Kamarck, Edward (ed.) / Arts in society: tenth anniversary issue
[Unfulfilled opportunities in the arts: a symposium], pp. -24 PDF (17.0 MB)
16 1 am suggesting that even if and when tests were developed that could show the extent to which certain "art-engendered" outcomes had been achieved through art experiences, those concerned with the arts and their utilities would still find themselves having to "prove" that the utilities were worth working toward in the first place. To establish and secure widespread acceptance of the worthiness of those utilities is therefore the first item on the agenda of everyone who cares about art experiences and the things they claim are engendered by these experiences. That is why it is important, in any art enterprise to set aside some portion of the budget of time, money, and personnel to evaluation of the enterprise - rigorous evaluation, following the most advanced canons of methodological procedure. If this is not done the "society" of arts will find itself in the same position as other "underdeveloped societies" which, upon being given fresh infusions of capital and resources with which to develop, consume all the capital in their enthusiasm for gratifications which they have long awaited. Once these gratifications are momentarily achieved, they end, and there are no capital resources on which to build for the future. In the United States today, art may be thought of as an underdeveloped social and cultural segment. If now the federal government and other powerful agencies are willing to extend "aid" in the form of basic capital investment heretofore never granted the arts, much of that capital had better be used as much for strengthening the foundations of the claims of art as for the provision of art experiences, or else there will be only shortlived enjoyment for a few and then nothing. Statement by Ralph Burgard', Executive Director, Associated Councils of the Arts. By tradition, the arts are an urban phenomenon. Our museums, symphonies, theaters, and operas thrive at the center of population clusters where a concentration of potential audiences and funds will support their program. However, the character of this urban matrix has been changing with incredible speed. The riots this past year only accentuate some long-festering problems created in part when an automobile-dominated technology destroyed the intimate scale of urban life, driving the middle class to suburbia while sucking in masses of unskilled immigrants and relegating them to poverty-stricken slums. Almost every major city faces the prospect of becoming a dwelling-place for either the very rich or the very poor in the next 15 years. How will these changes affect the arts? It is now economically and technologically 'Mr. Bugard's statement has been excerpted by him from his book, Arts in the City: Organizing and Programming Community Arts Councils, published by the Associated Councils of the Arts, 1564 Broodway, New York, N. Y. 10036. 1968. 150 pp. $4.00.