AAGA while showcasing its social, profes-

sional, and educational advancement opportunities. I will increase the visibility of the

AAGA and the emerging art administrators it represents in the Greater Philadelphia Arts and

Culture Sector, by providing networking opportunities for current students and alumni.

First and foremost, as the Volunteer Coordinator I plan to effectively staff all of the AAGA

events to be held this coming year, including the AAGA Art Auction. I also intend to work

closely with the rest of the Board to ensure that the incoming first year students have a

smooth transition into their new lives at Drexel. This will include active communication

between the first and second year students as well as publicizing events and chances to be-

come more involved in their Drexel community. Lastly, I plan to research open volunteer

positions in the Philadelphia area to then present to the Arts Administration students.

As Vice President, I will fulfill the duties of the position to the absolute best of my ability. I

will make sure that the efforts of the Board are properly coordinated and will fully support

and assist the efforts of the President. I will work to put together speaker events that are in-

formative, engaging, and useful for an arts administrator. I will not forget that the Board

exists to serve the rest of the Arts Administration Program and will always strive to make

sure that it is responsive to the needs of the program's participants.

As Advocacy Coordinator I plan to do three things: First, I will uphold the standards and

activities set by the preceding Advocacy Coordinators which includes planning two advo-

cacy seminars, arranging National Arts Advocacy Day in Washington D.C. and promoting

advocacy issues on the Yahoo group and in person. My next objective is to provide students

with the resources to become active advocates for the arts. These resources will be in the

form of writing templates for Senators, Congressman and other elected officials, important

information on current arts issues, and contacts with local advocacy professionals. Lastly, I

would like to create a directory of local, state, and national officials to contact in order to

make the most effective case for the specific issue that you wish to advocate for.

President Tracy Buchanan

Vice President Michael Brown

Advocacy Coordinator Nathan Black

Events Director Bridgette Bussey

Volunteer Coordinator Nicole Oidick