10 Reasons to Support the Arts in 2012 (from Arts Watch)

This article was posted on Facebook by the Office of Cultural Affairs for the City of Columbia.  I couldn’t help but repost.  How have you helped support the arts in Columbia?

10 Reasons to Support the Arts in 2012 (from Arts Watch)

topic: Animating Democracy Arts Education Arts Marketing Emerging Leaders Private Sector Public Art
Posted by Randy Cohen On April – 11 – 2012

Randy Cohen

Almost one year ago, I posted The Top Ten Reasons to Support the Arts in response to a business leader who wanted to make a compelling case for government and corporate contributions to the arts.

Being a busy guy, he didn’t want a lot to read: “Keep it to one page, please.”

With the arts advocacy season once again upon us…(who am I kidding, it’s always upon us!)…here is my updated list for 2012.

10 Reasons to Support the Arts

1. True prosperity. The arts are fundamental to our humanity. They ennoble and inspire us—fostering creativity, goodness, and beauty. They help us express our values, build bridges between cultures, and bring us together regardless of ethnicity, religion, or age. When times are tough, the arts are salve for the ache.

2. Improved academic performance. Students with an education rich in the arts have higher GPAs and standardized test scores, lower drop-out rates, and even better attitudes about community service—benefits reaped by students regardless of socioeconomic status. Students with four years of arts or music in high school average 100 points better on their SAT scores than students with one-half year or less.

3. Arts are an industry. Arts organizations are responsible businesses, employers, and consumers. Nonprofit arts organizations generate $166 billion in economic activity annually, supporting 5.7 million jobs and generating nearly $30 billion in government revenue. Investment in the arts supports jobs, generates tax revenues, and advances our creativity-based economy.

4. Arts are good for local merchants. The typical arts attendee spends $27.79 per person, per event, not including the cost of admission on items such as meals, parking, and babysitters. Non-local arts audiences (who live outside the county) spend nearly twice as much as local arts attendees ($40.19 vs. $19.53)—valuable revenue for local businesses and the community.

5. Arts are the cornerstone of tourism. Arts travelers are ideal tourists—they stay longer and spend more. The U.S. Department of Commerce reports that the percentage of international travelers including museum visits on their trip has grown annually since 2003 (17 to 24 percent), while the share attending concerts and theater performances increased five of the past seven years (13 to 17 percent since 2003).

6. Arts are an export industry. U.S. exports of arts goods (everything from movies to paintings to jewelry) grew to $64 billion in 2010. With U.S. imports at just $23 billion, the arts achieved a $41 billion trade surplus in 2010.

7. Building the 21st century workforce. Reports by The Conference Board show creativity is among the top-five applied skills sought by business leaders—with 72 percent saying creativity is of high importance when hiring. The biggest creativity indicator? A college arts degree. Their Ready to Innovate report concludes, “…the arts—music, creative writing, drawing, dance—provide skills sought by employers of the 3rd millennium.”

8. Healthcare. Nearly one-half of the nation’s healthcare institutions provide arts programming for patients, families, and even staff. 78 percent deliver these programs because of their healing benefits to patients—shorter hospital stays, better pain management, and less medication.

9. Stronger communities. University of Pennsylvania researchers have demonstrated that a high concentration of the arts in a city leads to higher civic engagement, more social cohesion, higher child welfare, and lower poverty rates. A vibrant arts community ensures that young people are not left to be raised solely in a pop culture and tabloid marketplace.

10. Creative Industries. The Creative Industries are arts businesses that range from nonprofit museums, symphonies, and theaters to for-profit film, architecture, and advertising companies. An analysis of Dun & Bradstreet data counts 904,581 businesses in the U.S. involved in the creation or distribution of the arts that employ 3.3 million people—representing 4.25 percent of all businesses and 2.15 percent of all employees, respectively.

11. What is your #11? Share with us in the comments below…

Want to post these reasons on your wall or take it to a meeting with your mayor? Download these 10 Reasons to Support the Arts in 2012 from our main website.

A Study in Gratitude 2011

So it has become my annual tradition to take a little time before Thanksgiving to reflect on all the great things in my life.  I have noted in previous posts that my life, as do all, has challenges.  The economy, small business, life, all pose issues that are not always easy.  This year in particular was challenging so I will begin with this.

I am grateful to have survived 2011 without a straight jacket.  It was a very busy year for PS:Gallery.  In February we opened with a bang in our new location at 1025 E. Walnut.  With all my attempts at planning a smooth move, it ended up being very chaotic.  However, with the help of many many many friends, we pulled it off.  I am awed and moved by the support of the community.  One cool Sunday in February, over 50 people showed up and helped us move, unpack, clean, set-up.  It was an amazing day I will never forget.  February 22nd kick started a week of opening events that were magical.  You sent flowers, notes and brought wine.  Most of all you were present.  You showed up to tell us the gallery was important to you.  It was a true confirmation that we had made the right move.

I am grateful to be in the North Village Arts District.  Although I loved our old location, I must say I love our new location more.  Let me start with the physical location.  I love my windows.  I love the light that streams in each morning.  I love the beautiful window in my office that makes me feel like I am connected with the outside even if I am stuck at my desk for a better part of the day.  I love the wonky wood floors.  They talk about the history and place that this building has in Columbia.  I love the giant wood beams.  To me they represent what the arts mean to the community.  They look good but really hold the whole thing up.  Without them the whole roof might come down.  I love the “Hallery”.  When the gallery moved it did not have any additional space in which to host our small community based shows such as the Care Gallery or our more thematic shows such as the Mini show.  Mid Summer PS opened the “Hallery”.  The “Hallery” is the lovely central corridor that connects PS to all it’s Berry Building neighbors.  This has become a delightful space that changes every 4-6 weeks.  I am grateful to be able to continue to have a space to do more for our community.

I love my neighbors.  For almost 5 years, PS was an art island.  I had clothing to the right of me and cookies to the left.  Although there is nothing wrong with either one of those things, they really weren’t invested in who I was, what I did, or if I was successful.  I am now surrounded by people who care.  Most who reside or work in the North Village Arts District have a similar goal, to promote the arts in Columbia, and to promote the North Village Arts District as one of the places to see/support the arts in Columbia.  The North Village Arts District began a farmers and artisan market this summer which was amazing and I can’t wait to see what happens with that next summer.  There is an energy and cohesion amongst the businesses that is refreshing.

I love my family.  I am eternally grateful for my husband Chris Stevens.  He keeps me sane (to some extent).  He supports me.  He loves me probably more than anyone else.  I am proud of him for taking a leap in his life and following his passion.  I am grateful to be doing what I love and always hope that more people make that opportunity for themselves.  I am grateful that Charlie has gotten old enough to really enjoy hanging out at the gallery (most of the time).  She accompanied me on a buying trip this summer and made a purchase of her very own.  She bonded with artist Amy Peters who makes very cute charm necklaces.  You can purchase one necklace with one charm for $7.50.  Once she has paid back her initial investment Charlie gets to keep a percentage of the profits.  So for Christmas add an Amy Peters necklace to your stocking stuffer list.

I am grateful for the fabulous artists who have become a part of my life.  My world is rich and colorful because of you.  This year, more than most, I realized how my personal relationships with my artists friends really enhances my life.  I am grateful for the amazing clients that I have been privileged to help.  Your faith in my abilities and trust in my judgement is gratifying.  I love nothing more that helping find the perfect piece for you.  I am grateful for all the purchases, big and small.  I am grateful for all the times you bragged that your fabulous new earrings were from PS:Gallery.  I am grateful for all the times you invited friends over for dinner and made a point of showing them your art.  I am grateful for your continued support.

As we gear up for the holidays, I remind you to keep supporting your local businesses.  Buy gifts/jewelry/food/cards locally.  See if you can finish up all your shopping without going on line.  I personally will gift wrap and ship anything you buy at the gallery.  Hows that for service?

Have a safe and Happy Thanksgiving.

Gratefully,

Jennifer Perlow

Bloggers Needed

Many of you may have noticed that over the summer our blog has grown.  Certainly the number of posts, but more notably in the quality of posts.  I fully credit that to Shea Boresi.  She came on as our new Associate Curator in June and took over the blog with gusto and I must say skill.  Unfortunately, blogs, at least this blog, does not pay the bills and so Shea has moved on to greener pastures.  We will miss her witty and insightful blogging.

So, your stuck with me.  I will do my best to muddle through.  I am not the brilliant writer that Shea is, but I have something to say.  I will post as often as I can find the time.  I am also going to make Joel Sager and Chris Stevens squeeze an interesting (hopefully) blog post out on occasion.  This brings me to the point of todays blog (finally).  We need you!  If you have something interesting to say, please email me with a blog post.  If I find it appropriate for our blog, I will post it as a guest blogger.  If you have an interesting topic that you would like to banter about via our blog, please contact me with that as well.  I think this blog is an interesting way to communicate about what is going on at PS:Gallery, Columbia, and the art world in general.  I look forward to hearing your feedback.  Oh, and please be kind, I’m doing the best I can.

 

Jennifer Perlow

jennifer@perlow-stevensgallery.com

Offending Midwesterners: Contemplating the value of kindness in regional art

My mother’s parents grew up in Anamosa, Iowa, the same small town where Grant Wood was born.  He is the area’s claim to fame.  In my grandmother’s telling, he was considered “too modern” in his hometown during his lifetime—those “cotton ball” trees, and the implicit critique of the stiff couple in “American Gothic.”  But, if you go there now, you’ll see his name on billboards.

In my family, tradition holds that the house in the background of “American Gothic” was a farmhouse belonging to a relative of mine.  It doesn’t really matter if that’s true.   Probably, many of my grandparents’ peers identify with the painting.  There is satire in it, but also something like Norman Rockwell’s nostalgia.  If the piece is a jibe at its subjects, it is an affectionate one.

Wood’s iconic painting has been the first image in my mind associated with Midwestern Regional art.  Suffice it to say that I was unfamiliar with the work of contemporary print-maker Tom Huck.

Yesterday, I stopped in Sedalia, Missouri, at the State Fair Community College campus, where I had been advised there is an excellent museum of contemporary art.  The collection at the Daum Museum is, indeed, worth stopping for; the permanent collection includes striking glasswork by Dale Chihuly, an entrancing silkscreen portrait by Chuck Close, and a wonderfully bizarre ceramic sculpture by Michael Lucero.  The current temporary exhibition is the work of Tom Huck.  A small sign warns that “discretion is advised.”

The black and white woodcuts are of impressive scale and uniformly grotesque subject matter: misshapen characters engaged in complex scenes of violence, gluttony, and orgies.  Inspired by the local lore of his native Potosi, Missouri, his work is a brutal critique of life out of the mainstream and under the skin of rural Missouri.  I suspect the artist would agree that he pushes beyond the boundaries of good taste.  I also suspect he doesn’t care.

This is emphatically not the gentle satire of Grant Wood.  The residents of Potosi will never erect commemorative plaques for Huck.  (He lives and works in the relatively metropolitan haven of St. Louis.)

But his work does command fascination.  The intricacy is boggling, and if one ignores the repellant nature of the subjects, the compositions on whole are beautiful.  In the company of the sanctified likes of Warhol at the Daum, it begs the question: Are offensiveness and greatness in art related?

Is the distance between Wood and Huck an indication that, in the 79 years between “American Gothic” and “The Transformation of Brandy Baghead,” we have fallen from subtlety into uncouthness?    Should art strive for elevation or is there merit in unflinching critique?  Finally, is kindness in art a strength or a weakness?

In my short time at PS:, the only “regional art” we’ve shown has been landscapes: the oil painted streetscapes of Steven Rust, and  Notley Hawkins’ photo scenes of glistening dilapidation.  And perhaps there is a kindred strain between Grant Wood and Joel Sager’s affectionately melancholy domestic subjects.  But imagine seeing Tom Huck’s monstrous masterpieces here.  What would you think?

-Shea

High Summer at the Gallery

Memories of Grecian beaches sweetly fading, I return to business here at PS.  Earlier this week, we finished arranging the summer exhibit.  I think it’s perfect for July, but come see for yourself–now or at the opening on July 16^th. (Or both.)

When you walk in the door, you are greeted by the tropical colors of oil paintings by Brian D. Smith.  These intuitive, abstract paintings transition into Bob Maes’ mixed media pieces, which are more structured but no less bold.  Maes has a gift for transforming humble materials (washers, aluminum foil, paper bags) into iconic objects.  These give way to Rob Williams’ glossy, abstractly floral canvases, which round out what I think of as the “loud and proud” part of the show.

The other half of the exhibit is composed of subtler gems, including the glasswork of Columbia artist Susan Taylor Glasgow.  Her pieces comment on feminine domesticity by using beautiful but brittle glass to represent baked goods and ladies’ undergarments.  Our front window is filled with her inedible, tempting creations.

Alongside this is the minutely detailed fiber work of Mary Beth Yates.  These creations of embroidered silk organza evoke life at the cellular level, and hold the layers of the artist’s experience in their textured layers.

Finally, there is the latest from our own Joel Sager: a set of portraits with a delicate palette of blues and pinks.  The subjects’ faces are expressive but restrained, and seem vulnerable.   The understated series leaves the viewer contemplating the unplumbed depths behind the faces framed in uniform blonde wood.

And, if all of this sounds great… but you really want something shiny to round out your outfit, we have that too.  This week, we received jewelry from new-to-PS artist Alley Maranto, of Chicago.  The collection (pictured) is called Relicware, and features amulets created from small objects (a horse nail, a sea horse, fan coral, watch gears) set against a gold background and cast in resin.  These pieces range from moderate pendants to a striking cluster of pearls and charms.  They all seem to have a little magic in them.  Try them on.  (I do.)

The opening (Saturday, July 16, 6-9) promises to be a great party.  See you there!

Shea

Okay, one more picture:

Best Bet for Tuesday March 29th.

Here is a link and content from the the Tribunes Best Bet for today.  We have to agree.

Jennifer

http://www.columbiatribune.com/events/2011/mar/29/6072/

mar 29

Spring into PS: Gallery

• When Tuesday, March 29, 11 a.m. to 6 p.m.
• Where 1025 E. Walnut
• Cost Free
• Categories Best Bet, Art

• I’m going
• Share
• Remind me

Ken Nichols

Whatever the weather may be, spring is officially here and, so, it’s worth revisiting the Early Spring 2011 exhibit at the new home of PS: Gallery. Exhibiting artists include Chris Dahlquist, Sarah Williams, Ken Nichols, Michael Cole, Deborah Douglas and Joel Sager. Visit www.perlow-stevensgallery.com for more details.

n+1: Guidelines for Openings

My friend Elaine tagged me on facebook in the following post.  I love our openings.  I love talking with people.  I enjoy the energy.  I don’t take myself as seriously as this post implies, but it was a really fun read.  Many of the items are spot on.  Our next opening is February 26th.  This will be one of the biggest events in a while as it is our GRAND OPENING of the new PS:Gallery space at 1025 E. Walnut in Columbia Missouri.  Hope to see you there, maybe if I catch your eye I will send you an air kiss.

Jennifer

 

 

n+1: Guidelines for Openings.

 

To celebrate the third printing of I Like Your Work: Art and Etiquette, we’re featuring this excerpt from the book, which previously appeared at Paper Monument.

1. You must attend openings. When you’re Bruce Nauman, you can be a hermit in New Mexico. Until then however, you have to attend openings. Why? If you’re young, it’s important to find out how things work, to meet your colleagues, to find out what’s out there in the world, and ultimately, perhaps, to learn how to behave at openings. If you’re mid-career, you must go out to support the colleagues you met at the earlier stage of your respective careers. If you’re older, it’s important to support colleagues, still, but now also students, and / or other members of the younger generation who will see you as a mentor. Other slightly noble reasons: if you’re obsessed with art and you have to see things as soon as you’re able, and if you really, honestly, love art—talking about it, interacting with it, talking to people responsible for making, distributing, promoting, and critiquing it. If you love it, then it’s not work. Artists, critics, and curators stay vital when they’re interacting with their peers. If you’re young and you hate openings, there’s a noble history of outsider artists living in insane asylums and working as janitors who are discovered long after they’ve died. If you’re old and you hate openings, it’s likely your best years are behind you, and you think all art but the stuff you and your peers made is shit. I hope your few years of past relevance allow you to retire to your television.

2. You must greet and congratulate the dealer and the artist(s) at the opening. All other greetings are situational: a friendly nod if you catch somebody’s eyes is completely acceptable, as are a passing pat, an air kiss, or any preferred method of casual greeting in a crowded opening where you may know half the crowd.

3. The dealer is required to provide alcohol and non-alcohol to all the guests. This can be as simple as a tub of beer and bottled water. It can be fancy wines and freshly squeezed juices, cheese platters, and a bow-tied bartender. There ought to be alcohol for at least the first two hours of a three-hour opening. The last hour is usually best, but not if there’s no alcohol.

4. If the dealer and/or artist(s) ask you how you like the show during the opening, try to find something polite to say. If they insist on a real opinion, they’ve got whatever you have to say coming.

5. Be briefed on at least three recent things that you can be congratulatory about: recent exhibitions seen and enjoyed, exhibitions you would like to see and enjoy but have not been able to make yet for whatever reason, recent successes by colleagues.

6. If you’re an artist, critic, or curator, someone will inevitably ask you what you’re working on. It’s good to have either two projects that can be mentioned briefly, or one project that can be mentioned in more depth—though still kept within the bounds of appropriate party chatter. In different cities, artists, critics, and curators take different tacks on describing their workload. In Los Angeles, artists must always look like they are rested and fresh. In New York, the more haggard and hardworking you look the better. It’s always appropriate to be on your way to or to have just returned from international travel, e.g., “I just got back from being in this biennial in Prague, but I’ve only a couple of weeks to get on my feet before I have to have some meetings in London.”

7. Usually the rapid coming and going of people at an opening allows for quick conversational turnover, but if you get stuck in a bad conversation with someone and you’re outside, say, “I’m just going to pop in and look at the show.” If you’re inside, say, “I’m just going to pop out for some air/a cigarette.” If they’re still following you, go to the bathroom.

8. If you don’t know anyone at an opening, (unlikely after a few years going to openings but nevertheless), then it’s relatively easy to engage with people looking at the work or at the beer bucket. The more people you can attend the opening with, the easier it may be to weave yourself into the social web.

9. Try not to get too drunk on the cheap white wine/cheap beer at the opening: afterwards, at the bar or at dinner, it’s more acceptable. But you still have to be able to walk out of the bar at the end of the evening. Unless, of course, you don’t want to, in which case you can likely get away with being a drunk for many years as long as you don’t punch people too often.

10. The dinner after the opening can only be attended if you’re invited formally, beforehand, or by the dealer or artist during the opening—except if it’s a very wealthy gallery having a very large dinner where no one is sure who’s invited and who isn’t, and you know a few people there. Somebody always doesn’t show, and either way you’re welcome to stay at the bar or smoke outside while things mix up. N.B.: this only works at certain restaurants. In Los Angeles, the best place to crash is Dominic’s.

11. Whoever you sit next to at the dinner determines your rank in the pecking order, according to the gallery. If you sit next to the artist, it’s likely you’re wealthy, the artist’s best friend, or an important curator. If you sit behind the potted plant next to the artist’s third cousin, it’s likely you’re a critic. This can be accepted temporarily—as the dinner breaks up, there is great mobility in seating arrangements. (This is dependent on the size of the dinner and the choreography of the event.)

12. Business can always be discussed at openings and dinners, provided you observe the protocols. Artists can never directly invite dealers to visit their studios, unless a strong rapport has already been established. Artists can, however, talk about what they’re working on, and the excitement that others have for the work, e.g., “I just finished the installation about Hekabe with the really ornate collage. Hans Ulrich stopped by on his way through and said it looked like Vito Acconci on acid.” Curators can corner dealers for specific works. Critics can, and should, get whiskey for free.

PS: Gallery is relocating to East Walnut Street

Below is a great article from Vox Magazine.

Rob Bratney

Permanent artist and Curator Joel Sager considers lighting options with Jennifer Perlow, executive curator of PS: Gallery, at their new space on East Walnut. After nearly five years, the gallery is moving from its location on Broadway.

By Samantha Highfill

December 9, 2010 | 12:00 a.m. CST

The brick building sits on the corner of Orr and East Walnut streets. The windows are covered with paper. Inside are construction workers, rough edges and the smell of sawdust. The space is nothing but unfinished wooden floors and unpainted walls. But by Feb. 26, the outside of the building will read “Perlow-Stevens Gallery.” And with that, this brick building at 1025 E. Walnut St. will become an integral part of Columbia’s art community.

PS: Gallery opened at its current location on Broadway in July 2006. Its creation was the work of Co-owner and Executive Curator Jennifer Perlow and Co-owner and Curator Chris Stevens, simply because they loved art. Since then, Perlow and Stevens have become central figures in Columbia’s art community. Working on the board of the Museum of Art and Archaeology, helping to start Artrageous Fridays and working on the board of C.A.R.E., a city program for at-risk youth, Perlow makes sure to give back to the community.

Showing at PS: Gallery

Fanciful teapots, sculptures and jewelry are sprinkled around the gallery as oil paintings and fiber work enrich the walls. The alcove space in the back of the gallery features vibrant red, yellow and green landscapes that capture different moments.

These pieces create PS: Gallery’s “Autumn 2010 Exhibit” and Jane Chukas’ display. The exhibit, on display until Dec. 30, features work from six different artists: Mary Ann Clark, Lorri Acott-Fowler, J Brett Grill, Nora Othic, Joel Sager and Jo Stealey.

“We have oil paintings and mixed media collage,” permanent artist and Curator Joel Sager says. “We have a fiber artist, a pastel artist, jewelry, and we have the ceramicist (Mary Ann Clark) who makes little beautiful, whimsical tea pots. We also have a sculpture artist out of Colorado.”

The second exhibit lives in the alcove space and consists of nine pieces by Jane Chukas, an artist from Galena, Ill. Landscapes decorate the alcove’s opposing walls and displayed Chukas paintings include acrylic on canvas, acrylic on paper and oil pastel on paper. Although Chukas began her career in music, she has carried over her former art to be portrayed more visually.
–Samantha Highfill

“I really believe that if you’re going to live in a space, you have to be a contributing member,” Perlow says. “You can’t just be a spectator. So it was always our intention to try to really be involved in the community.”

The move came suddenly when the gallery’s current building was sold, but with only a little more than two months before the grand opening of the new location, Perlow stands in the empty space on Walnut Street, surrounded by the harmonies of construction, with a smile on her face.\

The white walls of PS: Gallery serve as a home to art, artists and the community. By hosting community-based events, such as “Art for Autism” and a Columbia Second Chance fundraiser, the gallery has become more than a pretty building filled with beautiful masterpieces. However, art awareness has always been the gallery’s No. 1 goal. “Some people are intimidated by art,” Stevens says. “We don’t want that. We are trying to break down those
barriers.”

As a contemporary art exhibit, PS: Gallery hosts only the work of living artists whether local, regional or national. With art ranging from $100 to $5,000, the gallery has four exhibits a year, each one hosting multiple artists for a period of three months. The only theme that the gallery consistently displays is quality, Perlow says.

Whether it’s sculptures, paintings or jewelry, there are no specific guidelines or rules about what kind of artwork can be displayed in the gallery. Come February, with the community behind it, PS: Gallery will take that unpredictable diversity to the arts district.

“They’ve done a tremendous amount to raise awareness of visual arts in the community,” says Jo Stealey, professor of art and head of the fiber program at MU. “PS has really served as an energizer for everyone.”

The Broadway location will have one final show from Jan. 11 to Feb. 7, and then all of the owners’ hard work leads up to Feb. 26. The brick building on Walnut Street might look barren now, but it’s visually complete in Perlow’s mind, from the rustic pine trim down to the shade of white that will adorn the walls.

• Contact an editor with corrections or additional information

A Study in Gratitude-remix

I thought that on the night before Thanksgiving it would be appropriate to re-post my Thanksgiving post from last year. Some things have changed.  Charlie is 8 now, Clayton 15.  The gallery is moving from the beautiful Hays Building to 1025 E. Walnut, the beautiful Berry Building.  Some things have not.  The economy still struggles, therefore so do we.

I am still grateful for the opportunity to do what I love with people I love.  Happy Thanksgiving.

Jennifer

Above is a picture that my seven year old daughter painted of me.  I keep it at my desk to remind me of the good things in my life.  I work at being a glass half full person.  I am a small business owner.  I do own an art gallery in a challenging market, during a very challenging economy.  I have plenty of opportunities for growth that I could talk about, but not today.  Today is a study in gratitude.  I have a sign in my office that hangs on a wall just beside the door.  It reads “This is the best month ever”.  It has hung there for about two years now.  I have friends who kid me about the sign, but in reality This IS the best month ever.  Let me tell you why.

I am grateful to have a happy, healthy, and beautiful daughter who can come hang out at work with me.  I am grateful (and somewhat amazed) that in second grade she knows who Picasso is, and allows herself to be inspired by his work.  I am grateful to have the opportunity to send her to a public school that celebrates the arts.  I am grateful to go to a school assembly and hear an amazing drumming troupe.  I am grateful to walk through the halls and see rich artwork done by incredible children.

I am grateful to have a step-son in high school who still thinks art is cool.  I am grateful that he brags to his friends that his parents own an art gallery instead of hiding it.  I am grateful that he is handsome, smart, and incredibly sure of himself.  I love watching him talk to people at the openings.  He wears a name tag that says “Clayton Stevens, Owner”.  I am grateful that at 14 he has a sense of ownership in the gallery.

I am grateful to walk in a space every morning that is beautiful and fills my soul.  The gallery resides in the old Hays Hardware building.  It has white washed brick walls, an old elevator shaft, and a beautiful glass transom in the front of the building.  It is warm and inviting.  It provides the perfect backdrop for art.  It is easy, day in and day out, to take your environment for granted.  Sometimes when I am frustrated or discouraged I go sit on a bench in the middle of the gallery and breath in the beauty that surrounds me.

I am grateful to live in a community that values art enough to support it.  I am grateful to live in a city that has a percent for art program.  I am grateful to live in a city that has great public art.  I remember as a child growing up in Columbia, passing the Flying French Fries or “La Colomba” as the sculpture is actually titled.  I am grateful to live in a community that I am proud to tell people about.  In addition to all the visual arts venues, we also have a great live music scene, independent film, and theater.  For a town of this size we are very fortunate to have the arts community that we have.  I, for one, am grateful for that.

I am grateful for the amazing customers that we have.  I am grateful for the support and encouragement that each of them provide.  I am grateful for the people who know when I am hanging a new show and make a point to be one of the first to see it.  I am grateful for the people who make art a priority in their lives.  I am grateful for the people who have my postcard hanging on their fridge.  I am honored to be a part of your lives.

I am grateful for the incredible artists who trust me with their work.  I am grateful to be surrounded by creativity.  I am grateful to know many of the gallerie’s artists on a deeply personal level.  I am privileged to be able to experience the creation of art first hand.  I am proud of the part I play in bringing said art to the community.

I am grateful to have two wonderful employees who work for peanuts, because they love PS:Gallery.  Joel whom has been with me from the beginning, is invaluable (read the previous post about Joel if you want to know how much I truly appreciate him).  Sarah, who started as an intern soon after we opened is now my gallery assistant.  I am grateful that they know that in many ways the gallery is as much theirs as it is mine.  I am grateful to have the ability to leave and not worry about what might happen.  I am grateful that often my desk is cleaner after they have worked than after I have worked.

I am grateful to all of the people whom I have worked for and worked with that have helped prepare me for this.  I don’t have a degree in business or in art for that matter.  Somehow along the way, I have obtained the skill sets I needed to run a business.  I have had some pretty incredible mentors.  I will always be grateful for them.

Mostly, I am grateful for my husband.  I am grateful that every day he puts on a suit and tie and goes to work so I am able to run the gallery that he always dreamed of opening.  I am grateful that he has complete faith in my ability to run the gallery that bears our names.   I am grateful that he is as crazy as I am and rarely questions what we are doing.  I am grateful that even though my messy office drives him (and many others) crazy, he doesn’t say anything most of the time.

Thanks to all of you who allow me to do the work I love.  I am grateful.

A birthday blog for Diana Moxon

I can’t actually remember how or, for that matter, when I first met Diana Moxon.  I know it was about 4 years ago ish.  I do remember early in her new post as the Director of the Columbia Art League, pledging to support one another and to do whatever it took to further the arts in Columbia.  Looking back now, I know I had no idea how influential that pact would be.

Let me start by saying that Diana is a force to be reckoned with.  She has done an amazing job of growing the Columbia Art League and it was not an easy task. She has strengthened the organization and its primary fund raiser “Art in the Park” at a time when other organizations and festivals were closing their doors or scaling back their efforts.  She has strengthened the connection to the artists and brought the community at large into the fold at the Art League.  She has put people in place to grow the educational component of the Art League.  This element, in and of itself touches the lives of so many people in our community.  Oh yes, let’s not forget the art.  Diana has consistently raised the bar when it comes to the shows at the Art League.  Over the last few years the quality of the show, and the work in the shows has grown at an amazing pace.  I think she has made the Art League a place where you want to show your work, and you want to show your best work.  Balancing everything you have to balance at a not for profit member organization is never easy.  I think Diana does this well and with grace (most of the time….).

On top of what Diana has done for the Art League, I must talk about what Diana has done for the arts community.  Oh heck, let me just talk about what she has done to support me and PS:Gallery in particular.  Diana and I share many personality attributes.  That is both good and bad, but it is what it is.  She has been a sounding board, a shoulder to cry on, a backbone to borrow, a friend, a colleague, and an ever present supporter.  Unless the sky is falling, she and Tom (her ever faithful husband) are at our events.  When I go to her house, I see pieces she has purchased from my gallery in her house.  I also see pieces that she has purchased from other art venues across town.   She is a person of conviction.  She practices every word that she preaches and she preaches without tire.  I feel fortunate to call Diana my friend.  I value all of the support both personally and professionally provides.  I hope we get to walk arm in arm furthering the arts in Columbia for a very long time.

Happy Birthday Bunny Girl!

Love Jennifer.