If Arts Wire was ahead of its time, nevertheless participation on Arts Wire provided confidence and experience in working online that greatly contributed to the rich and diverse presence of the arts in contemporary Internet.
– Judy Malloy
I received an email from the University of Washington’s School of Art + Art History + Design describing an opening intern position with pioneering alum, Anne Focke. The main purpose of the internship was to create an archive for Arts Wire, a national computer-based bulletin system formed in 1989 for artists, arts groups, funders, and many more to connect online prior to public awareness of the Internet. Meeting with Anne, I was eager to inquire about specifics and learn what it was all about. However, I discovered that my questions could not be fully answered quickly as it would take multiple sit downs with Anne and fellow interns to really begin to digest the work that has been done and, conversely, the work we are doing (or attempting to do) now.
Disclosure: I am still not exactly certain of what it all means. As a technologically “savvy” millennial, I’ve found it hard to wrap my head around Arts Wire: what it was, what it is, who used it, and what we should do with its findings today. But by doing some research, I gain more clarity bit by bit. Judy Malloy, an early and consistent member of the Arts Wire team, described the platform in her book Social Media Archeology and Poetics: “Before Internet usage was ubiquitous, in an era when every time the technology was mastered, it changed, Arts Wire’s strong presence on the Internet, its emphasis on bringing the nonprofit arts community online, greatly contributed to the early presence of the arts on the Internet.” 1
As a technologically “savvy” millennial, I’ve found it hard to wrap my head around Arts Wire.
Arts Wire came into being following the 1988 Orcas Conference: Creative Support for the Creative Artist, a gathering of 200 artists, artists’ organizations, and private and public funders all aiming to find fresh ways of supporting artists both locally and nationally. At the time, “logging on” involved a computer, which not everyone had, a modem, and patience with the technological limitations of the time. Arts Wire created a user manual and found itself at the center of the online arts community, connecting artists, funders, and arts groups from very distant points, geographically and culturally.
While I am beginning to grasp what Arts Wire is, I am just beginning the journey of what it means for us today. Joe Matuzak is quoted in Malloy’s book as saying, “In many ways Arts Wire led the way. That meant we made the mistakes, but it also meant there were a lot of times we mapped out new terrain.” The material we twenty-somethings are reading for the first time is history, but it is still alive and kicking. Seasoned artists like Anne, Judy, and countless others lived through this time of exploration. They cultivated a new field and were determined to find solutions to connect and empower artists and nonprofit communities.
The material we twenty-somethings are reading for the first time is history, but it is still alive and kicking.
Contemplating these accomplishments, I cannot help but consider the ease of our own interactions on the Internet today. In some ways, it is a fulfillment of Arts Wire’s vision to bring about instant communication for varying artistic communities. However, if it weren’t for my seeing the internship advertised by UW, I would never have known of the pivotal influence of Arts Wire and other early online networks on websites like Tumblr, or even Facebook. It may take some time to understand all of it, but exploring what Arts Wire was created to be and what it accomplished has given me a broader appreciation for what it means to work for your right to express your opinions, to share critical information, and to remain engaged in a community you care deeply about.
Arts Wire is living history and this is a lesson that we in the age of instant WIFI, simple URLs, and access at the click of a cursor or touch of a screen would do well to read, study, and acknowledge.
Abby Cloutier is a undergraduate student in Art History who will be returning to the UW School of Art + Art History + Design in fall 2017. She was with us just for spring quarter and wrote this piece after being part of the team for only a few weeks. For the rest of us, it was both interesting and useful to remember what it was like to confront this material for the first time.
Social Media Archeology and Poetics, edited by Judy Malloy, the MIT Press, 2016.
This internship started with a conversation with Anne where she asked me what it is that I study. When I told her that I studied art, she asked if I was an artist. I replied that I study and practice art, but I do not consider myself an artist. She mentioned that she felt the same way about her writing. This was my first time interacting with Anne, but I already understood so much about the way that she thought.
When I asked what her medium is, she told me this was it. Creating organizations, projects, etc. This was her medium. At first, this was hard to wrap my head around. I am so used to studying artists whose media are plaster, clay, metal, and oil on canvas, but not organizations. How many organizations and projects could she really have created? It turns out, there have been several, and getting to know Anne is the only way to find this out because of how humble she is about her creations.
Anne’s attitude toward creating new projects and tackling anything head on is inspiring to say the least, and I feel it is a reason why this internship has been able to go so far. It has given me, for instance, several opportunities, such as being able to curate my own show, learning how to run a podcast, and even writing and editing a piece like this one to be posted online. She has taught us interns so much about being an artist that we would not otherwise have gained from our classes at the University of Washington.
I have gotten a look into a history where, luckily, my subjects are still around.
This internship turned out to be much more than simple archiving, which the initial description of the position implied. I have had the opportunity to learn skills, such as podcasting, that I have been curious about for quite some time. I have gotten a look into a history where, luckily, my subjects are still around. I have been able to talk to them about the files I have been going through for months on end. Because of our podcasts, I have talked to them about the problems that were occurring at the time and what they felt about it. This is probably one of the most important pieces of the internship to me, because we’re able to create a verbal history of the era.
For many people, the 1980s and 1990s might seem as though they just lived them, but we’re getting to a point where there will be no recollection of the technology they had in those days, like big breathing boxes of computers, dial-up connections, and floppy disks. Being able to talk to individuals who were online so early on and were a part of systems like MetaNet where Arts Wire began is incredibly important. These were some of the pioneers of what arts organizations could have done and built for the community.
It is important to create an oral history, or spoken archive, of such moments in time, especially because of the way this history was built. Almost everything was online or by telephone, and the internet was not yet easily available. It only makes sense to have these memories and moments uploaded for the current internet community to enjoy. It’s hard to imagine a world without these online systems, but that’s just what our interviewees helped us to imagine. What was it like before we were able to type in a simple Google search?
It’s hard to imagine this life, where thinking about typing online just seemed stressful and responses took days rather than minutes or seconds.
Going through the archives, it’s hard to imagine this life, where thinking about typing online just seemed stressful and responses took days rather than minutes or seconds. However, that’s why it’s so important to talk to the people who were there at the time and can recall what was happening then. What was it like to live in these moments where the technology was changing so drastically?
This internship may have turned out to be a lifelong project, since I haven’t had enough time to realize just how I have benefitted from it and what exactly I have learned. The exploration with my fellow interns is still occurring, and I don’t know that there is an ending to it quite yet.
Jessica Capó received an undergraduate degree in Interdisciplinary Visual Arts from the UW School of Art + Art History + Design in June 2017. She was one of two interns who spent the entire year with me. Among other things, she became our “techie,” taking responsibility, for instance, for figuring out how to set up a podcast and then being in charge of setting up the equipment each time and hosting us around her dining table because my office at the School was too echoey.
This story starts at the University of Washington, heads off to Europe, comes back to the Seattle art world, then moves on to New York City, the fierce battles of the Culture Wars, and his life in Bali today, while reminding us of our continuing need for vigilance, activism, and courage.
Fifty years ago, David Mendoza and I graduated in the same year from the same university with undergraduate degrees in the same subject, art history.1 As the official “Alum in Residence” at the University of Washington’s School of Art + Art History + Design for the 2016-2017 academic year, I invited David, who has remained a friend, to come back to the school and join me in a conversation about what he’s done with the years since we graduated.
So, on November 21, 2016, he and I sat in the school’s Jacob Lawrence Gallery with an assembled group of students, faculty, staff, and community members. My opening question to David was, “So, what have you done with your art history degree?” As he told us the story that follows, it was clear that he’d given the question a lot of thought in advance. And no one wanted him to stop once he got started.
A resume can tell you that David has been director of the Foster/White Gallery, executive assistant to the chair of the New York State Council on the Arts, the first director of Artist Trust, the first executive director of the National Campaign for Freedom of Expression, and a long-time board member of Art Matters foundation. He has lived on Bali since 1998, where he produces a line of clothing and home goods with a focus on natural dyes, handmade batik, and preserving traditional craft techniques of Southeast Asia.
But the real story can’t be captured in a resume. It’s full of twists and turns that affect a life forever, of people and events encountered unexpectedly, and of the power of following both your dreams and your intuition and fighting for what you believe in.
What did you do with your art history degree? – a memoir
David Mendoza November 21, 2016
Fifty-three years ago today, November 21, was a Wednesday. The next day about noon, and late as usual, I was running across the Quad to a class in Parrington Hall when I ran into one of my pals running in the opposite direction. He said, “JFK has been shot,” and kept running. That was 1963.
I graduated in 1967 during a tumultuous time in our nation and on campus. I started at the UW as a Business major, switched to Architecture, then to Interior Design, and, after being called to a meeting with Professor Warren Hill, switched one more time to Art History. Warren – we became friends later – was a professor in Interior Design, and he, shall we say, urged me to switch majors. I couldn’t draft – same problem in architecture. So I surveyed my accumulated credits. Not only did I have quite a few credits in Art History – including architecture and design history – but I’d earned good grades and loved the subject. So, here I am, all these years later, talking to you as an ancient alum.
I was trying to finish my art history thesis for our brilliant professor, Lawrence D. Steefel, while experimenting with pot and listening to Sgt. Pepper. The topic of my paper was Dada, and in retrospect it was a very Dada time with the Vietnam War (or American War as the Vietnamese call it) and the cultural revolution (the eve of the “Summer of Love”). Studying the Dada artists, their performances, and their anti-war positions all tossed together with the world around me meant that, in early May 1967, I found myself unable to fashion a coherent thesis paper. As the month rolled by and the deadline for turning it in approached, I had pretty much decided that after five years of university and lots of credits, I was not going to graduate and get a degree. My focus turned to how I would explain all this to my parents who had struggled to help pay college costs for me – the first in our family to attend.
The topic of my paper was Dada, and in retrospect
it was a very Dada time.
Probably through a combination of wine, pot, angst, and itchiness to get out of school and into the “real world,” I decided to make an appointment with Professor Steefel. I still can remember clearly that day – nervous, resigned to reality, and eager to get it over with. I actually prepared some notes to try to explain what had happened to me. These included references to lyrics on Sgt. Pepper as well as Dada history. It was a long meeting, maybe two hours. He asked me questions, and we had a very expanded discussion. I thanked him and left, feeling relieved that the meeting and my college career and degree were over.
About a week later, grades were distributed. When I opened mine, I found that Professor Steefel had given me an A and the five credits I needed for my degree. I was in shock. In just a moment, my whole life turned a new corner.
After working as a waiter to make money, I left for my grand tour of Europe in the fall of 1967. It was time to see all the paintings, sculpture, and cathedrals I had only seen projected from slides on a screen. Being the romantic that I realized much later I was, I decided to go to Europe by ship. So I took a train across the U.S. to New York City and Grand Central Station, never having been before. Once there, I immediately got off the train and into a taxi that took me to the 40th Street piers to board the S.S.France. Nowadays, the only place you see the scene I encountered is in old movies – crowds of people, some boarding and some saying good bye to departing loved ones. Like in the movies, the France departed in the late afternoon and, as we passed the Statue of Liberty, we were all standing at the railing admiring New York City.
My eight months in Europe started in London visiting museums and castles and seeing some theater, and then continued on to Amsterdam and Vermeer, Rembrandt, and Van Gogh. My plans to take a train from there to Paris changed at a party hosted by someone I met in Amsterdam where I met a good friend of the host. An American woman, older than me, she had just arrived from Stuttgart where she had bought a new Porsche. Apparently, she did this every year. I told her my plans, and she said, “Why don’t you ride with me instead to the south of France?” I hesitated, but my host said, “Don’t be crazy. Marilyn knows France very well. You would be lucky to have her as a guide, and you’d get a free ride as well!” So I did.
This is just what the doctor ordered for my romantic
“tour de France.”
Marilyn had rented an apartment in a small village near Nice named Haut-de-Cagnes. She had visited several times before and had fallen in love with a woman who lived there. I stayed with her until she helped – pushed – me to find a room. The village was magical, one of the so-called villages perchés, or “perched villages,” high above the Mediterranean. There were no cars, only steep and winding walkways, and a gathering of expats and French, Bohemian and worldly. This is just what the doctor ordered for my romantic tour de France.
One rainy day about a month after I arrived, I was walking across the plaza in front of the Chateau. I saw a black man with a suitcase and typewriter case talking to one of the old French women in black who lived there. As I approached I heard he was American and did not speak French so I approached to ask if I could help. He said, “Oh, are you American? Do you speak French?” I said yes and helped him find the apartment he had rented in the village. He had just arrived via Marseilles from Africa and had come to write a book. His name was Alex Haley, and he was grateful for my help.
Being an “old timer” in the village by then, I helped Alex get settled and, over the next few days, showed him around and introduced him to Marilyn. We three had dinners and wine and chats. Alex told us he was writing a book that traced his African-American ancestors back to Africa before they were brought as slaves to the U.S. Marilyn and I looked at each other skeptically, but Alex was a great storyteller and he proceeded over these meals to tell us bits and pieces of what he had found. His stories were filled with people who had names like Chicken George, Kunta Kinte, and Izzie. While in Africa, he told us, he had recorded griots, storytellers who were the keepers of family and tribal history.
Sometimes, when I visited him for a meal and wine, he would tell me more of these stories sitting in front of the big stone fireplace, and I still found his tales far-fetched and unbelievable. I began to think of him as “Uncle Remus.” At that time, Alex had a reputation as a celebrity interviewer for Playboy magazine and also as the author of The Autobiography of Malcom X. This meant that, from time to time, he had to return to the U.S. to interview someone for Playboy – and to make some money. When he left he offered me his apartment to save money from my travel budget. In exchange I helped transcribe some of his audio tapes on his old typewriter.
One time, when Alex was away the phone rang and a hoarse voice asked, “Alex?” I replied that he was in the U.S. The caller was James Baldwin, on his way to the south of France. He wanted to meet up with Alex who had discussed doing an interview with him. James had a bad cold and was in a bad mood. His French then-boyfriend had left him in London. James was looking for the boyfriend, whom he suspected was somewhere down here near Nice. After that trip, James fell in love with the area and rented a villa in Saint Paul du Vence, a village higher in the hills than Haut de Cagnes and famous for a Matisse Chapel. Baldwin lived there until he died.
“Thank you for your help and friendship here in Haut de Cagnes
while I am writing Before this Anger.” – Alex Haley
Although I was very happy in that village and didn’t want to leave, Alex encouraged me to continue my journey and my adventure. He was right. On departing he gave me a paperback copy of The Autobiography of Malcolm X and signed it, “Thank you for your help and friendship here in Haut de Cagnes while I am writing Before this Anger.” That was his original title for the book that later became famous as Roots: The Saga of an American Family.
When I returned to Seattle in April 1968, the “anger” that Alex referred to was in full force. Continue reading →
The internet is barely known, email is a strange and difficult idea, and the World Wide Web hasn’t been invented yet. But the censorship wars are raging, the AIDS crisis is hitting artists hard, and debates about public support of the arts in Congress and elsewhere are fiery. Artists and others in the arts need to connect as a community across distances. Arts Wire was created to meet that challenge and is now being rediscovered.
What was Arts Wire?
In early 1989, I puzzled over how to spread the news and make the connections that artists needed. I soon learned about the “information superhighway” and found mentors in San Francisco and Washington DC. Named Arts Wire later that year, the network was built by a small group of us spread from coast to coast—Seattle, Ann Arbor, the Bay area, New York, Arizona, Minnesota, Massachusetts, Pennsylvania, Ohio, Illinois, and more. The New York Foundation for the Arts was its first supporter and its home base throughout. It got started through paper memos, telephone calls, occasional face-to-face meetings and went online on CompuServe, Sprintnet, and finally the internet. We made our own place online with help from a network provider in Arlington (VA) and later moved to Carnegie Mellon.
Arts Wire proselytized on behalf of this new tool, and its staff educated and trained new folks to use the then-baffling technology. The news on Arts Wire came from its staff, steering committee, and individual users—artists, arts funders, and staff of arts organizations, public arts agencies, arts service organizations, and arts advocacy groups. Arts Wire enticed associations to join and bring their members online—National Association of Artists Organizations, National Campaign for Freedom of Expression, Native Arts Network, CraftNet, VisualAIDS, Association of Hispanic Arts, National Assembly of State Arts Agencies, American Music Center, NewMusNet (led by composer Pauline Oliveros), and many more.
Despite the ethic of the day—Don’t use paper! Save it on floppies!—I just couldn’t give up my attachment to words on paper. While trying to be frugal, I nevertheless printed out many “online captures” of what we were doing. As we’ve learned 25 years later, ink on paper is much more stable than the magnetic coating on floppy disks…rusty paper clips aside.
AND_NOW? Archaic Social Media
In 2016, Arts Wire came back into my life as I figured out what to do with my new role as Alum in Residence at the University of Washington’s School of Art + Art History + Design. For one, I thought, why not clear out my storage unit? It was stuffed with banker boxes of materials from a life of “projects.” Interns and I could inventory, discuss, and find a home for them.
Two undergrads signed up for fall quarter, two more joined us in the winter, for a total of two art students and two art history students. Arts Wire would be a good, discrete project to start with. All four interns—Karen Beech, Jessica Capó, Zach Heinemeyer, and Lizzie Trelawny-Vernon—have taken the project on with intelligence, imagination, and overflowing enthusiasm.
As the intern team digs into the 16 banker boxes of my print-outs and other materials, they’re creating an inventory and engaging in conversations with me and with special guests about what they’re finding. They’re learning about archiving, but also about how a new entity can be created and what the early days of the technology were like (before they were born). They’ve found things that make them laugh out loud and things that are completely puzzling. As importantly, they find sobering news of events going on in Arts Wire’s times and discover how related the news is to the news of our world today—censorship, health crises, discrimination, political battles, protests, media debates, and the impact of the latest technologies. They’ve mentioned gaining a new understanding of history with the advantage that they can talk with people who were there and are still alive now (many, even, still kicking!).
Toward the end of February 2017, they produced and presented a series of public programs to start sharing what they learned. The series, named “AND_NOW?” after the opening prompt on Arts Wire’s first home page, included:
A week-long take-over of the art school’s Instagram account – #AND_NOW?
An exhibition, “AND_NOW? Archaic Social Media,” that drew on material from Arts Wire files and ran from February 23 to March 10 at Parnassus, the school’s storied coffee shop
A podcast series, “AND NOW? Archaic Social Media” <andnowpodcast.wordpress.com>, launched on February 24 that includes interviews with people involved in Arts Wire as well as wide-ranging conversations that investigate, through today’s eyes, ideas found in Arts Wire files.
My files only go from early 1989 through about 1995 when I bowed out. Other people, in other parts of the country, can continue the story, post-1995. One person who has written much of this history is Judy Malloy, an early social media poet and arts writer, and an important Arts Wire staff member. Recently she wrote a chapter about Arts Wire for a book she edited, Social Media Archeology and Poetics, published last year.1 One of my favorite quotes from that chapter comes from Kenny Greenberg, who, in a 1994 review of Arts Wire for Internet World, observed:
As with art—Gophers, SIGs, and HTTP sites notwithstanding—it is the human spirit that makes Arts Wire special. The voices behind the information and the personal reactions to the data make Arts Wire a lively place.
One way I’ll be “carrying on” in 2017 is through my “office hours” with Artist Trust as part of the Jini Dellaccio Project. Every month I continue to reserve the second and fourth Wednesday afternoon at 1:30 and 3:30 for these conversations. You can sign up here.
Last summer “office hours” was a fairly unformed and open-ended idea. The notion was based on amazing conversations I’ve had over the years with people who just wanted to talk and on a vague sense that seven decades of life and work experience might prove useful or at least interesting to others. I also imagined the conversations would be two-way exchanges and that I’d be a primary beneficiary.
Artist Trust and I started this experiment for real in September, and it’s proven to be just as amazing as the conversations that inspired it. The conversations have given me the opportunity to meet extraordinary people I hadn’t known before and to spend time with old friends, the kind of focused time that feels luxurious but that we give ourselves so seldom.
People – both women and men – of many ages signed up – some early in their lives, some in the middle thick of it, and others, like me, enmeshed in life’s upper layers. Some came with a specific question or project in mind, and a few said, in so many words, “I’m not sure why I made this appointment.” Regardless of what prompted it, in the end each conversation seemed to matter. Sometimes an experience from my past proved useful, many times we discovered something new or the beginning of a solution through our back-and-forth discussion, and other times it seemed that the simple chance to talk with someone who was interested and listened closely was enough. Each one took its own course, and the form remains just as open-ended as it started.
“Office hours” sounds more formal than they are, and they tend to last more than an hour. We meet at Artist Trust and usually walk down the street to a nearby coffee shop, or we simply take a walk and talk while walking. Come use me as a sounding board, pick my brain, or try out new ideas. Office hours are open to anyone. Let’s talk!
As part of the Jini Dellaccio Project, I’m holding what for now we’re calling “office hours.” Tea time, coffee break, happy hour, chitchat, heart-to-heart, or even consultation – these conversations can take many forms. Artists and anyone else can use me as a sounding board, pick my brain, or try out new ideas. One-to-one or in small groups, we can talk about anything. I’ve reserved two afternoons a month for “office hours” at Artist Trust.
You can sign up by selecting a slot here. (Thanks to Artist Trust for setting up this scheduler.)
Like so many other people my age, I seem increasingly to be asked for advice, for stories about the “old days,” or simply for the chance to puzzle over a problem together. I think of these as two-way exchanges because I always learn something in the process. Let’s talk!
I’ll soon be setting up “open door office hours” at the University of Washington School of Art + Art History + Design. Information will be posted in “office hours” under the References menu on my website’s main page.
“Half a century” seems SO long ago, much longer than 50 years. “Five decades” feels closer to my experience; after all, I can count up to five on one hand. No matter how it’s put, though, that’s about how much time has passed since I received my undergraduate degree in Art History from the University of Washington. It was 1967.
In the intervening decades, I’ve been an invited guest in a few college classes here and elsewhere, edited writings by wonderful scholars, attended events on college campuses, and donated papers to Special Collections at the UW Libraries. But I haven’t spent any real time in an academic setting – not taking classes, teaching, or doing research.
Alum in Residence
All this is why it’s such a special opportunity to have been appointed Alum in Residence* at the University of Washington’s School of Art + Art History + Design for the coming school year. It’s exciting, if a little daunting, to walk through the front doors of the School, knowing that I have an office upstairs and that pretty soon the halls, empty now, will be filled with students and faculty and staff.
“So, what will you do?”
When I’ve mentioned my new role to friends, their first question is almost always, “So, what does that mean? What will you do?” And, as I usually say when venturing out on a new project, “Well, I’m not completely sure yet. I get to help make it up!” Which doesn’t mean, of course, that we have no idea what I’ll do or that we don’t have some plans. But my enthusiasm comes partly from knowing that we’ll be learning what the position can be as we go through the year. I’ve been given considerable flexibility in the way I use my time, partly because it’s an unfunded position. I’ve been encouraged not to feel pressure to take on everything that comes my way. As someone who often tries to do everything and all at once, this will take some self-discipline. I’m already learning that the School is a very busy place.
Although we know the program will morph and change over the year, here’s what’s planned as the year begins:
Archives. Over the years I’ve lived through a lot of history. Perhaps as a faint echo of my art history education, I’ve accumulated many documents and ephemera from that history – and/or, Artist Trust, Artech, Arts Wire, early artist fellowship programs nationwide, Grantmakers in the Arts, and more. Some of this is already in Special Collections at the UW Libraries, though much more is in my own storage. My position as Alum in Residence gives me the opportunity to offer internships to students who might want to work with me to examine this history, organize materials, and perhaps find homes for some of it. We will also view the materials through a contemporary lens, as a springboard for discourse and writing on topics of relevance today.
Open door office hours. I’ve been given a nice office – with a window even! – and I’ll establish specific times when I’ll be there with the door open, welcoming anyone who wants to talk about just about anything. You can use me as a sounding board, pick my brain about the past, try out a new idea . . . whatever. No scheduling needed. As I’ve said about my office hours with Artist Trust, I think of these as two-way exchanges. They could be called, “mutual mentoring”. I’ll learn a lot, and I hope it will be mutual. Specific times will be set as soon as I understand more about the flow of activity at the School once it gets underway in late September.
Conversations with purpose. I’ll host informal but focused discussions that build on my 15 years or so organizing conversations in different forms and in collaboration with others. I look forward to extending this practice to the School and to making connections between the School and the community.
One event is already on the books: on Monday, November 21, the UW’s entire undergraduate art history class of 1967 will host a conversation – all two of us. The other graduate in my class, David Mendoza, remains a friend today. We’ll talk together about those years (as far as we can remember them) and about what we’ve done since then with the preparation our art history degrees gave us. Our conversation will then spill over and involve anyone who joins us.
Class visits. As possible and at the invitation of faculty, I’ll participate in classroom sessions or other activities. (A past example from another school is briefly described here.)
“How did this come about?”
A second question friends ask is, “How did this happen? Did you apply? Did they seek you out?” As with many new things, the beginning point is a little fuzzy. Perhaps it’s like the headwaters of a river. Does a river start with this little stream or with that one? with the confluence where they come together or with a whole drainage basin? I suppose that’s why the word is usually plural, there’s almost never just a single source.
From my perspective, the Alum in Residence started with many of the same questions I ask in other contexts. Since someone my age today will live, on average, 30 years longer than someone did 100 years ago, what are we going to do with those extra years, so many of which are past the official age of “retirement”? If we aren’t completely undone struggling for money to cover our costs, how do we stay active, keep learning, and continue to be engaged, contributing members of the community?
Wanting a home where I could explore questions like these but not wanting to create a new organization, I looked around for compatible institutions that might house experiments to find and try out answers to these questions. Good conversations with several people in institutions both in and out of the arts yielded some declines but gave me good solid start. Artist Trust was one place where the idea stuck. I’m so glad to have the fiscal sponsorship of Artist Trust in a collaboration that is developing the Jini Dellaccio Project. (See more about this project here.)
While exploring possibilities with Artist Trust, I was also paying attention to new energy bubbling up at my alma mater. So, as part of the same search, I sent a query to Jamie Walker, director of the School of Art + Art History + Design, expressing my interest in the possibility of establishing some kind of “chair” or residency within a sympathetic organization that would allow me to pursue this experiment and share my decades of experience with others in a mutual exchange. “Since a position like this doesn’t seem to exist at this point,” I wrote, “I’m doing what comes naturally, making it up.”
As it turned out, my focus on the work and contributions of older people along with my history at the School resonated with Jamie’s interest in developing closer relationships with School alumni and, as he said, “taking possession of our own history.” The timing was right, it seems, for our respective ideas to meet, bounce around, adapt, expand, and come together. The process, he said, is “fortuitous and that’s different from luck.” As we talked about how we each get things done, he said he likes “to encourage things to happen that haven’t happened before,” and he often does this essentially from the side. Which, in my lexicon of such things, means exactly what we were doing: listening to each other, nudging, getting little obstacles out of the way, letting initial ideas soften and meld together. So, through our conversation, along with his doing all the necessary administrative work inside the University, we’ve come out the other side of these conversations with this Alum in Residence program.
I love watching and being part of a process like this – one idea bouncing against and intersecting with another, within a specific set of circumstances, adapting and shifting to find what’s shared, resulting in something that can look as though it were planned that way from the start.
One last quiet aspiration. In the past month, I’ve received many helpful introductions to the school and its people. In one of these, I heard someone fondly described as the “resident hipster.” If I try hard, perhaps by the end of the year I’ll have earned a similar status as the “resident geezer”…and in the process break down a few stereotypes of just who gets to be a geezer.
* About the word “alum,” to quote Merriam-Webster: “Many people are comfortable using the word alumni to refer to someone who was a student of a particular school. However, others feel quite strongly that this is an error and that the following Latin forms should be used: alumnus (for one male), alumni (for multiple males, or for a mix of males and females), alumna (for one female), and alumnae (for multiple females). The shortened form alum and its plural form alums began to be used in the 19th century. Initially, alum was widely viewed as highly colloquial or informal, but is increasing in use as a gender-neutral alternative.
A news article forwarded by a friend carried this headline. Without reading the piece, the headline immediately reminded me of a story I’ve tossed around informally for some time. I tend to pull it out in conversation whenever I or someone else in my general age bracket expresses concern about whether or not our money will last as long as our lives will.
As an equation, it might look like this:
I’ve never expressed it quite this way before, but here’s how I tell the story:
Using round numbers, I say, imagine that I started earning my own living at age 20. I was actually older than that, but it’s close enough and saying I was 20 makes the equation easy to figure out. Then suppose that I decided to stop working for pay at the societally-assumed “retirement age” of 65. I didn’t, but again I’m not quibbling about details. The kicker comes when we add the final assumption, that I might live to be 90. The average life expectancy for a woman my age has been going up and is currently about 86.5 years – again, the number is close enough for the purpose of my storytelling.
The simple arithmetic of the story suggests a conclusion.
Someone living according to my equation would have an earning life of 45 years – just half of a full 90-year lifetime. Hmmm . . . that seems to imply we’d have 45 years to generate 90 years of living expenses, two years’ worth for every year worked. Applied to real life, the equation seems crazy. The equation is all too simple, I know, since it doesn’t account for many things. Obviously, it works well now for a certain segment of the population. For many others, though, the economic life it points to is difficult if not impossible, and on the scale of an entire society, it’s hard to believe that the formula could possibly work.
My equation comes from thinking about the connection between aging and economics in the life of an individual, that is, it’s focused on the “economic slowdown” (or steep decline) in the lives of many older people. The news story I started with, on the other hand, considers the slowdown in the economy as a whole, a slowdown that a new academic study traces to our aging population. Written by Robert J. Samuelson for the Washington Post, the article begins with this sentence:
“An aging United States reduces the economy’s growth – big time.”
The study, out of the Harvard Medical School and the Rand Corp., a think tank, claims that: “The fraction of the United States population age 60 and over will increase by 21% between 2010 and 2020.” Then, Samuelson reports, the study estimates that this aging cuts the economy’s current annual growth by 1.2%, which is approximately the difference between the growth rate from the 1950s to 2007 (about 3% per year) and the rate of growth since 2010 (about 2% annually). This leads Samuelson to conclude, “If other economists confirm the study, we’d probably resolve the ferocious debate about what caused the economic showdown. The aging effect would dwarf other alleged causes…”
Samuelson discusses reasons for why an increasingly older population would reduce economic productivity. It’s partly because there are relatively fewer workers left to support production, but that accounts for only about a third of the slowdown, according to the study. One theory for the rest, Samuelson says, is that older societies may be more cautious with their spending, valuing stability and being more restrained, less experimental and optimistic. On this point, my equation would suggest their “cautious spending” is not necessarily about their sense of adventure but rather about their pocketbooks.
You’ll find the Washington Post article, which appeared in the August 21, 2016 issue, here.
When he turned seventy in 1905, Mark Twain spoke at a lavish party thrown in his honor at Delmonico’s restaurant in New York City.
“The seventieth birthday!” he exclaimed. “It is the time of life when you arrive at a new and awful dignity when you may throw aside the decent reserves which have oppressed you for a generation and stand unafraid and unabashed upon your seven-terraced summit and look down and teach – unrebuked.”
Even at 71, I’m still far from throwing aside “decent reserves” and taking a fully “unafraid and unabashed” stand. But I’ve still got time – 70 is no longer the summit it was in Twain’s day. At this point, I prefer to think of the seven decades of my past as many-layered substrata to stand on* or even a springboard for what’s next rather than as a summit. We live in an extraordinary time historically speaking, when it’s possible for many more of us than ever before to imagine a life beyond 70. In 1905, when Mark Twain turned 70, the average life expectancy in the United States was 47 years for men, 50 for women. Today the average is 76 and 81.
In the next several years, I’ll be exploring with some intention what this longer life might mean for me and others if we’re among those who reach a life span of “average” or above. Specifically, I’ll be developing the Jini Dellaccio Project – an experiment named for a remarkable woman who lived into her late 90s mastering a unique and powerful photographic vision. The project [described more here] celebrates Jini’s lifelong curiosity, engagement with others, creation of a life in her own way, and a work ethic that continued into her tenth decade. She did not understand the word “retire.”
Living into one’s 70s, 80s, and 90s is nothing new, of course. Although accounts of exceptionally old people can be found throughout history, it’s definitely becoming more common today thanks to modern medical advances and the huge increase in knowledge about health and aging. On average, we’ll live 30 years longer than people did 100 years ago, and as a group we also have unprecedented levels of health, energy, time, and sometimes resources. But culturally and economically we’re really not prepared. If we do live into those “extra” years and aren’t completely undone scrabbling for money to pay for them, we have to ask ourselves, how will we spend the extra time when “retirement age” comes so early?
Our society isn’t organized to know what to do with us, and certainly not for as long as many of us are apt to live. As anthropologist and author Mary Catherine Bateson told a crowd at Town Hall Seattle in 2010, “We can’t think of our extra 30 years as just tacked on to the end of our lives; thirty years is much too long for that.” She urged us to see these extra years as a whole new period in our lives, saying that we’re becoming a different species. “I can imagine playing golf for a year,” she said, “but not for 30 years.” And if golf isn’t your thing any more than it’s mine, her sentiment applies equally well if you’re not inclined, or can’t afford, to travel the world for 30 years or if keeping your body tuned up just doesn’t fill the days. Bateson called this time in our lives, “the age of active wisdom.” The Jini Dellaccio Project builds on this spirit.
* Substratum (pl. substrata): The material of which something is made and from which it derives its special qualities.
The Jini Dellaccio Project, a fiscally-sponsored project of Artist Trust, focuses on possible roles that artists and others can play as they inhabit the mostly undefined stage of life beyond “retirement.” The project complements Artist Trust’s existing program on artists’ legacy and estate planning, but rather than being focused on artists’ property (tangible, intellectual, financial), the Jini Dellaccio Project emphasizes the living person in their upper decades. It explores ways to enhance their ability to continue as engaged, contributing members of the community while they’re still alive. Financial support for the project – its fuel – comes from individuals who have the ability to give and are interested in where it will lead.
As I enter my own eighth decade, I’m excited to be developing this three-year project, and I’m inspired by the spirit of Jini’s life. She chose her own course, right through her last decades. Born in 1917, she died in 2014 at age 97. She toured the country as a musician in an all-girl swing band in the 1930s, studied painting at the Art Institute of Chicago, and took up freelance fashion photography in Los Angeles in the 1950s. After moving to the Northwest in the early 1960s, she began photographing young rock and roll musicians like the Wailers, the Sonics, and Merilee Rush and the Turnabouts, often in lush, natural surroundings. These, along with iconic images of national musicians like the Who and Neil Young, defined her career. After caring for her husband through the last years of his life, she picked up her photography again, adding a digital camera to her repertoire in her late 80s. You can learn more about her here.
The intention of the Jini Dellaccio Project is to do reconnaissance into the phase that anthropologist Mary Catherine Bateson called the “age of active wisdom” and to identify and provide a picture of the possibilities of life after Mark Twain’s “seven-terraced summit.” Like Jini, many of us aren’t ready to stop when we reach the “official” retirement age, and often we can’t afford to. We still want to participate, create, and contribute to the communities and world we live in. Simply by virtue of living as long as we have, we have perspectives that can be useful launching points for contemporary thinking.
In 2010, Artist Trust invited me to moderate a panel discussion, “Better with Time: Creativity and Aging,” where I met Jini for the first time. At the same event I met Sarah Cavanaugh, who stood by Jini’s side through Jini’s last years and has been a co-conspirator on this project from the start. The panelists that day also included choreographer Donald Byrd and sculptor Akio Takamori. The session announcement identified the panelists as “artists who have continued to create new work through the tides of personal and societal change,” and it posed a question that is among those I want to pursue: “Does society benefit from artists who create art throughout their lifetimes?”
So what will actually happen?
Beginning this September, project activities will include but won’t be limited to the following:
“Office hours.” Tea time, coffee breaks, office hours, happy hour – these conversations can take many forms and can involve artists and anyone else who wants to use me as a sounding board, pick my brain, or try out new ideas. One-to-one or in small groups, we can talk about anything. I’m reserving two afternoons a month for “office hours” at Artist Trust, and they’ll be available by signing up or, if the schedule’s empty, on a drop-in basis.1 Like so many other people my age, I seem increasingly to be asked for advice, for stories about the “olden days,” or simply for the chance to puzzle over a problem together. I think of these conversations as two-way exchanges because I always learn something in the process. By being a little more intentional about them, I expect to learn more about the value of having a long view and of offering that perspective to others.
Group discussions and public conversations. Group discussions play a big part in how I learn and how I share my experience and interests. I’ve hosted conversations in various formats for a long time, usually organized with others. Always informal and participatory, some will be single stand-alone events, others in series; some are public forums, others small and held in safe spaces that allow deeper exploration of ideas. Conversations already underway may continue, such as “Penny U” begun in the fall 2014 with Town Hall focused the changing nature of work, with its implications for both artists and people beyond retirement age. In hosting these, I expect to collaborate with others, from individual artists to Artist Trust, Town Hall, and the University of Washington School of Art + Art History + Design.
Personal and public writing. I will write. I’ll make time for it and use it to capture what I hear, connect it to what I already know, and make the ideas hold still long enough to see what they might mean. Themes won’t be limited to age and aging. My time as an editor and “translator” between fields convinces me that big ideas can be put in plain language so more of us can understand them, argue with them, or put them to use. And I’ll find ways to share what I write. I’ve laid groundwork with this website, but the effort may expand to other forms – such as broadsides and chapbooks, or as the focus of conversations and groundwork for a book.
History through today’s eyes. With assistance from students and others, I’ll sort, organize, and find homes for original materials that I’ve accumulated over the years. Currently in storage, these include documents and ephemera from and/or, Artist Trust, Artech, Arts Wire, early artist fellowship programs, Grantmakers in the Arts, and more. Much of the material comes from a period of change in the art world. It covers, for instance, a time when artists decided not to wait for others to offer them opportunities but to take an active role in creating the conditions they wanted. (Sounds a little like today, doesn’t it.) Along with simply bringing some order to it, we’ll consider the relevance of this history in today’s world. The results will be fodder for more writing and conversation.
Although we’ll start with these activities, the project will be malleable and we expect it to change in response to what we learn. We’ll design it as we go.
1 Beginning in September, my office hours will be 2-5 pm on the 2nd and 4th Wednesdays of the month. Sign up by sending an email to Artist Trust.