Blog Posts for Illinois

Humor Me Some Social Change

Posted by Jamil Khoury, Dec 05, 2013 0 comments

Jamil Khoury Jamil Khoury

My name is Jamil Khoury and I study the political utility of art. Too general. My name is Jamil Khoury and I study the diplomatic efficacy of theatre. Too ambiguous. My name is Jamil Khoury and I study the dialectics of storytelling and social change. Too academic. My name is Jamil Khoury and I study the empathic functions of humor. Whatever.

Now that I’ve introduced myself, and established my “scholarly” credentials, how about indulging me a few terrorist attacks?  Specifically, the terrorist attacks of September 11, 2001.That Mother of all Terrorist Attacks. Gut-busting, sidesplitting, rip-roaring funny, right? Not even remotely. But a catalyst. And a damn good one. When me and my husband, Malik Gillani, set out to create Silk Road Rising, we envisioned a theatre company that could articulate a “proactive, artistic response” to 9/11. Our destiny was to become 9/11 second responders, responding both to the hatred and fanaticism that fueled the attacks and to the anti-Arab, anti-Muslim, anti-Brown people backlash that quickly ensued. First Al Qaeda hijacked Islam, then public anger hijacked our citizenship.

From the get-go, our activist logic maintained that although our work would be serious and political, humor would be an integral ingredient, the fermenter of provocative ideas. The plays we’d produce would employ humor as a point of clarity and connection. Not to make light of a situation, but to deepen our understanding of it. Which means the humor would be organic to the stories we’d tell, neither gratuitous nor diversionary. A company birthed in trauma cries out for empathy, and empathy manifests viscerally. We knew instinctively that the laughter that transcends barriers is the substance of social change. Unpacking a clash of ignorance masquerading as a “Clash of Civilizations” demands irony and satire and parody and sarcasm.  For when the world gets divided into monolithic, historically fossilized, spatially demarcated “civilizations” forever at war with each other, it’s time to call in the humorists!

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A New Trend: Business Schools & Corporate Art Collections (from The pARTnership Movement)

Posted by SR Howarth, May 02, 2013 1 comment

"Demon Eye 1," by Steinar Jakobsen, 2005, oil on alucore. From the Schwartz Art Collection of the Harvard Business School. "Demon Eye 1," by Steinar Jakobsen, 2005, oil on alucore. From the Schwartz Art Collection of the Harvard Business School.

In a recent development in the corporate art world, many of the most important business colleges and schools are now collecting art and using it as a learning tool.

As I was updating the information for the new 2013 edition of the International Directory of Corporate Art Collections, I discovered a surprising and unexpected growth sector—business schools and colleges have begun to form art collections as a necessary component to their business curriculum.

During the past 20 years, it has become more recognized and accepted that art in a corporate environment has numerous benefits—for employees, clients, and the company itself. So it is heartening to see that many of the most important business colleges have developed an art program as an adjunct to their more traditional course offerings.

Primarily a North American phenomenon, some of the business schools with important collections include the Wharton School of Business in Philadelphia, Harvard Business School, the Booth School of Business at the University of Chicago, the London School of Economics, and the Stephen Ross School of Business at the University of Michigan.

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Bringing Backstage Onstage with Social Media

Posted by Kelly Page, Apr 18, 2013 2 comments

Kelly Page Kelly Page

Imagine, if we saw social media more like an artist’s studio or cafe and less like a marketing channel?

While walking through the exhibit, Building: Inside Studio Gang Architects at the Arts Institute Chicago last November, I felt like I was seeing into the private design space of the architect.

The exhibit was an installation of an architect’s studio with concept drawings, full-scale project mockups, material samples, and photographs of completed work that now form part of the Chicago city skyline. This exhibit was a celebration of the work of the artist behind their city stage.

The work of the artist backstage, however, many don’t experience. The space is unorganized and cluttered; the work in progress, being constructed, deconstructed, is unpredictable and incomplete. This is why many artists and arts managers do not openly bring backstage onstage and into the public eye—because it is messy.

Imagine for a moment, however, if we did? 

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Harnessing the Spirit of a Cockroach

Posted by Chris Audain, Apr 15, 2013 8 comments

Chris Audain Chris Audain

The Chicago nonprofit arts and culture sector is a $2.2 billion industry. You’d be hard-pressed to go more than a couple of blocks without seeing a theater, dance company, museum, art gallery, or some other nonprofit arts organization, small or large.

And yet I still hear about new ones popping up quite frequently. Given that, the community of artists and arts administrators is extensive, and diverse—it’s a bona fide place of convergence for the creative types and transplants from across the country.

So why then, with such a vibrant arts community, is Illinois the 29th ranked state in per capita spending on the arts?

The answer is a problem that plagues not just Illinois, but permeates through the entire creative sector on a national level.

When I first moved to Chicago after graduating from college, I wanted to pursue an acting career. Even equipped with my political science degree, I had very little understanding about the relationship of public funding for the arts, and the importance of advocacy.

It took a graduate course at Goucher College, Principles of Arts Administration, for me to fully comprehend the power and necessity of arts advocacy. Therein lies the problem: an information gap for artists on the importance of advocacy. A possible solution? Giving artists a more easily accessible entry point to advocacy.

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Building Corporate Partnerships is All About Relationships (from The pARTnership Movement)

Posted by Katie Kurcz, Mar 14, 2013 0 comments

Katie Kurcz Katie Kurcz

At last month’s Arts & Business Council of Chicago’s workshop, we learned that the secret to building cultural corporate partnerships is that there are no secrets. In fact, the core strategy is as basic as building a strong, healthy relationship.

Although this revelation is rather anti-climatic and fairly intuitive, the case studies and advice shared by the workshop panelists provided instructive takeaways about who to target, how to approach prospective partners, and what to expect in making asks.

The panel was comprised of two sets of partnership pairs representing both the corporate and the arts perspective.

Ruth Stine, director of special projects at the Chicago Humanities Festival (CHF) and Business Volunteer for the Arts (BVA) consultant, presented alongside Beth Gallagher, director of community engagement at Aon.

Beth acknowledged that the best way to get support from Aon is having an internal advocate(s) already involved with the organization as a board member or volunteer. The more Aon employees involved with the organization, the more likely Aon will consider a request for support. The status and tenure of the advocates are factors that are considerations as well.

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