thumbnail of Electronicle; 109; Artists; SD-Base
Hide -
If this transcript has significant errors that should be corrected, let us know, so we can add it to FIX IT+
<v Speaker 1>?inaudible? Are we rolling? Electronicle program, number nine, full program. <v Speaker 1>[Intro music] <v Steven Buyer>I can't survive here as an artist. <v Steven Buyer>I cannot continue to grow if I only stay here. <v Steven Buyer>[Intro music] <v Roberta Davis>Because <v Roberta Davis>people that are really doing what's me, do not get the <v Roberta Davis>kind of financial gains to keep them going or to allow them the time <v Roberta Davis>to not worry about their rent. [Intro music] <v Michael Boyle>Hello, I'm Michael Boyle. <v Michael Boyle>This week, Electronicle takes a look at part of a very large topic, the arts <v Michael Boyle>in Minnesota. It's clear from this report that the arts contribute substantially
<v Michael Boyle>to Minnesota's much touted quality of life. <v Michael Boyle>We're in the forefront nationally when it comes to supporting the arts. <v Michael Boyle>Only two states are ahead of us in funding individual artists. <v Michael Boyle>But what's the story when you move away from Minnesota's most prominent artists <v Michael Boyle>and most prestigious arts institutions like the Guthrie, the Walker and <v Michael Boyle>the Minnesota Orchestra? What is life like for the new, young <v Michael Boyle>and often nontraditional artists who live and work here? <v Michael Boyle>To find out, we'll talk with a jazz singer, a metal sculptor, a paper artist <v Michael Boyle>and a commercial illustrator- all of them struggling to succeed in this community. <v Michael Boyle>The question that we're posing in this program is, can these relatively undiscovered <v Michael Boyle>artists make it? Can they survive in the Twin Cities? <v Michael Boyle>Now, this piece is by a sculptor from St. Paul named Steven Buyer. <v Michael Boyle>He's had one man shows here and in Chicago last year, at the age of 26, he <v Michael Boyle>became the youngest visual artist to receive a coveted Guggenheim Fellowship.
<v Michael Boyle>Obviously an artist on the way up. <v Michael Boyle>How did the Twin Cities respond to Steven Buyer and what's his response? <v Steven Buyer>[Squeaky door] [footsteps] I was raised in Brainerd, which is a small town in north <v Steven Buyer>central Minnesota. <v Steven Buyer>[Piece of metal being moved] After high school, I came moved to St. Paul and <v Steven Buyer>uh was a student at McAllister College. <v Steven Buyer>I graduated from college in 1973 with a uh degree in art. <v Steven Buyer>That same year, I rented a studio here in the ?Ross Moore? <v Steven Buyer>building and uh began making sculpture.
<v Steven Buyer>At the same time, uh I'd also taken a job <v Steven Buyer>with uh Dayton's department store. <v Steven Buyer>Working a 40 hour week and making sculpture at night was very difficult. <v Steven Buyer>It was quite a grind and my personal life suffered from that. <v Steven Buyer>[Large metal crash] I guess the time in college and the time afterwards was spent <v Steven Buyer>discovering what it was that I wanted to do. <v Steven Buyer>Even though I knew it in the back of my mind, I knew there was there was a <v Steven Buyer>feeling that I wanted the work to have. <v Steven Buyer>And that feeling was one [welding noises] of enclosure, one of alienation, <v Steven Buyer>one of discomfort. <v Steven Buyer>I went to New York City to show uh my work to various gallery dealers <v Steven Buyer>and museum curators. <v Steven Buyer>Their response was not very positive. <v Steven Buyer>At worst, I was told that I was stupid and immature and that I didn't fit, <v Steven Buyer>I didn't fit in any of the pigeon holes that had been developed
<v Steven Buyer>to talk about the visual arts. Uh specifically, what was said was that <v Steven Buyer>I was a hybrid between minimalism and constructivism- they're two <v Steven Buyer>isms in the art world. Um I was very crushed by that. <v Steven Buyer>I wanted to fit. I wanted to be a part of it. <v Steven Buyer>I wanted it to be able to take part in in what goes on in a in the art world. <v Steven Buyer>So I came back to St. Paul and <v Steven Buyer>uh struggled with what I had heard in New York for a couple of months, and <v Steven Buyer>out of that struggle, I realized that I was probably very fortunate that I didn't fit. <v Steven Buyer>That I wasn't any of those things. <v Steven Buyer>Uh, in fact, it was quite an awakening. <v Steven Buyer>[Car driving] I was a Midwest person. <v Steven Buyer>I'd grown up and uh then raised in the Midwest, uh I knew it had <v Steven Buyer>to do with coming from a small town. <v Steven Buyer>I knew it had to do with uh I guess corny things,
<v Steven Buyer>playing in the woods as a child, [metal clinking] playing uh <v Steven Buyer>along the Mississippi River as a child. <v Steven Buyer>Uh growing up, you know, [others talking] and I guess, what would be called <v Steven Buyer>a healthy middle class family. <v Steven Buyer>I've been ashamed [footsteps] of that, until that time. <v Steven Buyer>And sometimes I still am ashamed of that. <v Steven Buyer>But every now and again, I get uh an inkling that I'm pretty lucky, you know, that <v Steven Buyer>[others talking] that that's what I am. <v Steven Buyer>And that's where my strength lies. [Cash register noises] I can't survive here as an <v Steven Buyer>artist. I cannot continue to grow if I only stay here. <v Steven Buyer>The Twin Cities are lacking in some of the components that it takes <v Steven Buyer>to make a healthy arts community. <v Steven Buyer>I don't get the nourishment. I don't get the uh I'm <v Steven Buyer>not being fed. <v Steven Buyer>Uh there's not the kind of activity that I need.
<v Steven Buyer>[Torch ignites] I'm not getting the <v Steven Buyer>criticism personally that I need to continue to grow. <v Steven Buyer>Second of all, there is no market here for what I do. <v Steven Buyer>A good deal of the collecting that is done revolves <v Steven Buyer>around New York and collecting New York work. <v Steven Buyer>Uh New York has a kind of uh stranglehold on the marketplace <v Steven Buyer>for art, that if you are a local person, if you come <v Steven Buyer>from here, you are not as interesting <v Steven Buyer>or collectible or <v Steven Buyer>any number of lackings. Both <v Steven Buyer>the Walker and the institute suffer from that problem, that they also have those <v Steven Buyer>prejudices about what a Midwest artist is. <v Steven Buyer>Uh, given those prejudices, if
<v Steven Buyer>I did not fit their mold of what a local artist should be like and subsequently <v Steven Buyer>am not shown, I am not labeled a serious artist. <v Michael Boyle>OK. But the question is, is Buyer's work any good? <v Michael Boyle>I mean, if it is, then we should pay serious attention to what he had to say. <v Michael Boyle>If it isn't, then his remarks come off sounding like sour grapes. <v Michael Boyle>Well, his recent show in Chicago got good reviews. <v Michael Boyle>His steel pieces are direct and intellectually and visually tough. <v Michael Boyle>I do not doubt that it's truth to materials and uncluttered approach will win the artist <v Michael Boyle>a larger audience. <v Michael Boyle>You know, Steve Buyers', comments about the arts environment here don't stand in a <v Michael Boyle>vacuum. Many of the artists we spoke to complained about the lack of nourishment <v Michael Boyle>for the young and undiscovered. <v Michael Boyle>Many of them pointed, as did Steve Buyer, to the absence of meaningful criticism <v Michael Boyle>and media attention. <v Michael Boyle>We asked a number of Twin Cities journalists whether they agreed that there wasn't enough <v Michael Boyle>attention being paid to new arts.
<v Dave Moore>There is no arts coverage in terms of ?news television?. <v Dave Moore>There has been some in the past, very precious little. <v Dave Moore>But there is none now because this new force <v Dave Moore>in all of commercial television known as the consultancy, has turned the head <v Dave Moore>of local entrepreneurs and indicated to them and told them that surveys and research that <v Dave Moore>they have taken have borne out the fact that any coverage of the arts is a direct turnoff <v Dave Moore>of the last public of its television ?set?. <v Dave Moore>I have uh, I've given up. <v Dave Moore>I made myself obnoxious around here for many, many years trying to get <v Dave Moore>some kind of coverage of the arts. <v Charles Bailey>We cover the arts, but we're not doing more than we're doing because it doesn't seem to <v Charles Bailey>us justified in terms of serving our readership. <v Charles Bailey>Our total readership. <v David Hawley>Well, traditionally, uh many studies that have been done in newspapers, they list uh <v David Hawley>sports up at the top in terms of reader interest and they list ours somewhere down <v David Hawley>toward the bottom. <v Stan Turner>There is not anywhere near an overwhelming appetite. <v Stan Turner>They're not clawing at the TV sets or pounding on our doors for more uh but
<v Stan Turner>I suppose it could be said that uh that we ought to take the measure <v Stan Turner>of what we're doing. And if we feel that uh we ought to be doing more, we ought to do <v Stan Turner>something about it. <v Charles Bailey>We have a number of obligations and we don't feel a special obligation <v Charles Bailey>to the local artists because I don't think we can afford to, in the sense that I don't <v Charles Bailey>think that's our business. <v Stephen Isaacs>I don't feel the Star has any obligation to anybody. <v Dave Moore>Maybe the guy who uh gets off the assembly line at some plant and goes <v Dave Moore>in and has his beer at Archie Bunker's place uh couldn't care less <v Dave Moore>about Loyce Houlton's new Minnesota Dance Theater. <v Dave Moore>Well, what about 15 or 20 other people who might, multiplying that by a <v Dave Moore>few thousand? <v Stephen Isaacs>I think that we probably covered too much of the highbrow <v Stephen Isaacs>arts that we probably ought to cover far more <v Stephen Isaacs>of the arts that people are interested in on a larger scale. <v Speaker 2>[Synth noise] Ah, this is a great place to start out. <v Speaker 2>You know, it's a great place to learn and work among lightweight competition.
<v Speaker 2>But if you're ambitious at all, you're gonna want to move somewhere else at some point. <v Speaker 2>And you can tell by looking at um look at the magazines that are published here, the <v Speaker 2>city magazines and stuff. <v Speaker 2>It's all it's all copiers. <v Speaker 2>They copy guys like Levine out of Esquire, you know, Newsweek, Time. <v Speaker 2>It's not original. <v Speaker 2>I mean, let's face it, place is provincial. <v Michael Boyle>Some young artists feel that the Twin Cities did not offer the opportunities they need to <v Michael Boyle>grow to be seen and heard, to be criticized and to make a living. <v Michael Boyle>Our next story is about Minneapolis artist David Marquis. <v Michael Boyle>Both David and Bonnie Sussman, who sells his work, are concerned about whether he can <v Michael Boyle>survive. <v Bonnie Sussman>People are going to really be happy with some of these blues too. <v Bonnie Sussman>Let's take a look at this top one now. <v Bonnie Sussman>Cause this is the one I thought we would use for the show in September. <v Bonnie Sussman>What I'd like to do with this. <v Bonnie Sussman>Probably...[continues talking]. I've been working with David for about three years.
<v Bonnie Sussman>He originally came in one day with his bundle of paintings <v Bonnie Sussman>or works under his arm, and uh we hit it off. <v Bonnie Sussman>We liked each other, I guess. <v David Marquis>I mean, even right now at the prices we're asking now, I couldn't hope to live on that, <v David Marquis>but.. [continues talking]. <v Bonnie Sussman>And it's very difficult to sell art. <v Bonnie Sussman>It's something that takes the cooperation of everybody <v Bonnie Sussman>who's working toward a common end and I think it's really tough to <v Bonnie Sussman>try to sell art here, though. <v Bonnie Sussman>It isn't until a gallery is is cl- on the verge of closing that <v Bonnie Sussman>the majority of sympathizers even come forth and say, hey, we're <v Bonnie Sussman>really sorry to hear about that. Do you really have to close? <v Bonnie Sussman>Before that, you could probably die and <v Bonnie Sussman>a lot of people wouldn't care. <v David Marquis>It scares me when a gallery goes out of business, especially a reputable gallery cause i- <v David Marquis>it frightens me that the galleries won't make it in this town. <v David Marquis>An- and I'm dependent on them for more than one reason. <v Bonnie Sussman>We don't have enough collectors and it's collectors
<v Bonnie Sussman>in the community that really- it's it's a small number of people <v Bonnie Sussman>who keep coming back that keep the galleries going. <v David Marquis>Well, selling art, I think, is a full time job. <v David Marquis>And if I were to do that myself, I wouldn't have <v David Marquis>time to work. So um I prefer to spend my time working <v David Marquis>and have Bonnie take care of that end of it for me. <v David Marquis>And um I like having someone who believes in me and <v David Marquis>truly likes my work. <v David Marquis>And and uh to handle it. <v Bonnie Sussman>It's time, after all, what we have here is is virtually a half years work <v Bonnie Sussman>on your behalf. <v Bonnie Sussman>I think we have to in order to to make <v Bonnie Sussman>things come out for either of us, up the prices a little bit. <v Bonnie Sussman>I think that uh certainly to talk realistically about it...[Continues talking] For the <v Bonnie Sussman>most part, I do survive on on just local <v Bonnie Sussman>sales, not very many of them, a few are made
<v Bonnie Sussman>out of town. But, uh yes, surviving. <v Bonnie Sussman>But it depends on what you call surviving too. <v Bonnie Sussman>And we're still around after nine years, I guess that's survival. <v Michael Boyle>In public funding for individual artists, Minnesota ranks high in the national averages <v Michael Boyle>behind only two states, New York and Massachusetts. <v Michael Boyle>The State Arts Board has a budget of 3.4 million dollars this fiscal year. <v Michael Boyle>Even so, that amounts to less than one tenth of one percent <v Michael Boyle>of the state's total budget. <v Michael Boyle>And that's much more than it used to be a couple of years ago. <v Michael Boyle>The most sought after plums of the state's public arts funding are the six individual <v Michael Boyle>fellowships of 10,000 dollars apiece. <v Michael Boyle>There were 180 applicants for those fellowships this year. <v Michael Boyle>Producer Bill Handly looks at the process by which the state decides who gets these <v Michael Boyle>six fellowships through the eyes of a winner and a loser. <v John Ondov>Minnesota has, I think, um a strong commitment
<v John Ondov>to individual artists. <v John Ondov>We felt that a way to attract artists to Minnesota or <v John Ondov>to try to entice, if you will, artists living <v John Ondov>in Minnesota to stay and work here is to give direct support in two ways: project grants <v John Ondov>and fellowships. <v John Ondov>10,000 dollars even today probably doesn't buy an artist all that much time, <v John Ondov>but it is a it is a of a real statement that that public sector <v John Ondov>agency says for a number of artists who are determined to be <v John Ondov>qualified at a certain level of artistic output, "Take <v John Ondov>this money and and do your craft." [Someone counting off] [Piano playing] [Woman Singing]
<v Roberta Davis>Well, it was my first experience with the State Arts Board or applying for <v Roberta Davis>any kind of grant or fellowship or law. <v Roberta Davis>And I'll tell you how it happened, I had the Gospel Music Workshop of America, <v Roberta Davis>which has a choir of about 150 voices. <v Roberta Davis>And I was trying to find some money so that we could do some projects with gospel music <v Roberta Davis>in the community. And they sent me the book about <v Roberta Davis>that, you know, uh uh applying for grants and so forth. <v Roberta Davis>And I read through it and I had missed all the deadlines <v Roberta Davis>up to, you know, at that point, but there was one there that just really stuck in my <v Roberta Davis>mind. It was an individual fellowship for artistic development to the tune <v Roberta Davis>of 10,000 dollars. I went in there with my eyes ju- I filled it out <v Roberta Davis>and I said, OK, Lord, you got it. <v Roberta Davis>Cause all I can do is fill it out. <v Roberta Davis>Say nothing else. And I just hoped and crossed my fingers. <v Roberta Davis>And I felt that I that I was good enough to make it. <v Roberta Davis>But you know something? I was so surprised when I got it because
<v Roberta Davis>it changed something in my mind that I thought. <v Roberta Davis>And that was with something like that going on, they would never, <v Roberta Davis>never give ten thousand dollars to artistically develop <v Roberta Davis>in the state of Minnesota, where they say that people don't like jazz, <v Roberta Davis>you know, to me. <v Narrator>But in any grand program where there are limited funds available, there will be winners <v Narrator>and there will be losers. Janice Helleloid is one of the losers. <v Janice Helleloid>I've applied for three years in a row and I've never gotten a grant from the state. <v Janice Helleloid>And I feel that um if you have 10 people on board. <v Janice Helleloid>And most of them are conceptual artists, let's say, and they get a lot of uh <v Janice Helleloid>applications from from realist artists who are doing um <v Janice Helleloid>reproductions of of real objects. <v Janice Helleloid>You know, it's not distorted or abstracted in any way. <v Janice Helleloid>Uh, there's gonna be some some decision making going on there as far as what <v Janice Helleloid>what is to be funded if their own personal interest is in conceptual artwork.
<v Janice Helleloid>[Ensemble music] <v Narrator>The critical decisions over who does and who does not receive state funding are obviously <v Narrator>subjective and therefore somewhat controversial. <v Narrator>But for many Minnesota artists who sit on the review panels that make those decisions, <v Narrator>the process seems surprisingly even handed. <v Warren MacKenzie>Well, I tell you, I was suspicious of the problem of uh trying to <v Warren MacKenzie>equate, uh you know, a musician or a poet or a <v Warren MacKenzie>painter or a sculptor. An- and how do you how do you make a judgment when you're only <v Warren MacKenzie>giving five grants? And it seemed to me to be an almost impossible situation. <v Warren MacKenzie>But as a developer, starting out with the media panels, making their first election <v Warren MacKenzie>and then going to larger panels and then finally going to the entire group, it worked <v Warren MacKenzie>very, very well. And the thing that surprised me was that there was absolutely
<v Warren MacKenzie>no question of the five awards. <v Warren MacKenzie>I mean, they were just tops in their field. <v Narrator>Another criticism of the arts board and one that is acknowledged even by its director, is <v Narrator>that funding is often centered among Minnesota's most middle of the road artists. <v Janice Helleloid>The artists who have gotten the grants in the past have been um this election <v Janice Helleloid>has been of moderate artwork, uh provincial or conventional <v Janice Helleloid>or whatever the word is. <v Janice Helleloid>It's been more on a conservative level and th- the range of artists that are selected for <v Janice Helleloid>the granting of funds is very limited. <v John Ondov>I will say this about funding in the arts, whether it's private or public- <v John Ondov>I think the competition and ironically, it's because of the health of the arts in <v John Ondov>Minnesota- the competition is so, difficult, so <v John Ondov>stiff that panelists placed in a position of having to make choices <v John Ondov>are extremely conscientious, perhaps to a point
<v John Ondov>where they may not feel as comfortable in taking a a risk or as a large <v John Ondov>number of risks as they would of either with more money <v John Ondov>or less competition. One of the two. <v Roberta Davis>All right, now, a B, [Singing and piano playing]. <v Roberta Davis>And you know? And, b- but that even seems fast, doesn't it? <v Roberta Davis>That se-... [continues talking]. If I sounded like Sarah Vaughan, I wouldn't be putting <v Roberta Davis>me out there, see? And that's why I think that is important, because people that <v Roberta Davis>are really doing what's me do not get the kind of financial <v Roberta Davis>gains to keep them going or to allow them the time to not worry <v Roberta Davis>about their rent. <v Roberta Davis>So that they can sit down and say, here I am, you know, my rent's paid for, I don't <v Roberta Davis>have to worry about a thing. My mind is free. <v Roberta Davis>I can sit down and I can paint what I want.
<v Roberta Davis>I can sculptor what I want. I can choreography what I want. <v Roberta Davis>I can sing what I want. <v Roberta Davis>Where I want. <v Roberta Davis>That's that's what it is. <v John Ondov>As subjective as the program is and <v John Ondov>as prone to criticisms of its process and procedure, <v John Ondov>it's a risk. It's a risky program. <v John Ondov>But 10 years from now, another answer to the question is this <v John Ondov>if that program doesn't exist here, I think the individual artist community <v John Ondov>is going to be in tough shape. <v Michael Boyle>There's a paradoxical ending to this story. <v Michael Boyle>Singer Roberta Davis, whose state fellowship is now over, has spent the past month in New <v Michael Boyle>York looking for work and peer association while she intends to maintain
<v Michael Boyle>her home in the Twin Cities. She concedes that in jazz, there's more inspiration <v Michael Boyle>and more work in New York than in Minnesota. <v Michael Boyle>Beyond the states support to the arts, there are a number of other governmental and <v Michael Boyle>institutional programs designed to help artists and the arts. <v Michael Boyle>But many individual artists complain that these programs are so complex and bureaucratic <v Michael Boyle>that only an expert in funding can understand them. <v Michael Boyle>Enter the arts administrator, in this satire by Garrison Keillor. <v Jack Schmidt>[Synth sound] The arts business is no different from any other business, including the <v Jack Schmidt>business I was in before, which you can read about in "The Blond in 204" and other <v Jack Schmidt>books. And if you have read them, you know, I'm not big on ballet. <v Jack Schmidt>When I became an arts administrator, I switched to filter cigarettes and traded my 38 <v Jack Schmidt>snub nose on a potted eucalyptus. <v Jack Schmidt>But otherwise it comes down to the same thing. <v Jack Schmidt>And that's hustle and muscle. <v Jack Schmidt>What's your arts organizations need, is a guy who can ask people for large amounts of
<v Jack Schmidt>cash without him blushing and twistin his hankie. <v Jack Schmidt>This is what I do. I'm able to dial a telephone correctly, and a few weeks later, large <v Jack Schmidt>checks begin arriving in the mail. <v Jack Schmidt>Nowadays, any gimp who knows how to spell the word innovative can apply for a <v Jack Schmidt>grant. But that doesn't mean that the bozo who reads the application is necessarily <v Jack Schmidt>going to burst into tears and rush down to the Western Union. <v Jack Schmidt>You need some incentive, he needs to know that this is no idle request for money typed <v Jack Schmidt>up by someone who happened to find a blank application form down at the post office. <v Jack Schmidt>He needs to know that you need this money, that you expect to get it, and that <v Jack Schmidt>if you don't, you're capable of putting his fingers in a toaster. <v Jack Schmidt>Arts administration is tough. It's no job for ?a keiki? <v Jack Schmidt>to scrape up some pushovers. <v Jack Schmidt>I got 150 thousand clams from the National Endowment for the Arts for a third floor <v Jack Schmidt>walk up tap dance school run by a dishwater blond by the name of Bonnie Marie. <v Jack Schmidt>We renamed the school the American Conservatory, a jazz dance.
<v Jack Schmidt>I got a one year Folk Arts residency for a guy who tells Scandinavian jokes and a <v Jack Schmidt>pile of money from the Teamsters for some poets to write an ode to the open road. <v Jack Schmidt>I could go on and on. <v Jack Schmidt>How'd I get the money? <v Jack Schmidt>It wasn't by talking about form and function, sweetheart. <v Jack Schmidt>I got it because they knew I was serious. <v Jack Schmidt>They were glad to pay money for the privilege of not hearing from me again. <v Jack Schmidt>Do I just appreciate arts administrator? <v Jack Schmidt>Is the Pope a rosicrucian? <v Jack Schmidt>Listen, I just think money is dirt. <v Jack Schmidt>They want it, but they don't want to touch it. <v Jack Schmidt>They think we're going to exploit them. <v Jack Schmidt>Exploit what? Their talent? <v Jack Schmidt>Two thirds of artists today don't even have enough talent to strike a match. <v Jack Schmidt>I know of guys getting grants and direct plays. <v Jack Schmidt>It couldn't get people to act normal. <v Jack Schmidt>People who call themselves artists who make pots and cut your fingers when you pick them <v Jack Schmidt>up and wabble when you set them down, stuff that nobody in his right mind would pay
<v Jack Schmidt>Monopoly money for. <v Jack Schmidt>And these people look down on me? <v Jack Schmidt>Listen, I don't need to agree. <v Jack Schmidt>Jack Schmitt is no fool. I've been around that block. <v Jack Schmidt>A few days ago,I was sitting at my desk <v Jack Schmidt>in the Acme Building and I got to fooling around with this ink pad and I was making <v Jack Schmidt>thumb prints on the desk blotter and then I sort of smooched them around a little and one <v Jack Schmidt>thing led to another. And when I got done with it, I liked what I saw. <v Jack Schmidt>It wasn't necessarily something that the Walker Art Center is gonna buy tomorrow and hang <v Jack Schmidt>up on a white wall with a baby spot pointed at it. <v Jack Schmidt>But it looked good. <v Jack Schmidt>It had a certain definite quality about it that art nowadays could use <v Jack Schmidt>a lot more of. <v Jack Schmidt>So don't count me out. <v Jack Schmidt>I have a hunch that the next time you see me on public television. <v Jack Schmidt>It'll be in one of those interview type shows.
<v Jack Schmidt>Me and some guy in horn rimmed glasses will be discussing my first retrospective <v Jack Schmidt>exhibition, "All Thumbs." Like it was the greatest thing <v Jack Schmidt>since buttered toast. <v Jack Schmidt>Til then, here's to you. <v Michael Boyle>We can only hope that Jack Schmidt is just a fantasy. <v Michael Boyle>We've spent the past half hour looking at some young and relatively undiscovered Twin <v Michael Boyle>Cities artists, they and other artists we've talked to tell us they're not getting <v Michael Boyle>the kind of financial and creative support they need to grow and succeed. <v Michael Boyle>If that's true, what is today a prospering Minnesota art scene, could <v Michael Boyle>change in the years ahead. <v Michael Boyle>If so, then are we failing to adequately provide for our own communities <v Michael Boyle>artistic future? <v Michael Boyle>I'm Michael Boyle. Join us again next week for another edition of Electronicle. <v Speaker 2>I'm not an artist. In fact, I hate that word artist.
<v Speaker 2>I draw pictures. I make a living drawing pictures. <v Speaker 2>Sometimes I pretend I'm a surgeon. <v Speaker 2>Plastic surgeon with paint. <v Speaker 2>I've lived here for three years. I've learned how to survive doing what I do. <v Speaker 2>But I can only go so far here. <v Speaker 2>And I want to be published in something that's nationally significant. <v Speaker 2>And that. does not exist here. <v Speaker 2>[Outro music]
Episode Number
Producing Organization
KTCA-TV (Television station : Saint Paul, Minn.)
Contributing Organization
Twin Cities Public Television (St. Paul, Minnesota)
The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia (Athens, Georgia)
If you have more information about this item than what is given here, or if you have concerns about this record, we want to know! Contact us, indicating the AAPB ID (cpb-aacip/77-67wm4c74).
Other Description
Electronicle is weekly magazine exploring a specific social issue each episode.
Asset type
Social Issues
Media type
Moving Image
Embed Code
Copy and paste this HTML to include AAPB content on your blog or webpage.
Producing Organization: KTCA-TV (Television station : Saint Paul, Minn.)
AAPB Contributor Holdings
Twin Cities Public Television (KTCA-TV)
Identifier: D-1723-1 (tpt Protrack Database)
Format: Digital Betacam
Generation: Dub
Duration: 00:30:00?
The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia
Identifier: 79089dct-2-arch (Peabody Object Identifier)
Format: U-matic
Duration: 00:30:00
If you have a copy of this asset and would like us to add it to our catalog, please contact us.
Chicago: “Electronicle; 109; Artists; SD-Base,” Twin Cities Public Television, The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed June 28, 2022,
MLA: “Electronicle; 109; Artists; SD-Base.” Twin Cities Public Television, The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. June 28, 2022. <>.
APA: Electronicle; 109; Artists; SD-Base. Boston, MA: Twin Cities Public Television, The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from