Percent for Art

For a number of years, some local governments around the country have mandated "percent for art" laws that require developers to set aside 1% of their project cost for public art to be incorporated into their building, placed outside of it or deposited into a fund for art to be placed elsewhere in their community.

Now, there's been a call for one percent of the Federal economic stimulus package to be spent for art: art jobs, art in public works projects, arts education, arts in the workplace, and more. An online petition is getting media attention to communicate this to the Senate as they deliberate on their task of revising the package passed by the House last week.

If you feel strongly about this, I hope you'll take this opportunity to communicate to Senators Boxer and Feinstein and sign the petition.

I'll be speaking more about public art programs here in the future as well as the famed Federal Arts Project of the 1930s that left a legacy of great art for our nation.

OC Supervisor Bill Campbell Celebrates SparkOC Launch

On January 28, at the Irvine Barclay Theater, Orange County Supervisor Bill Campbell (right) presented a proclamation honoring the launch of SparkOC.com to Shelley Hoss, President of the Orange County Community Foundation and me at an event attended by artists and arts organization leaders from the Third District, which he represents.

Seeing the World Through Water-colored Glasses

Last night, I attended the opening reception for "The Good Life," an exhibition of 1930s-era watercolors by California artists in The Irvine Museum, whose doyenne, Joan Irvine Smith, stood imposingly at the door to greet arriving guests in her red jacket and beret. I felt certain that the cane in her right hand was less for leaning upon than to complete her ensemble, especially since nobody would accuse Mrs. Smith of lacking the ability to whack down any obstacle in her way.

Lest the impression lingers that this museum is solely a gallery for her personal collection, "The Good Life" showcases works owned by Mark and Janet Hilbert. (Joan Irvine Smith may have cornered the market on California impressionist works, but there are still enough out there for others to collect.)

Joan touted the timeliness of this exhibit, suggesting that it was no coincidence that she chose to display Great Depression art during the current economic meltdown, and was obviously relishing compliments about the show and about her periodic e-mail letters broadcasting her outspoken political opinions on the last presidential administration and on local matters.

Jean Stern, the museum's Executive Director, stood by her side and helped welcome guests to the exhibition, which was packed with visitors. Among them: Jeffrey Frisch, curator of the John Wayne Airport Arts Program with his wife (I'll speak of my own connection to that program another day).

But I plan to return to the Irvine Museum on a calmer day when I don't have to fight the crowd to engage in a leisurely viewing experience.

Stimulating the Stimulus

Americans for the Arts reports that the economic stimulus package passed by the House yesterday included $50 million in recovery funds to be distributed by the National Endowment for the Arts.

However, those funds have not been included in the draft economic stimulust package the Senate will be considering, so efforts continue apace to make that happen. Although California's Senators Boxer and Feinstein have been strong supporters of the arts in the past, if you feel strongly about this issue, you should make your views known to them right away.

The Americans for the Arts makes it easy for you to do on this page, where you simply enter your ZIP code and they provide ready made letters to your representatives that you need only sign and they will email on your behalf.

A Class Act

I'm referring, of course, to the talented students performing in tonight's "Opera Fusion" of the OC High School of the Arts--in the orchestra and chorus and as solo singers and violinist. Augmented by professionals, they were also joined by students from Chapman University's music conservatory--I ran into Bill Hall, their dean, who couldn't have been more proud to have his students take part.

But the "class act" I'm also referring to is Robin Follman, the indefatigable (I've always loved that word but rarely met people whom it accurately described) grand dame of OCHSA (official title: Artistic Director) and acclaimed opera singer in her own right (and if you had any doubts about that, she allowed herself just one aria, belting to the rafters a selection from Wagner's Tannheuser. It certainly gave everyone a sense of the caliber of education the young singers are receiving there), who organized the evening (supported by board members, staff members, donors, and several hundred of their best friends & family members). Ralph Opacic, the school's President was elated by the response, and its Board Chairman Jerry Mandel was positively effusive about the role OCHSA is playing in developing young talent.

So, opera lives in the OC--in a different format, perhaps, for the time being.

But when the program showcased selections from David DiChiera's own opera Cyrano, in tribute to the Opera Pacific founder who was present, it was one of those breathtaking moments that suggests the company isn't dead--only resting.

And opera booster extraordinaire, Martin Hubbard, told me tonight he's certain, OC will eventually see a new company emerge from the ashes of Opera Pacific.

Read more about the event in Tim Mangan's classical music blog in the OC Register Arts Blog.

My "Sushi"spicions Are Confirmed!

My January 17 OC Register guest blog about "Sushi-gate" (how Jeremy Piven's departure from the Broadway revival of David Mamet's Speed-the-Plow was really a blessing in disguise for the producers from a marketing standpoint) now is validated as a blessing in disguise from an artistic perspective by New York Times theatre critic Ben Brantley today.

OC's Biggest Little Theater Gets Blue

Most people who know the Orange County Performing Arts Center think about its 3,000 seat hall that imports Broadway touring productions or the gleaming new concert hall that seats under 2,000.

But tucked behind the concert hall is the cozy, wood paneled Samueli Theatre, a "black box" in theatre parlance (meaning there is no fixed seating) that accommodates a few hundred, depending upon its configuration.

The Samueli Theatre is host to OCPAC's jazz and cabaret series, begun several years ago in their Founders Hall--a rehearsal room behind the large Segerstrom Hall that was converted to this use. With the opening of the Samueli, the Center now has a more suitable venue for performances like these.

Saturday night at the Samueli I took in the Blue Note tour that pianist Bill Charlap conceived, assembling jazz notables Ravi Coltraine, tenor sax, (yes, the son of the great John Coltrane) and Nicholas Payton, trumpet, along with four other accomplished musicians in tribute to the 70th anniversary of the Blue Note record label. The 75 minute set I attended showcased classics of jazz innovation--that's to say Joe Henderson, Dexter Gordon, Wayne Shorter, Herbie Hancock with a tip of the hat to Thelonious Monk in the encore. No jazz retreads of Tin Pan Alley on this program--this was for the true jazz aficianado.

Even if you missed it, here's a link to more information, including an article and an NPR interview with Bill Charlap.

Next on the Jazz Series is Stefon Harris on April 3-4.