Feb 22

Nonprofit Research on Access to Arts and Culture in Minnesota …

As part of Philanthropedia’s custom research partnership with Minnesota Philanthropy Partners, we are working to identify expert-recommended high-impact nonprofits that increase access to arts and culture in Minnesota.
Minnesota has a diverse arts eco-system. The state has numerous community arts organizations and large arts institutes, as well as an established system of 11 regional arts councils to help make the arts more reflective of their communities.
Minnesota is a pioneer state in providing funding to the arts sector. In 2008, Minnesota voters passed the Legacy Amendment. The Amendment increases sales tax by three-eighths of one percent to distribute to four funds, including the Arts and Cultural Fund (ACHF)which receives 19.75% of overall Legacy funding.
Despite Minnesota’s demonstrated commitment to the arts and the existing arts infrastructure, many groups are still under-represented in the arts. Organizations across Minnesota are working to address those disparities and MN Partners has asked Philanthropedia to help identify nonprofits having the greatest impact in the field.

In order to prepare for this research, we spoke with ten experts from key organizations working in the issue area of access to arts and culture in Minnesota. Their insights have helped define the scope of this research. (Thank you to those of you who offered your time and expertise!)
For this research, we are asking experts to recommend up to four nonprofits doing high-impact work across the state of Minnesota, and up to two start-up nonprofits that have the potential to do high-impact work.
In particular we are asking experts to recommend nonprofits that are:
1. Increasing arts and culture opportunities for populations who don’t have access to the arts
2. Directly supporting artists
3. Supporting under-resourced types of arts
4. Providing opportunities for non-arts people to participate in the arts
1.    Increasing arts and culture opportunities for populations who don’t have access to the arts
The populations least represented in the arts in Minnesota include communities of color, low-income communities, rural communities, immigrant and refugee communities, and people with disabilities. In Minnesota, the largest communities of color are the African American community, the Asian American community, the Native American community and the Latino community. Minnesota is also home to the largest Somali population in the United States[1] and the largest Hmong community in the world outside of Asia[2]. Unique, yet smaller immigrant communities in Minnesota include the largest group of Oromo – an ethnic group from Ethiopia – outside of that country, the second largest group of Tibetans in the U.S., and a concentration of West African refugees from Liberia and Sierra Leone.
While definable barriers such as cost and geographic isolation inhibit access, there are also physiological barriers that keep under-represented communities away from arts opportunities. For example, some individuals may not feel comfortable in arts settings because the work presented is not culturally relevant to them.  In instances like this, lowering some of the more tangible barriers may not result in increasing representation.  Hence, it is important to make the arts accessible in all stages of the process including curation, creation, funding, and evaluation. An example of this kind of inclusion would be if an organization were to develop a performance about traditional Asian narratives written, directed by and featuring Asian Americans.
2.    Directly supporting artists
Traditionally, it has been difficult for artists to earn a living wage for their digiscrap, which can reduce the quantity and quality of art being produced. For this reason, it is important to directly support artists. The McKnight Foundation, a major funder in the arts and culture sphere, has recently shifted toward this strategy to fulfill its mission. Examples of support for artists include paying artists for their work, providing technical assistance to artists as small business owners, and helping communities understand artists’ value and identifying opportunities to collaborate. Therefore, part of this movement is to frame artists as individuals with unique, critical perspectives that can be useful in many facets of community life.
3.    Supporting under-resourced types of arts
Within the arts community, some types of artistic expression are often overlooked. For example community arts or less popular arts disciplines such as political theater, performance art, electronic arts, and video art are often overlooked for funding. Therefore, we decided to include “providing support for under-resourced arts disciplines” as part of our research.
4.    Providing opportunities for non-arts people to participate in the arts
The art world can be intimidating and, at times, exclusive. Many community members may feel that the arts are only accessible to artists or people with a specific arts talent. The experts with whom we spoke believe there is value in connecting people of all skill levels to the arts. And in fact, there is a growing movement to remove this particular stigma from this sector. One example of how one might invite widespread participation is to host a production in which all people who are interested are invited to be part of the show. Another example is to engage individuals as decision makers, empowering audiences and board members to choose what works they would like to see.
Additional Research Details
In addition to the four areas outlined above, we are encouraging experts to consider the following types of organizations when making their recommendations:
Traditional arts and culture organizations: theatre, dance, music, visual arts, television, media, and film organizations
Funders: organizations that fund nonprofit organizations or artists themselves
Policy and advocacy organizations: groups that organize people to support arts in the public policy space
Non-arts nonprofits: social service organizations that have an arts component but aren’t primarily arts organizations
Units of community education: schools or organizations that teach arts
Additionally, experts are encouraged to consider the following kinds of arts disciplines:
Design and architecture
Literary arts (comics, literature, poetry)
Media arts (Film/Video, new media, interactive computer based virtual art)
Performing arts (dance, opera, theatre)
Visual arts (ceramics, design, fashion, multi-media, painting, photography, printmaking, sculpture, 3D, 2D, fiber arts)
Music (blues, classical, country, electronic, folk, hip hop, international, jazz, rock/pop)

Participation in the Research
Therefore, if you are a nonprofit expert in the field of access to arts and culture in Minnesota, you should have received an email from us with a link to our survey. The survey will be open until mid-March, 2012. We hope you will share your perspective and insights! If for some reason we have missed you and you think you have a valuable perspective to offer, please contact Jasmine Marrow at jasmine.marrow@guidestar.org, and we would love to send the survey to you to include your insights.
Additionally, we invite your feedback and thoughts about how you might frame this type of work. For those readers less familiar with this topic, we hope you learned something new and will check in again when we have the results of this research. Thank you all for your participation!

Learn more about arts, culture and access in Minnesota:
The Legacy Amendment

[1] The McKnight Foundation “Immigrant Gateway: Framing the Issue” accessed in Feb 2006 at http://www.mcknight.org/hotissues/framing_immigrants.aspx and League of Women Voters and Minnesota’s Education Fund.  “Immigration in MN: Changing Faces Changing Communities.” Accessed February 2006 at:

http://www.lwvmn.org/EdFund/ImmigrationInMinnesota.asp.

[2] Fettig, David and Rolnick, Arthur J. “Credit Availability: A snapshot of the Hmong business community in Minneapolis and St. Paul.”  Accessed in Feb 2006 at: http://Minneapolisfed.org/pubs/cd/03-1/credit.cfm.

Read the rest here: Nonprofit Research on Access to Arts and Culture in Minnesota …

Feb 21

Hey “Emerging Arts Professionals” Thanks for Stealing My Photo

Alot of my photos get ripped off. There are thousands of them all over the internet. I personally am a big believer in sort of letting the small stuff go you know. I’m about making art and as an artist the more people that see my work the better — you’ll hear this alot from me. I mean people *should* ask and if they do ask I say yes most of the time — unless it’s a commercial situation and then I’ll ask to get paid, but I’m a reasonable guy who likes to share.
But every so often someone steals your work and they just hit all the right hot spots for you. So I was bummed to find out the other day that one of my all rights reserved photographs (and I don’t have alot of these, almost all of my work is licensed Creative Commons non-commercial which still requires attribution though) was pilfered by Emerging Arts Professionals. Even lamer was their excuse posted above for why they posted my photo without permission, attribution or compensation as required by a license.
“Hi Mike & Thomas: If this photo belongs to one of you, I do apologize on behalf of EAP. We found it, unattributed, on this site. It’s also available in other places online, also without attribution.”
So let me get this straight. The excuse for why an Arts Professionals organization steals my image and thinks it is ok is because they found my image somewhere on the web? These are supposed to be Professionals working in the Arts industry and they think it’s ok to steal images?
Now you might ask why I care as I’ve got a pretty liberal attitude towards the use of my work. In this case though I care because my work is being pilfered to promote a talk given by three representatives of the SF MOMA — (Megan Brian, Education and Public Programs Coordinator SFMOMA, Melanie Hwang, Membership Manager SFMOMA, and Louise Yokoi, Development Associate, Individual Giving SFMOMA).
The very same SF MOMA that threw me out on my ass a few years back for the crime of photography. The same SF MOMA that had their Director of Visitor Relations and two security guards personally escort me out of the museum and boot me right out the door to the curb along with a nice lewd hand gesture towards me. This, when I was a paying and sustaining member in good standing at the Museum which allows photography.
The museum accused me of voyeurism at the time (I was shooting the interior architecture of the museum with a 14mm lens when I was booted, you can see my “voyeuristic” shot I took here). Since ejecting me from the museum, the museum has never once apologized. They’ve never once tried to reach out to me to express regret over the situation. They even had the balls after accusing me of voyeurism of running a specific show at their museum dedicated to of all things *voyeurism*! — you know the sorts of shots that they accused me of taking with my 14mm lens before kicking me out without even giving me a chance to show them my ultra wide angle photos or explain. SF MOMA’s press release for their voyeurism show comes complete with a photo of some woman’s ass by the way — but hey, I guess that’s “art,” unlike my crappy photography which is only good enough for using to promote talks by their executives.
Arts Professionals should know better than to steal photos without asking I think — and if they are going to steal a photo, it’s probably best that they don’t steal a photo promoting a talk by an organization that treated someone so rudely and horribly in the past.
Oh, and SFMOMA? You still owe me an apology for throwing me out of your museum without just cause. I won’t be holding my breath. Emerging Arts Professionals? Shoot me an email and I’ll tell you where you can send the check to pay for the image which I would have told you you couldn’t use to promote the SFMOMA had you bothered to ask.
And just because something’s on the web unattributed, doesn’t mean you can just take it if you feel like it. It takes about two seconds most of the time to use a reverse image search on Google to see who owns a photo. Arts Professionals like you guys really should keep up with the latest technology, especially when some of you work for an organization as “prestigious” as the SF MOMA.
Update: So when I and a few other people commented on the image on Emerging Arts Professional’s blog objecting to the infringement they deleted the comments. These were respectful comments rightfully objecting to the unauthorized use. How forward thinking for a so called “Art’s” organization to employ censorship in addition to infringement and bad customer service. What a fine organization.

Read this article: Hey “Emerging Arts Professionals” Thanks for Stealing My Photo

Feb 20

OMA's Taipei Performing Arts Center Breaks Ground

By David Basulto(click here for original article)
Nearly two years after OMA was announced winner of a two-stage international competition, the construction of the new Taipei Performing Arts Center has commenced. This ambitious project, led by OMA partners Rem Koolhaas and David Gianotten, generated a lot of debate among architects when it was announced back in 2009 due to its particular form. Morphed by a series of programatic operations, the form intersects three types of theater in order to accommodate a variety of performances.

TPAC Approach from north © OMA
The main theater, which seats 1,500, is expressed on the exterior as a large sphere while the two smaller theaters, each capable of seating 800, are represented as peripheric cubes. All the stage accommodations are brought together within the central cube, allowing for more flexibility as theaters can be used independently or combined, thus expanding the possibilities for experimental performances – an art which is very strong inTaiwan. At the same time, and in a similar way as OMA’s CCTV building in Beijing, China, a “public loop” channels circulation through the building, exposing the spaces that make the TPAC work, areas typically hidden from the public but are as revealing as the performances themselves.
In this aspect, the building is like a machine at work with its engine exposed, somehow reminding me of OMA’s Prada Transformer – a machine-like building (the anti-blob) that changed its configuration to host different types of events.
The 180 million dollar project is set to be completed in 2015.

President Ma Ying-jeou with OMA partners Rem Koolhaas and David Gianotten © OMA
Why have the most exciting theatrical events of the past 100 years taken place outside the spaces formally designed for them? Can architecture transcend its own dirty secret, the inevitability of imposing limits on what is possible?
In recent years, the world has seen a proliferation of performance centres that, according to a mysterious consensus, consist of more or less an identical combination: a 2,000-seat auditorium, a 1,500-seat theatre, and a black box. Overtly iconic external forms disguise conservative internal workings based on 19th century practice (and symbolism: balconies as evidence of social stratification). Although the essential elements of theatre– stage, proscenium, and auditorium– are more than 3,000 years old, there is no excuse for contemporary stagnation. TPAC takes the opposite approach: experimentation in the internal workings of the theatre, producing (without being conceived as such) the external presence of an icon.

TPAC section model © OMA

TPAC consists of three theatres, each of which can function autonomously. The theatres plug into a central cube, which consolidates the stages, backstages and support spaces into a single and efficient whole. This arrangement allows the stages to be modified or merged for unsuspected scenarios and uses. The design offers the advantages of specificity with the freedoms of the undefined.

Section © OMA
Performance centres typically have a front and a back side. Through its compactness, TPAC has many different “faces,” defined by the individual auditoria that protrude outward and float above this dense and vibrant part of the city. The auditoria read like mysterious, dark elements against the illuminated, animated cube that is clad in corrugated glass. The cube is lifted from the ground and the street extends into the building, gradually separating into different theatres.

TPAC proscenium playhouse © OMA
The Proscenium Playhouse resembles a suspended planet docking with the cube. The audience circulates between an inner and outer shell to access the auditorium. Inside the auditorium, the intersection of the inner shell and the cube forms a unique proscenium that creates any frame imaginable.

TPAC Super theatre © OMA
The Grand Theatre is a contemporary evolution of the large theatre spaces of the 20th century. Resisting the standard shoebox, its shape is slightly asymmetrical. The stage level, parterre, and balcony are unified into a folded plane. Opposite the Grand Theatre on the same level, the Multiform Theatre is a flexible space to accommodate the most experimental performances.

TPAC Supertheatre © OMA
The Super Theatre is a massive, factory-like environment formed by coupling the Grand Theatre and Multiform Theatre. It can accommodate the previously impossible ambitions of productions like B.A. Zimmermann’s opera Die Soldaten (1958), which demands a 100-metre-long stage. Existing conventional works can be re-imagined on a monumental scale, and new, as yet unimagined forms of theatre will flourish in the Super Theatre.

TPAC public loop © OMA
The general public—even those without a theatre ticket—are also encouraged to enter TPAC. The Public Loop is trajectory through the theatre infrastructure and spaces of production, typically hidden, but equally impressive and choreographed as the “visible” performance. The Public Loop not only enables the audience to experience theatre production more fully, but also allows the theatre to engage a broader public.
Project: Taipei Performing Arts CenterStatus: Competition: 2008-2009.Construction begins: 2012.Scheduled completion: 2015Client: Department of Cultural Affairs, Taipei City Government
Budget: Estimated: 5.4 billion Taiwan Dollars (around €140 million)Program: Total 50,000m2. One 1,500-seat theatre and two 800-seat theatresHeight: 63m
Partners-in-charge: Rem Koolhaas, David GianottenAssociate-in-charge: Adam Frampton
Design team: Ibrahim Elhayawan with: Yannis Chan, Hin-Yeung Cheung, Jim Dodson, Inge Goudsmit, Alasdair Graham, Vincent Kersten, Chiaju Lin, Vivien Liu, Kai Sun Luk, Kevin Mak, Slobodan Radoman, Roberto Requejo, Saul Smeding, Elaine Tsui, Viviano Villarreal, Casey Wang, Leonie Wenz
Competition team: partners / designers: Rem Koolhaas, David Gianotten, Ole Scheeren, and senior architects: André Schmidt, Mariano Sagasta and Adam Frampton, with: Erik Amir, Josh Beck, Jean- Baptiste Bruderer, David Brown, Andrew Bryant, Steven Chen, Dan Cheong, Ryan Choe, Antoine Decourt, Mitesh Dixit, Pingchuan Fu, Alexander Giarlis, Richard Hollington, Shabnam Hosseini, Sean Hoo, Takuya Hosokai, Miguel Huelga, Nicola Knop, Chiaju Lin, Sandra Mayritsch, Vincent McIlduff, Alexander Menke, Ippolito Pestellini, Gabriele Pitacco, Shiyun Qian, Joseph Tang, Agustin Perez-Torres, Xinyuan Wang, Ali Yildirim, Patrizia Zobernig
COLLABORATORS
Local architect: Artech ArchitectsTheatre consultant: dUCKS scéno, CSIInterior designer: Inside OutsideLandscape designer: Inside OutsideAcoustic consultant: DHVStructural engineer: Arup Structure, EvergreenMEP engineer: Arup MEP, Heng Kai, IS LinFire engineer: Arup Fire, TFSCLighting consultant: Chroma 33Facade engineer: ABT, CDCSustainability consultant: Arup Building Physics, Segreene Geotechnical engineer: Sino GeotechTraffic consultant: EECI TrafficModel: Vincent de Rijk, RJ ModelsPhotography: Frans Parthesius, Iwan BaanAnimation: ArtefactoryIn this aspect, the building is like a machine at work with its engine exposed, somehow reminding me of OMA’s Prada Transformer – a machine-like building (the anti-blob) that changed its configuration to host different types of events.

TPAC Birdseye view © OMA

See the original post here: OMA's Taipei Performing Arts Center Breaks Ground

Proactol Review

Feb 19

Two new exhibitions open at the Pier Arts Centre | The Orcadian …

This weekend sees two new exhibitions open at the Pier Arts Centre.
The Art of Research brings together two very different displays of artwork: Being and Remembering — new work by Rik Hammond and William Kirkness – a teacher of many parts , curated by Mirella Arcidiacono.
For Being and Remembering, Rik Hammond brings together a collection of contemporary works made as a result of a short residency at Orkney’s World Heritage Site, the Heart of Neolithic Orkney.
In presenting the display, William Kirkness — a teacher of many parts, Mirella Arcidiacono, Museum and Gallery intern with the Pier Arts Centre and Orkney Museum, has gained valuable experience in curatorial research methods. She faced the challenge of organising an exhibition across two venues, and bringing material and artefacts together from a limited starting point. Her exhibition explores and celebrates the life and work of William Kirkness (1887-1974), handicraft teacher, film-maker and antiquarian.
The exhibitions run at the Pier Arts Centre until March 17, as is the companion exhibition on William Kirkness at the Orkney Museum.
Exhibition tours will take place on Saturday afternoon at the Pier Arts Centre. Visitors will have the opportunity to meet with Rik Hammond at 2pm and Mirella Arcidiacono at 3pm, and hear more about their exhibition projects. Admission free.

View post: Two new exhibitions open at the Pier Arts Centre | The Orcadian …

Feb 19

Women meld arts, activism in their work | Wichita Eagle

TOPEKA — The first rule of the Craftivists is simple: It has to be fun.
The group started two years ago, when it spun off from a craft night the four friends had together. They became the Craftivists after they made handmade cards and poems that were sent to then-Gov. Mark Parkinson. The name comes from their desire to mix scrap and activism.
The notes were a thank-you for restoring funding to Planned Parenthood and a criticism for his work with Sunflower Electric Power Corp. on a power plant expansion in Holcomb.
“We thought maybe they would get looked at it because they were handmade,” Michelle McCormick said. “So that was funny and fun, and we started making more, and people started responding to what we were doing.”
The four women – McCormick, Nikki MacMillan, Sara O’Keeffe and Laura Burton – met when they all worked as victim advocates for the YWCA’s Battered Women Task Force, which is now named the YWCA Center for Safety and Empowerment. McCormick has moved on to another job, and the others still work at the YWCA.
The group uses repurposed or recycled goods to make jewelry, buttons, pendants and their signature item, the Craftivist Window. The windows developed when they were asked to do something for a group of seemingly useless windows that had been taken out of the YWCA.
They began selling their work in order to be able to buy more supplies. They continue to donate to charities. Their wares can be found at the Elective in the North Topeka Art District.
In two years, they have gone from having digiscrap nights to being the featured artist at the 2011 Aaron Douglas Art Fair, when they were named the people’s choice for their booth.
Charities that have benefited from their donations include the YWCA, the Great Mural Wall of Topeka, the Topeka Rescue Mission and the Topeka Bicycle Project.
The group also makes and sells buttons that are pro-Kansas and pro-Topeka.
“I’m a big fan of buttons,” Burton said. “I think people should wear their hearts on their clothing.”
A lot of the group’s artwork features birds flying away. Although the women can be light-hearted, the images have a serious meaning.
“All of our backgrounds are working with domestic violence, and there’s that symbol that you are able to travel and not trapped,” Burton said. “When you think about women, which is often the subject of our art, that is a big focus for us: freedom of movement and freedom of choice.”

Go here to read the rest: Women meld arts, activism in their work | Wichita Eagle

Feb 18

Critical Mass: Charlotte's newest arts center: Stonecrest

Now that the Metropolitan Opera has helped turn multiplexes into performing-arts centers, this probably was inevitable: the Saturday afternoon cultural double feature.

I doubt that the Stonecrest theater planned it this way. So it isn’t an official double bill. But look what you can do: first, make acquaintance with a trailblazing choreographer whose work has never been seen in Charlotte; second, experience a famously monumental symphony that’s unlikely to be performed in Charlotte in the foreseeable future.

“Pina,” (photo at right) Wim Wenders’ film about the choreographer Pina Bausch, is starting its second week at Stonecrest. That lines it up with the Los Angeles Philharmonic’s high-definition relay of Gustav Mahler’s Symphony No. 8 — the “Symphony of as Thousand,” nicknamed for the massive number of players and singers it sets loose.

“Pina” has attracted notice because it not only showcases the late Bausch — who often is credited with blending the art forms of dance and theater — but it shows long stretches of her works in 3-D. I have yet to see it. But here’s a testimony: A friend of mine who isn’t particularly a dance lover enjoyed it because of the sheer visual impact of the 3-D sequences.

Mahler’s titanic symphony will be transmitted live from a concert hall in Caracas, Venezuela. The LA Philharmonic will perform alongside Venezuela’s best-known export other than oil: the Simon Bolivar Youth Orchestra, which is famous as the product of a music-education system that gives opportunities to children who otherwise have none. Gustavo Dudamel, the LA Philharmonic’s music director — and a product of the Venezuelan system — will conduct.

Here’s how it could work Saturday afternoon. There’s a “Pina” showing at 1:35. The theater’s website says the movie lasts an hour and 44 minutes. You could see it — for $11.50 — then have time for a break before Mahler begins at 5 p.m. Tickets for that are $20 for adults, $16 for children.

Nobody has to see both, of course. “Pina” will run at least through Feb. 23. So if you can’t spare all afternoon Feb. 18, and you like music, you probably should aim for Mahler’s Eighth. There’s no telling when the Charlotte Symphony might ever be able to afford to perform it. And if there was ever a piece that can’t quite come across through a CD or DVD in your living room, this is it.

Continued here: Critical Mass: Charlotte's newest arts center: Stonecrest

Feb 18

Kensington Creative and Performing Arts High School Encourages …

KCAPA’s new school is located on a challenging, long, narrow, north-south oriented site, directly next to the elevated transit line. Previously known as a haven for the homeless, drug activity and wild dogs, the site was a blight until the school district took it over and transformed it with an inspiring new building. SMP Architects had their work cut out for them to maximize daylight inside the classrooms, minimize noise from the train line and eliminate any stormwater runoff from the site. To achieve this, windows are largely placed away from the train line, skylights work to bring more light in and shading or glass fritting controls solar heat gain. A ground coupled heating and cooling system along with occupancy sensors provides very energy efficient climate control. A pv system is slated for installation on the roof and once installed will bring the school close to being net zero.
To meet the restrictions of the city water department for stormwater runoff, SMP designed a series of rain gardens, permeable paving and green roofs to soak up the water. Because of their green infused design, the firm was able to save the school a considerable amount of money for not having a stormwater bill or penalty assessments. A school garden provides space for students to grow and learn about food. Designed for durability and a long life, the school is also flexible for future uses and expansions if necessary. Small building footprints, the use of locally sourced materials and healthy and non-toxic materials further reduce the facility’s impact.
Since KCAPA moved into their new building in 2010 it has become a source of inspiration for the community. A number of workshops have been held in the school to teach area residents about rainwater barrel construction, weatherstripping, recycling and more. The gardens and green roofs provide much needed open space in the neighborhood and new habitats for wildlife.

See the original post: Kensington Creative and Performing Arts High School Encourages …

Best Eye Cream

Feb 17

Liberal-Arts Failure Is Wall Street's Gain | WallStreetOasis.com

Points)
  on 2/16/12 at 2:17pm

Explanation for why Ivies feed Wall Street – because the smart kids there are too incompetent and lack the skills to do anything else but continue to apply for for jobs that will teach actual skills.
What do you think WSO? Fact or fiction?
“In effect, Wall Street — like a few other professions, including law, management consulting and Teach for America — is taking advantage of the weakness of liberal arts education.
For many kids, college represents an end goal. Once you get into a good college, you’ve made it, and everyone stops worrying about you. You’re encouraged to take classes in subjects like English literature and history and political science, all of which are fine and interesting, but none of which leave you with marketable skills. After a few years of study, you suddenly find it’s late in your junior year, or early in your senior year, and you have no skills pointing to the obvious next step.
What Wall Street figured out is that colleges are producing a large number of very smart, completely confused graduates. Kids who have ample mental horsepower, incredible work ethics and no idea what to do next. So the finance industry takes advantage of that confusion, attracting students who never intended to work in finance but don’t have any better ideas about where to go.”
Full article: http://www.bloomberg.com/news/2012-02-16/harvard-liberal-arts-failure-is…

Tags:

“Explanation for why Ivies

Points)
  on 2/16/12 at 2:29pm
“Explanation for why Ivies feed Wall Street – because the smart kids there are too incompetent and lack the skills to do anything else but continue to apply for for jobs that will teach actual skills. ”
I do not understand that sentence.

spot on

Points)
  on 2/16/12 at 2:40pm
spot on

I’d take someone who thinks

Points)
  on 2/16/12 at 2:52pm
I’d take someone who thinks out of the box and is interested in random subjects at harvard anyday over a business major at a random univ. I personally despise business majors, they are major tools, who have seen too many wall street movies and read too many of those books. They are usually goofballs and try to dress up slick in school, to be one of “them”. Anyway I’ve seen many of these goofs unsuccessful at what they tried to do, I don’t feel pleasure in seeing it.
Your passion shouldn’t be to make money, money should be a consequence of your passion, whatever that is.

The masked avenger par sexellence

lambertoscar wrote: Your

Points)
  on 2/16/12 at 2:57pm

lambertoscar wrote:
Your passion shouldn’t be to make money, money should be a consequence of your passion, whatever that is.

Hey man, people can’t choose their passion, I’m sure there are some people out there who’s passion really is making money.

If your dreams don’t scare you, then they are not big enough.

Drivel. News flash — liberal

Points)
  on 2/16/12 at 3:15pm
Drivel.
News flash — liberal arts educations aren’t practical, and when it comes time to make money instead of getting As, some people prefer to make more rather than less.

Liberal arts education was

Points)
  on 2/16/12 at 3:11pm
Liberal arts education was traditionally reserved for the ruling class, just like studying foreign policy. It’s probably better in the big picture to have informed citizens but I have a liberal arts degree and learned 100% of what I do either on my own or on the job. Colleges really could offer condensed liberal arts requirements and cut down on liberal studies in favor of degrees that are actually usefull. Or just make everyone double major: one practical major, and one ‘interest’ major. But that would make sense and academics don’t want to hear it from anyone, so I suppose in a generation or two they’ll figure this out for themselves if their college hasn’t gone bankrupt.
As for Wall Street taking advantage of these students, or people’s desire to make money……….yeah, and? What’s the point of the article? 20 year olds getting a job that pays $100K, what’s the problem?

In NYC, the light at the end of the tunnel is Jersey.

If I run a McDonalds and need

Points)
  on 2/16/12 at 3:36pm
If I run a McDonalds and need people to work 100hr weeks flipping burgers and an honors grad from Princeton wants to work for me but does not have a degree in hamburgerology (http://money.howstuffworks.com/mcdonalds4.htm), am I going to turn him down? I have plenty of resources to teach him everything quickly, plus he has demonstrated in our interview that he knows my business and has practiced flipping burgers outside of class.

Quote:
…because the smart kids there are too incompetent and lack the skills to do anything else but continue to apply for for jobs that will teach actual skills.

Actually, what you’re thinking of is milk-and-cookies liberal arts majors who don’t take time outside of class to prepare for the real world and therefore couldn’t get an actual job – such as something in banking, etc. – and end up in law school or in a masters program. Not on wall street.

prospie wrote: If I run a

Points)
  on 2/16/12 at 3:38pm

prospie wrote:
If I run a McDonalds and need people to work 100hr weeks flipping burgers and an honors grad from Princeton wants to work for me but does not have a degree in hamburgerology (http://money.howstuffworks.com/mcdonalds4.htm), am I going to turn him down? I have plenty of resources to teach him everything quickly, plus he has demonstrated in our interview that he knows my business and has practiced flipping burgers outside of class.

That’s a weird f’n example

If your dreams don’t scare you, then they are not big enough.

lambertoscar wrote: I’d take

Points)
  on 2/16/12 at 4:48pm

lambertoscar wrote:
I’d take someone who thinks out of the box and is interested in random subjects at harvard anyday over a business major at a random univ. I personally despise business majors, they are major tools, who have seen too many wall street movies and read too many of those books. They are usually goofballs and try to dress up slick in school, to be one of “them”. Anyway I’ve seen many of these goofs unsuccessful at what they tried to do, I don’t feel pleasure in seeing it.
Your passion shouldn’t be to make money, money should be a consequence of your passion, whatever that is.

aaaaaaand that is why you don’t recruit

“In summary, people are morons and who cares. Make a shit ton of money. I’ve never seen a Ferrari paid for by what people think.” – ANT

wadtk wrote: “Explanation for

Points)
  on 2/16/12 at 4:49pm

wadtk wrote:
“Explanation for why Ivies feed Wall Street – because the smart kids there are too incompetent and lack the skills to do anything else but continue to apply for for jobs that will teach actual skills. ”
I do not understand that sentence.

I read that sentence like 3 times too…. No clue what the fuck it’s saying.

Hah – sorry fellas, was a bit

Points)
  on 2/16/12 at 5:32pm
Hah – sorry fellas, was a bit rushed in creating the post and didn’t really take the time to gather my thoughts properly. What I meant to say was this:
Explanation for why Ivy League grads feed into Wall Street: Ivy League grads have no tangible skills and are too incompetent for any technical field + Wall Street exploits that weakness by offering a familiar recruiting pitch (we’re selective!, you need to demonstrate “leadership”!) and offers to them teach real-world skills.
Being a bit of a cynic, the articles argument makes much more sense than “I want to be around other high achievers”.

That’s a crazy

Points)
  on 2/16/12 at 5:38pm
That’s a crazy generalization.

I know plenty of guys at

Points)
  on 2/16/12 at 7:31pm
I know plenty of guys at target’s who literally fell ass backwards into banking. One dude I know, showed up to a JPM info session to “see what investment banking was about” – he literally knew NOTHING at the time. He’s now a VP1. A lot of you guys need to get off your high horse. Granted this was in 2006-07.

This is becoming less and

Points)
  on 2/16/12 at 7:36pm
This is becoming less and less of an issue, and I think liberal arts majors will continue to get squeezed, even from top schools.
CS + Applied Math is where it’s at.

blackrainn wrote: This is

Points)
  on 2/16/12 at 7:49pm

blackrainn wrote:
This is becoming less and less of an issue, and I think liberal arts majors will continue to get squeezed, even from top schools.
CS + Applied Math is where it’s at.

That is true for quant fields, but it is completely unnecessary for basic i-banking, M&A, ect.

So true.

Points)
  on 2/16/12 at 8:01pm
So true.

scottj19x89 wrote: prospie

Points)
  on 2/16/12 at 8:04pm

scottj19x89 wrote:

prospie wrote:
If I run a McDonalds and need people to work 100hr weeks flipping burgers and an honors grad from Princeton wants to work for me but does not have a degree in hamburgerology (http://money.howstuffworks.com/mcdonalds4.htm), am I going to turn him down? I have plenty of resources to teach him everything quickly, plus he has demonstrated in our interview that he knows my business and has practiced flipping burgers outside of class.

That’s a weird f’n example

It’s not weird at all. By the same token, an honors grad from Princeton – w/o any sort of finance or accounting degree – is totally qualified if not overqualified for a job entering data into models and processing deals. I hope this is not news to you, but a high schooler could do it. A monkey could do it.

I know, but one would think

Points)
  on 2/16/12 at 8:23pm
I know, but one would think that an honors grad from Princeton would be working at McDonalds for a day or two before he says “fuck this shit” and goes and gets some job almost anywhere else… seems like a waste of training and paperwork to me. I’d rather be sitting in some office doing crap work than in fast food again. That may be because the place I worked at had a hole in the hose that you sucked the grease out of the broilers though, so I was always freaked out that I was gonna get shot in the eye with hot grease. That and getting burned was a daily thing.

If your dreams don’t scare you, then they are not big enough.

What UFO said. Also why are

Points)
  on 2/16/12 at 8:36pm
What UFO said. Also why are we assuming that a liberal arts education is comprised of art history and poli sci? Since when can you not study any math or comp sci at Harvard? Generalizing that liberal arts colleges breed useless, albeit smart, grads is somewhat of an insult to their intellect and hard work.

On the one hand, I too, am

Points)
  on 2/16/12 at 8:50pm
On the one hand, I too, am perplexed when I see a kid from a top school w/ a double major in Chemical Engineering and Computer Science, 4.0 in each, incredible research projects and start-up companies they’ve got off the ground want to get into banking. Seriously, kids like that need to be fixing shit in this country, not putting together PIB’s and spreading market comps.
The only companies that really reward kids like that > Wall Street seem to big oil companies (Shell’s paying u.g. Chem Engineers +$80 base and send them home at 5 everyday). The rest of the industry needs to step up and start paying smart kids w/ technical degree’s top dollar if they want to keep them off of WS.

prospie wrote: If I run a

Points)
  on 2/16/12 at 9:28pm

prospie wrote:
If I run a McDonalds and need people to work 100hr weeks flipping burgers and an honors grad from Princeton wants to work for me but does not have a degree in hamburgerology (http://money.howstuffworks.com/mcdonalds4.htm), am I going to turn him down?

i’d use his chemistry to help perfect my crystal. don’t run a maccas though just 14 ‘los pollos hermanos’

Moving tonnes of product. Making fat stacks.

Who is “Wall Street”? This

Points)
  on 2/16/12 at 9:46pm
Who is “Wall Street”?This seems spot on.

“Americans are in a cycle of fear which leads to people not wanting to spend and not wanting to make investments, and that leads to more fear. We’ll break out of it. It takes time”-Warren Buffet

One of my friend’s

Points)
  on 2/16/12 at 10:33pm
One of my friend’s requirement for undergraduate business major with an accounting concentration:He did not go to a liberal art program. Studied outside of the US.
Minimum Requirement: 90 accounting credits = 30 courses of accountingDuration: 5 years: 1 st year: General business courses;2nd,3rd,4th year: accounting and finance courses + inernship5th year: study abroad, capstone courses ( taught by foreign professors) memoir and full time job training
During this 5 years, her accounting concentration requires:
Freshman Year:
Personnel ManagementPrinciples of Accounting IPrinciples of Accounting IIBusiness LawMacro-EconomyMicro-EconomicsApplied Maths (for Management)Applied Statistics (for Management)Introduction to Computer Science / ProgrammingFinancial Mathematics
Total 30 credits.
Sophomore year:Fiscalité IComptabilité Intermédiaire IComptabilité Intermédiaire IIAudit IAccounting Information SystemCost Price Analysis ICost Price Analysis IIIntroduction au MarketingCorporate FinanceGestion de Projets
Total 30 credits
Junior Year
Accounting theoryaudit IIChart of Accounts for the Country Specifictaxation IISpecialized Accounting ISpecialized Accounting Iaudit IIIInternational Business LawFinancial AnalysisGeneral policy of the company
Total 30 credits.Grand Total :90 Accounting credits
5th year :Thesis (6 credits)Study abroad or full time job trainingCapstone courses with foreign visiting professors/ executives/entrepreneurs

freeloader wrote: Explanation

Points)
  on 2/17/12 at 12:24am

freeloader wrote:
Explanation for why Ivies feed Wall Street – because the smart kids there are too incompetent and lack the skills to do anything else but continue to apply for for jobs that will teach actual skills.

In the GMAT this would be an explain the paradox critical reasoning question.
Go!

“It behooves every man to remember that the work of a critic is of altogether secondary importance, and that, in the end, progress is accomplished by the man who does things.” – Uncle Teddy.

“Audit III” during junior

Points)
  on 2/17/12 at 12:31am
“Audit III” during junior year? Truly, there is another, far more undesirable end of the spectrum.

liberal arts is for sissies

Points)
  on 2/17/12 at 12:34am
liberal arts is for sissies and faggots

Moving tonnes of product. Making fat stacks.

understatement wrote: “Audit

Points)
  on 2/17/12 at 12:59am

understatement wrote:
“Audit III” during junior year? Truly, there is another, far more undesirable end of the spectrum.

It’s better than philosophy, Pr. of Marketing and most of the gened courses or the chore courses for typical business major

Read more from the original source: Liberal-Arts Failure Is Wall Street's Gain | WallStreetOasis.com

Feb 15

Art News | Jack Rutberg Fine Arts to feature Two Solo Exhibitions …

Written by David Wollheim Tuesday, 14 February 2012 00:40

Los Angeles, California.- Jack Rutberg Fine Arts is honored to present two solo exhibitions which continue the gallery’s themed Pacific Standard Time shows, which debuted September 28th, 2011 with an historic Hans Burkhardt exhibition. “Claire Falkenstein: An Expansive Universe” and “Ruth Weisberg: Now & Then” are both on view at the gallery from February 18th through April 28th. Ruth Weisberg will be inattendance for the opening reception of Saturday, February 18th from 6.00 to 9.00 pm.“Claire Falkenstein: An Expansive Universe” features a selection of the artist’s larger sculptural work and rarely-seen paintings, and follows an earlier Pacific Standard Time exhibition at the gallery of her intimately-scaled sculpture, wall pieces and iconic jewelry. Claire Falkenstein’s (1908-1997) work, with its innovative use of materials such as glass, metal and resin, reveals a prescient fascination with the possibilities of chance and choice which parallels current views of our expanding universe. Her ability to move sculpture to non-traditional realms, whereby she incorporates and suggests both the expansiveness of form as well as the compression of space, has established her as one of the most important modern artists in this medium.  Falkenstein is well-known as the creator of Peggy Guggenheim’s Venice palazzo gates. Falkenstein’s first solo museum exhibition at the San Francisco Museum of Art in 1940 was followed by her works being shown at such prestigious museums as the Louvre and the Rodin Museums of Paris.
Moving to Paris for 13 years in 1950, her studio was a central meeting place for admiring critics and artists. Her works were shown at The Tate Gallery in London, Whitney Museum, Metropolitan Museum of Art, Museum of Modern Art, the Carnegie Institute in Pittsburgh, Art Institute of Chicago, the Guggenheim Museums in New York and Venice, National Museum of American Art at the Smithsonian Institute, San Francisco Museum of Modern Art, Los Angeles County Museum of Art, Armand Hammer Museum of Art, and the Museum of Contemporary Art in Los Angeles. The exhibition also launches the first major publication detailing her entire career – Claire Falkenstein – with essays by art historians Susan M. Anderson and Maren Henderson, art writer and critic Michael Duncan, and an introduction by Philip Linhares, President of the Falkenstein Foundation and former Chief Curator of Art at the Oakland Museum of California.
“Ruth Weisberg: Now & Then” presents paintings and works on paper by one of Los Angeles’ most celebrated figurative artists since her arrival in 1969.  The exhibition, which includes her most recent paintings, and spanning more than three decades, reveals Weisberg’s unique vision through which the viewer sees the convergence of art history, personal memory, and cultural experience. The exhibition reveals Weisberg’s decades-long interest in re-imagining the works of such past masters as Titian, Velazquez, Blake and Corot.  Through fresco-like effects in her unstretched paintings, as well as the veils of washes in her masterful lithographs, Weisberg brings past-time into contemporary context. Ruth Weisberg is currently a professor at USC, where she was one of the longest tenured Deans of the Roski School of Fine Art.  Ruth Weisberg is the first living painter to have been afforded a solo exhibition at the Norton Simon Museum of Art. She holds that distinction as well at the Huntington Library.  Her first major survey in Los Angeles was in 1979 at Los Angeles Municipal Art Gallery. The subject of over 80 solo and 185 group exhibitions, Weisberg’s work is included in the permanent collections of over 60 museums, including the Metropolitan Museum, National Gallery of Art in Washington, D.C., Whitney Museum of American Art, Portland Art Museum, Los Angeles County Museum of Art, Getty Research Institute, Norton Simon Museum, Art Institute of Chicago, Detroit Institute of Arts, Biblioteque Nationale in Paris, and Rome Institute Nationale per la Grafica, among many others.
Jack Rutberg Fine Arts in Los Angeles was established in 1979 as a gallery dealing in Modern and Contemporary art. In that capacity they have acted as dealer, curator, and consultant for more than 25 years, representing a wide range of important American and European artists. Jack Rutberg hismelf has lectured extensively on a wide range of subjects related to Modern and Contemporary art in colleges and universities, including the University of California Los Angeles, California State University Northridge, Utah State University, Pierce College, Fullerton College, Orange Coast College, and Rancho Santiago College. Credited with bringing significant artists to broader public attention, Mr. Rutberg has been particularly responsible for the formidable attention afforded to the Irish contemporary painter Patrick Graham and Swiss born American painter Hans Burkhardt (1904-1994).Both artists are represented internationally by Jack Rutberg Fine Arts. Mr. Rutberg is the exclusive agent for The Hans G. & Thordis W. Burkhardt Foundation. Regarded as an authority on their works, Mr. Rutberg has on frequent occasions lectured on both artists at numerous museums. Mr. Rutberg has published extensively on the works of Hans Burkhardt. Among the many catalogues published to date on Burkhardt, Mr. Rutberg has written the catalogue raisonné, Hans Burkhardt: The War Paintings, published by Santa Susana Press, California State University Northridge. Documented are Burkhardt’s paintings created in response to war, spanning the Spanish Civil War through the mid 1980′s. Other publications include Hans Burkhardt: Desert Storms, Burkhardt’s response to the Iraq Kuwait conflict, published in 1991, and Black Rain documenting Burkhardt’s final works dating from 1993 and most recently, Hans Burkhardt: Paintings of the 1960s. In more than 29 years at its La Brea Avenue location, the Rutberg Gallery has featured exhibitions by gallery represented artists Jordi Alcaraz, Hans Burkhardt, Patrick Graham, Reuben Nakian, Ruth Weisberg, Jerome Witkin and Francisco Zuniga in addition to a wide range of solo exhibitions of major international artists: Alexander Calder, Oskar Fischinger, Sam Francis, Arshile Gorky, George Herms, Hundertwasser, Käthe Kollwitz, Georges Rouault, Edward Ruscha, Antoni Tapies, Max Weber and others. The gallery has been particularly noteworthy for its emphasis on education, presenting numerous lectures and panel discussions. Through that endeavor, Jack Rutberg Fine Arts is an important resource for established and beginning collectors, art historians, and museums internationally. Visit the gallery’s website at … http://www.jackrutbergfinearts.com/Click on logo below to add this article to your favorite Social Website ~

See more here: Art News | Jack Rutberg Fine Arts to feature Two Solo Exhibitions …

Feb 12

Posh performing arts: is theatre becoming a club for upper-class …

Class warfare … Old Etonian Eddie Redmayne, centre, as Richard II at the Donmar Warehouse, London. Photograph: Johan Persson

A recent article for Observer pointed out how many rising stars of the theatre world – notably Tom Hiddleston, Harry Lloyd, Eddie Redmayne and Harry Hadden-Paton – are graduates of a certain public school best-known for its association with the ruling class.This has, I think, two major implications. Firstly, it tells us that the drama training these men received during their formative years was clearly of a high standard – not surprising considering that students at Eton have access to a fully kitted-out 400-seat theatre and a range of studios (and, for £30,000 a year, parents would surely expect nothing less).Secondly, it tells us that in order to succeed in this business it helps to have money behind you. A lot of it, preferably. Considering the financial sacrifices that a creative career brings, this is hardly a revelation; when you take into account training fees (£10,000 a year at a top drama school) and the lowly paid “break-in” years, which usually involve doing work for nothing, it can seem a foolish path to tread considering there is no guarantee of return.But if a young artist can afford to survive the early years of struggle unscathed, the rewards at the top of the industry are significant. What’s troubling is that this is a route being taken by an ever-shrinking pool. I don’t wish to take anything away from the actors cited above – all are fine ambassadors for their digiscrap – and, as other old Etonians such as Dominic West and Damian Lewis have proved, a public school education doesn’t necessarily place limitations on the range of roles you can play.But it does seem that the politics preached by much of theatreland – those of inclusion, of fairness, of equality – are rarely reflected behind the scenes, where the old hierarchies persist. How can theatre reliably examine, say, Cameron’s cabinet when there are more old school ties among its members than on his front bench?I make no claim to moral superiority. I too have benefited from support from home to develop my career and I was privately educated to 13. But it’s clear that the thorny issue of class and the arts isn’t going away, and unless more is done to make creative careers a realistic option for all, it seems destined to keep rearing its ugly head.There is no shortage of talent in this country, but much of it is underrepresented on our stages; when an actor of David Harewood’s stature is encouraging young black performers to build their careers in the States, we should pay attention.Many companies are working to redress this balance. Angle recently presented its second season of work that had been “found” after an extensive search of six London boroughs. It was an encouraging evening, and I hope the talent they unearthed can go on to bigger and better things.But despite these continued efforts to widen the circle, it would appear the theatre world is currently more open than it ever has been to the accusation that it’s a club whose door is open only to the well-heeled and well-connected.•Theo Bosanquet is deputy editor of Whatsonstage.com

View post: Posh performing arts: is theatre becoming a club for upper-class …