Office of the Mayor City of Los Angeles
ANTONIO R. VILLARAIGOSA

FOR IMMEDIATE RELEASE Contact: Janelle Erickson April 16, 2007 (213)
978-0741

MAYOR VILLARAIGOSA SELECTS OLGA GARAY TO HEAD DEPARTMENT OF CULTURALAFFAIRS

Internationally renowned arts leader nominated for DCA General Manager,
as City embarks on reassessment of its cultural master plan

LOS ANGELES - Mayor Antonio Villaraigosa today nominated Olga Garay to
serve as the City's next General Manager of the Department of Cultural
Affairs.

"I am thrilled to put forth such a visionary and inspiring leader as
Olga Garay to head up the Department of Cultural Affairs," Mayor
Villaraigosa said. "An internationally recognized dynamo, Olga will
bring just the right mix of vision, knowledge and creativity that Los
Angeles needs as we reaffirm our commitment to making this the arts and
culture capital of the country."

"This appointment should send a strong message to all Angelenos that we
are ready to move forward quickly to build support around the arts,
which are integral to our quality of life in Los Angeles."

With more than 20 years in the field, Garay comes to Los Angeles with a
breadth of hands-on experience in the performing and visual arts, as a
performing arts curator and grants program officer in the public sector
and at a major foundation.

As Program Director for the Arts for eight years at the Doris Duke
Charitable Foundation - one of the country's largest performing arts
donors with $1.8 billion in assets - Garay planned, designed and managed
the foundation's arts program.

Working closely with artists and other stakeholders in theatre, jazz,
presenting and multi-disciplinary arts-training institutions, she molded
the Duke arts portfolio from its inception. Garay's innovative grant
programs focused on supporting artists to develop new work, plug into
residency programs and work in the community. More than $145 million in
grants were awarded during her tenure.

In 1984, Garay was hired by the Miami-Dade Cultural Affairs Council to
run an NEA-funded Neighborhood Arts Program and was soon promoted to
Assistant Director of the council. In addition to her council duties,
Garay was picked to coordinate the administration of a board appointed
by the Miami mayor to plan and build what has become a $400 million
performing arts center in downtown Miami.

As Director of Cultural Affairs at Miami Dade College from 1990 to 1997,
she supervised three art galleries and curated a performing arts
presenting program that cemented her reputation internationally. Under
her watch, the program grew from an annual budget of $200,000 to more
than $1.4 million. Her focus throughout her tenure was to incorporate
underserved areas of the community into the arts program, while also
establishing ties with artists and arts organizations in Europe, Asia,
Africa and Latin America.

"I believe in infusing the arts throughout the life of every resident,"
Garay said. "And I think there is enormous potential for the department
to galvanize the community, to engage Los Angeles' wealth of working
artists, world class arts institutions and to connect our creative
economy with our vibrant neighborhoods."

Since leaving the Doris Duke Foundation in 2005, Garay has served as a
New York-based independent producer and performing arts consultant and
is currently working with the Lincoln Center Festival to present its
first major concentration of Spanish language theatre. She is also
working in strategic planning for el Museo del Barrio and with several
organizations such as the National Performance Network and the Maricopa
County Partnership for Arts and Culture, among others.

As General Manager, Garay - pending Council confirmation - will be in
charge of developing a cultural master plan for the city and overseeing
a full-time staff of 64 and an annual operating budget that totaled $9.9
million in FY07.

"Olga has a lively appreciation for the arts and artists. I see her
nomination as a window of opportunity for us," Mayor Villaraigosa said.
"Her task here is to nurture and develop a healthy arts ecosystem, an
inclusive community that recognizes and supports any array of cultures,
artists, communities and opportunities in the City."

_______________________________________________________________________________________________

Office of the Mayor, City of Los Angeles

FOR IMMEDIATE RELEASE

March 1, 2007

Contact: Janelle Erickson

(213) 978-0741

Former General Manager of Cultural Affairs Department will assume new leadership role for the City of Los Angeles - As part of his ongoing efforts to promote the arts in Los Angeles, Mayor Antonio R. Villaraigosa has appointed Adolfo V. Nodal for the city’s Cultural Affairs Commission.

"Los Angeles is a world-class center for arts and culture, and we must continue to promote the creativity and innovation of local artists," said Mayor Villaraigosa. "Al Nodal’s unparalleled experience, commitment, and passion for the arts will ensure that the city continues to rise in status as the country’s cultural, arts, and entertainment capital."

Nodal served as General Manager of L.A.’s Cultural Affairs Department from 1988 to 2001 and is considered a national leader in the fields of multicultural arts development and arts administration.

"Al Nodal loves Los Angeles, and he loves our artistic community for the myriad ways that they interpret and celebrate our great city," said City Council President Eric Garcetti. "His contributions to the Cultural Affairs Department have yet to be matched by anyone, and it’s terrific that he’s returning as a commissioner to guide the city’s nurturing of its arts."

The Cultural Affairs Commission approves the design of structures built on public property and acquires works of art for the city. It also supports the contributions of local artists through the Los Angeles Endowment for the Arts and oversees community arts centers and after-school arts education activities.

Nodal’s appointment must be confirmed by the City Council.

ADOLFO V. NODAL BIOGRAPHY

Adolfo V. Nodal currently works as Project General Manager for the Annenberg Foundation and oversees the Not A Cornfield project and the construction of other public art projects downtown. He also contributes to the cultural development and political evolution of his native Cuba, serving as president of the Cuba Culture Foundation and organizing cultural, humanitarian and religious missions to his native country.

Nodal served as General Manager of the City of Los Angeles’ Cultural Affairs Department from 1988 to 2001, where he helped establish the city’s Endowment for the Arts and developed comprehensive arts and cultural heritage master plans. Prior to his position in city government, Nodal worked as executive director of several contemporary arts institutions across the country including the Washington Project for the Arts in Washington, DC, the Otis Parsons School of Art Exhibition Center in Los Angeles and the Contemporary Arts Center in New Orleans.

Nodal received a bachelor’s degree in Art from Florida State University in Tallahassee in 1972 and earned a master’s degree in Contemporary Art from California State University at San Francisco.

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Arts Action Alert - President's Budget Released

Arts for LA, an affiliate of Americans for the Arts, urges you to
participate in this urgent action alert. Read below for details.
After you take action, invite others in your address book to do the
same.
Danielle

President Bush today sent his FY 2008 budget request to Congress,
beginning the yearly appropriations process for the nation’s cultural
agencies and programs, including the National Endowment for the Arts
(NEA), National Endowment for the Humanities (NEH), Office of Museum
Services (OMS), Corporation for Public Broadcasting (CPB), and the
Department of Education’s Arts in Education programs. We urge you to
write your Me mbers of Congress and tell them to support increased
funding for the nation’s arts programs.

For the first time in three years, the President has initiated a
proposed increase of 3.2 percent for the NEA, which would bring it to
a total of $128.4 million. The Administration’s request for an
increase is its first since 2005, and therefore is a step in the
right direction. Moreover, it comes in the wake of strong signals
from both parties in Congress that a funding increase is needed.
Nevertheless, our government is significantly under-investing in the
NEA, which used to receive much greater funding: in fact, in 1992,
the NEA received $176 million. Americans for the Arts urges Congress
to return NEA funding to its former level as quickly as possible.

The President asked for a 1.4 percent increase for the NEH, to $143
million. An increase of this size would not make up for the effects
of inflation.

For the seventh consecutive year, the President’s budget has
eliminated funding for the Department of Education’s Arts in
Education programs, which include funding for model arts programs and
collaborations with schools, teacher professional development, and
arts programs for at-risk youth. Americans for theArts President and
CEO Robert Lynch responded to the Administration's budget request
with the following statement:

"It disappointing to see the Administration propose zeroing out
funding for the seventh consecutive year to the Department of
Education’s arts education programs. One of the best ways to nurture
creativity, a necessity to prepare for a 21st-century workforce, is
to have children learn and actively participate in the arts. The
Administration needs to understand the role of arts education in
developing an innovative and creative society. Studies show that
students who participate in the arts are not only more likely to
participate in a math and science fair but also out-perform their
peers on the SATs by 103 points."

Also, the FY 2008 budget request calls for a cut of $50 million in
already-approved funding for the Corporation for Public Broadcasting
(CPB). As a trusted community resource, CPB uses the power of
noncommercial television and radio to enrich the lives of all
Americans through quality programs and education services.

Finally, and on a very positive note, the President requested a
funding boost of over $8 million for the Office of Museum Services,
bringing the amount of funding available for grants to $40 million.
A breakdown of the President’s budget request is as follows:

Federally Funded Arts Program

FY07 Spending*
(in millions)

President’s Request FY07
(in millions)

National Endowment for the Arts
$124.41

$128.4

National Endowment for the Humanities
$141

$143

Office of Museum Services within IMLS
$31.8

$40.4

U.S. Dept. of Education’s Arts in Ed
$35.3

$0

Corporation for Public Broadcasting
$400

$350

* FY07 funds, while not finalized, are expected to be set at FY06
levels.

As you know, the President’s budget is the first step in the
appropriations process. While it serves as an important framework,
Congress has the power to set its own priorities and change these
funding levels. That’s where you come in.

Arts advocates can make their voices heard by writing their Me mbers
of Congress and urging them to increase funding for arts and culture
and restore funding for arts in education programs. We have provided
you with a customizable letter to send to your Me mbers of Congress,
as well as several talking points to help you craft your message. We
recommend you add your own thoughts and stories about why the arts
are important to you and your community. We also encourage you to
join us in Washington, DC forArts Advocacy Day 2007, March 12-13,
2007. You’ll have the opportunity to visit your Me mbers of Congress
face-to-face and urge them to support the arts.

If you have any questions, please contact Nikki Sparks, Manager of
Government and Public Affairs, at nsparks@artsusa.org. Thank you for
your continued support of the arts!

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President Bush Nominates Six New Members to National Council on the Arts
Includes two LA County residents

President George W. Bush has announced his intent to nominate six new members to serve on the National Council on the Arts, the advisory body of the National Endowment for the Arts. The nominations will be sent to the Senate when it reconvenes later this month. The appointments are:

Ben Donenberg, theater producer and arts educator, Los Angeles, CA Chico Hamilton, NEA Jazz Master percussionist, New York, NY; Joan Israelite, local arts agency executive, Lee's Summit, MO; Charlotte Kessler, arts patron, New Albany, OH; Bret Lott, author, Baton Rouge, LA; Frank Price, film industry executive, Pacific Palisades, CA.

"The National Council on the Arts provides important and invaluable advice and counsel to the Arts Endowment," said NEA Chairman Dana Gioia. "The President has appointed a group of artists and patrons who bring the passion, expertise, and commitment necessary to perform this duty on
behalf of the American people. The entire NEA staff looks forward to working with all of our new Council members."

For the complete release, please go to
http://www.arts.gov/news/news06/CouncilNominees.html


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For immediate release:
Monday, November 6, 2006

Study on how California artists manage for-profit, nonprofit, and community work

Where: Report available online at
http://www.hhh.umn.edu/projects/prie/crossover.html

Who: Ann Markusen, Humphrey Institute of Public Affairs,
218-644-3615(office) 218-591-9105 (cell)
Contact: Jamie Proulx, Humphrey Institute, 612-625-9436

NEW STUDY SHOWS HOW CALIFORNIA ARTISTS BUILD CAREERS IN THE CREATIVE COMMUNITY

California artists move fluidly among commercial, nonprofit, and community sectors despite formidable barriers, finds a new study from the University of Minnesota's Humphrey Institute of Public Affairs. Artists' ability to "cross over" is a major stimulant to regional economic activity and the quality of life. The study was funded by the William and Flora Hewlett Foundation, The James Irvine Foundation, and Leveraging Investments in Creativity.

The study, "Crossover: How Artists Build Careers across Commercial, Nonprofit, and Community Work," reports how artists develop successful cross-sectoral careers in ways little understood by employers, funders, and policymakers.  "Crossover" includes in-depth interviews and data from a web-based survey of Los Angeles- and San Francisco Bay-area musicians, writers, performing, and visual artists. More than 100,000 artists work in the two metros.  Along with New York, the two California regions support more artists per  capita than the nation's other large metropolitan areas.

Even though crossover is quite pervasive among artists, artists on average earn more arts income for time spent in commercial work than they do in nonprofit or community work. If money were not an issue, artists would cross over even more than they currently do, according to the report. Many full-time commercial artists would work more hours in the nonprofit and community sectors while others would increase their for-profit efforts. Many more would engage in community artwork.

"This demonstrates that the barriers between sectors remain high," said Ann Markusen, Humphrey Institute professor and chief author. "Employers, arts  organizations, and artists themselves persist in prejudices and practices that hamper synergy."

Artists credit each sector with distinctive career growth opportunities.  For-profit work raises their visibility, deepens networks and understanding of professional conventions, and generates higher financial returns. Nonprofit work helps artists explore new media and collaborate across disciplines, as well as offering greater aesthetic and emotional satisfaction. Community work ranks highest for affirming cultural identity, pursuing political and social justice goals, and enriching community life.

"Identifying the extent of 'crossover' is key to understanding the dividends that artists-as core cultural workers-generate for the entire economy," concludes Markusen. "Artists are ntrepreneurs with very high rates of self-employment and great agility in making career changes.  Their activities help explain the resiliency of two California regions in the face of structural upheavals in commercial sectors."  The study addresses how employers, schools, service organizations,
funders, the media, government, arts advocacy groups, and artists
themselves can encourage crossover.

"The arts sector needs to build the kind of relationships we see in high-tech or medicine," said Markusen, "where industry, nonprofit research and advocacy groups, government, and training institutions work together to enhance societal and economic impact."

The complete study includes profiles of several dozen artists and can be found online at www.hhh.umn.edu/projects/prie.  To order copies, contact Katherine Murphy at 612-626-1074 or kmurp@umn.edu.



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