NIH Certification

Finally did my NIH certification. Didn’t take that long, I just had been prioritizing assignments in terms of when they were due, so it got pushed back to the end. But for some reason, I can’t get my certificate to post here. Here’s the link: http://phrp.nihtraining.com/users/cert.php?c=438325, and I printed it to a file, but can’t seem to upload that either. *Sigh*

Interview Reflection

            The interviews that I’ve done for this project have been the most fascinating and challenging part of the research experience. Early on in choosing the Glasstown Arts District as my research topic, I realized that the interview portion of the project would be a challenge for me. I am generally a quiet, shy person, not an extrovert at all. While I resolved to be more outgoing and proactive in finding my interviewees, I clung to the idea of conducting interviews via the Internet. I thought that emailing questions to interviewees not only saved me the personal challenge of overcoming my shyness, but also the trouble of transcribing my interviews.

            When I actually conducted my interviews, they turned out to be exactly the opposite of what I had expected. My face-to-face interviews went wonderfully. I started out the project by going to February’s Third Friday, not to do any actual interviews, but to immerse myself in the experience and hopefully find prospective interviewees. I made contact with two of my interviewees, Jim Fahy, who manages the The Rusty Heart, and Barbara Hares, who owns Earth Dwellings. I also met Scott Meyer and Gary Thayer, who I had hoped to interview but who were not present in person while I was doing my face-to-face interviews. However, both of them were kind enough to talk to me a little bit during our first meeting, and I returned to talk to Gary again at the next Third Friday event. Gary also told me to get in touch with my third interviewee, Marianne Lods, the Executive Director of the Glasstown Arts District.

            Perhaps because these interviews were relatively informal, or because my interviewees were all friendly and willing to talk to me without too much prodding, it wasn’t nearly as difficult for me to initiate conversations as I had expected. The interviews were useful, fascinating, and even fun. Each of the three interviewees brought up at least one specific idea that had never crossed my mind when I thought about the arts district. I had considered its effects on the city and the hardships it faced because of the poor economy, but things like the importance of smiling when greeting customers, the issue of crowd control, and the importance of crafting an effective business plan. Jim Fahy highlighted the importance of smiling and greeting customers warmly, two behaviors often overlooked when discussing the maintenance of a successful business. Barbara Hares told me about the problem of crowd control on Third Fridays. She also explained the extent of the “handcrafted” aspect of the arts district, including even the “heirloom” plants that she grows for the Village on High area. Marianne Lods informed me that although the economy has been tough, the arts district as a whole has actually fared quite well and has grown, not declined, in 2009. She also outlined for me the importance of starting with a good business plan, one that is “well-structured, well-written, and well thought-out,” and added that businesses often don’t turn a profit until after they’ve been open for two years.    

            I was also really surprised at how easily I was able to establish a rapport with my interviewees. In the course of our discussions about the arts district, Jim Fahy told me that his daughter is in the process of transferring to Rowan. I also talked for quite awhile with Marianne Lods about the book she is writing, a historical novel based on letters exchanged between her parents during and after World War II.

            The Internet interviews, unfortunately, never materialized. Although I found both the Levoy Theatre and Millville Arts on Twitter, neither of them tweet frequently or regularly enough to have been useful interview contacts. I initially tried to contact Marianne Lods via email, but I received delivery failure notices following both attempts. When I wasn’t able to catch up with Scott Meyer or Gary Thayer in person, I tried to email questions to both of them, but I still haven’t received a reply. I still believe that Internet interviewing can work in its place, but unfortunately my experience wasn’t productive.

            Overall, my interviews went really well. They provided me with a lot of insight on my research topic, and I expect my final article to be heavily influenced by what I learned from my sources. On a personal level, it felt good to know that I can conduct these interviews with relative ease. I have grown as a writer and a researcher by engaging in this interview process. Although I didn’t feel that any of the specific concepts introduced in the readings we have done for this class impacted me, the general importance of not “leading” my interviewees, of recognizing my own possible biases, and of letting the interview take its course without interrupting my interviewees stayed fresh in my mind.

Interview: Barbara Hares

Interviewee: Barbara Hares, the owner of Earth Gatherings

About Earth Gatherings: Earth Gatherings is a craft product store located in the Village on High, a collection of tiny shops each about the size of a nice outdoor building, not quite a toolshed but not much bigger. Earth Gatherings sells craft products like beads, buttons, and embellishments, as well as Barbara’s handmade products like hats, bags, and other accessories. The store has been in business for 4 years, a relatively long time in the Glasstown Arts District, which itself is just over a decade old. During our initial meeting, Barbara told me that Third Friday is “usually great” for business, but even better is the “following” that she has developed among shoppers who depend on her for jewelry and sewing supplies and her unique accessories.

Note about Interviewing Methods: I did not use a tape recorder for my interviews, I only took notes on key ideas and phrases. I don’t claim these answers to be direct quotes from the interviewee, unless I specifically put quotation marks around a phrase.

 

 

KW: You’ve been here a long time. What do you think makes a business successful in the Arts District?

 

BH: Well, this is just my opinion. But for me, what makes it successful is being a crafter. “Not everyone comes [to the Arts District] for a painting.” I sell “one-of-a-kind products, unique products like beads you can’t get in Michael’s.” These beads have come from older necklaces, with a history, and while you can buy those products online, it’s not the same as coming in and actually holding them in your hand. Everything is “handcrafted.” I’m also the gardener for the Village on High, and I grow what are called “heirloom plants,” plants that are cut from my grandmother’s perennials. Sometimes my friends who are gardeners and I trade, an heirloom plant from my grandmother for one from their grandmother. They have history. It’s not the kind of plant you can just buy from Home Depot.

 

(KW: So even the plants are handcrafted. I didn’t know such a thing was possible.)

 

KW: What are some of the obstacles facing arts districts as a whole and individual businesses specifically?

 

BH: The economy is a big thing, and that’s going on everywhere. It’s discouraging, especially with the governor’s budget cuts. “The last year has been really hard.” There’s also sometimes an issue of “crowd control” during Third Fridays. When you see a crowd of people, and especially a crowd of teenagers, there’s a sort of fear. Some of my older customers came in and told me they were afraid. They said they weren’t going to come back because they were afraid. But everyone has the right to be here, you can’t tell teenagers they can’t come to Third Friday. So there’s always the need for “police presence.”

 

KW: What advice would you give to other businesses considering opening in this arts district?

 

BH: As a “treasure hunter,” I feel like antiques, collectibles, and thrift stores would be really good for the arts district. You “can’t just have all galleries,” you have to appeal to a variety of things. Thrift stores tend to have a lower reputation, but treasure hunters and artists are sometimes looking for unusual, offbeat things. A lot of my customers do embellishing, but they need to find those unique products to embellish. Really, a place that helps the district appeal to a variety of people could find success. It’s nice to have different media, like the clay college. It’s not all paintings.

 

KW: One last question. I talked to Jim Fahy in The Rusty Heart, and he mentioned the importance of unity between the businesses in the arts district. Do you have any comments to make about that?

 

BH: Well, it’s hard to say exactly what he means by that. There are town meetings, and merchant meetings, but sometimes it’s hard for everyone to get along. People might talk about this side of the district, or that street versus this street. But yeah, I think unity is important. The businesses are mostly unified.

 

As in my interview with Jim Fahy, I learned a lot from interviewing Barbara Hares. She, too, took plenty of time to spend talking to me. Thank you, Barbara, for your time and answers! I hope to get my third interview, with Marianne Lods, posted soon. Still waiting on an internet interview.

Research Interview: Jim Fahy

Interviewee:    Jim Fahy, manager of the Rusty Heart, a unique gift shop on High Street in Millville’s Glasstown Arts District.

About the Rusty Heart:  The Rusty Heart has been open for 9 or 10 years and is one of the stores that has been there the longest. Former employee Janice Morey describes it as a “unique gift shop” that carries everything from collectibles and greeting cards to antiques. Both Jim Fahy and Janice Morey admitted that the shop and its related locations, have been hit hard by the poor economy. One such location is the Secret Garden, a beautifully landscaped enclosed garden accessible from the back door of the store, which had to be closed because of the economic stress. However, both Jim and Janice remain hopeful that the economy will pick up. Third Fridays, especially, are good for the store’s financial well-being. According to Janice Morey, there are at least 20 people in the shop at all times during most Third Friday evenings.

Note about Interviewing Methods: I did not use a tape recorder for my interviews, I only took notes on key ideas and phrases. I don’t claim these answers to be direct quotes from the interviewee, unless I specifically put quotation marks around a phrase.

 

KW: What makes a business successful in an arts district?

JF: What makes any business successful, to “welcome people [with] a happy face.” “Smile.” Also, selling a “quality product at a fair price.” The Rusty Heart discounts regular products at 50% and Christmas at 75%. Let people know about sales when they walk in. Make them feel welcome and let them know they’re going to be taken care of.

KW: This probably overlaps with the previous question, but what advice would you give to other businesses considering opening in this arts district?

JF: Besides welcoming customers with a smile, keep in mind that it is a small business community. We typically “do as much business Third Friday as we do in a whole month.” In any small business community, unity is important. People work together to plan events. The nice restaurants help entertain people. The “Arts District brings people in, but they need a destination.” Advertising is also important. For example, this time of year Communion dresses are selling. I dropped off sale flyers to the local schools, churches, and rectories, and tell people to tell their friends. Word-of-mouth advertising is free advertising.

KW: I was talking to Barbara Hares from Earth Dwellings in the Village on High, and she mentioned that a large part of her success so far has been from developing a following. Do you think that’s true for this store?

JF: Yes, we get a lot of the same people here. I always make sure to welcome people when they come in, let them know about our sales, ask them if they need anything. I have a spiel. A couple of women walked in, and I started my spiel, and then I saw who they were and said, ‘you know all of this already.’

KW: What are some of the obstacles facing arts districts as a whole and individual businesses specifically?

JF: The economy is the main thing for everyone. For this arts district specifically, parking can be a problem. We’re on a busy street, so we don’t have a lot of parking. These couple blocks here are busy. But you take the good with the bad. We get more business, too, because it’s a busy street.

 

Jim Fahy was kind enough to talk to me for quite awhile, and he brought up a lot of points I hadn’t considered before. I just want to thank him again for all of his help, in case he is checking this blog out. More interview posts to follow.

Class Discussion Post – Fleck

Reading for the week of 3/10: Fleck, L. (1981). Genesis and development of a scientific fact. Chicago: University of Chicago Press.

Fleck’s book uses the case of the scientific understanding of syphilis to illustrate the point that scientific facts are not necessarily objective but that instead, they develop over time and are influenced by society. I unfortunately missed the class discussion on this book, but I’m going to do my best to discuss one of the points that really interested me.

In the first section of the book, Fleck discusses the popular views of the definitions of syphilis before the causative agent, Spirochaeta pallida, was discovered. A popular idea was that syphilis was a “carnal scourge” created to punish people for lust, but, as Fleck observes, “this [definition] would necessarily imply the inclusion of gonorrhea, soft chancre and so on, as well as the abandonment of a therapeutic complex, and possibly of a rational method of treatment altogether” (8). Equally problematic was another popular definition, that syphilis could be defined by the efficacy of mercury to treat the disease, because although mercury and syphilis became strongly associated with one another, the use of mercury did not treat all instances and stages of syphilis. When the causative agent, Spirochaeta pallida, was discovered, these two definitions were replaced by the etiology of the disease. Elements of both of these definitions were incorporated into a modern understanding of syphilis. From the idea of the “carnal scourge,” “the connection with the sex act was translated from the mystical-ethical domain into [the] straightforward physical terms” of a venereal disease (17). Fleck also observes that “from the mercury idea a general chemotherapeutic theory arose which has contributed such wonderful remedies as Salvarsan among others” (17). Although both of these early definitions failed to fully explain syphilis, they were observations that ultimately proved useful in classifying and treating syphilis.

Object Analysis Idea

I think I found a good object to do my analysis on. Here is a map of the Glasstown Arts District. I could easily come up with six blurbs to correspond to different parts of the map. I could even do histories of certain locations, like the businesses that once were in a location and the reason they closed. I could definitely see myself writing about the Levoy Theatre, Bogart’s Book & Cafe, and the Artisans & Designers Walk. I don’t know what my other 3 blurbs would be about yet, but I’msure I can come up with something.

(Tentative) Interview Schedule

Here is my tentative interview schedule. I have to say, I’m pretty pleased with how it looks so far. I was lucky enough to find a lot of helpful people who were friendly and willing to talk to me.

 

Here are a few themes I would like to explore in the interview:

• The effect of the economy on the businesses (galleries, restaurants, shops, etc.) involved in Third Friday
• What makes a business successful in an arts district?
• What advice would you give to other communities considering initiating an arts district project? Other businesses considering opening in this arts district?
• What are some of the obstacles facing arts districts as a whole and individual businesses specifically?

 

Obviously, each of these questions would be tailored specifically to the individual I am interviewing, but these are some themes I would definitely like to explore with all of my main interview subjects.

 

 

Maryanne Lods

• How I met the interviewee

While initially talking to Gary Thayer (see below), he told me that I should get in touch with Maryanne Lods. I sent her an email on 3/9/10.

• Why this interviewee is important for my research subject and what he/she can contribute

Maryanne Lods is the executive director of Main Street Millville and Glasstown Arts District. Thayer referred to her as the “driving force” behind the creation of the Arts District. Because Maryanne is involved especially with the financial aspect of the Arts District, she would definitely have some input on the questions I wanted to explore.

• When and where the interview will take place

It’s too soon to know about the interview exactly, but since I am emailing her it might become an online interview.

 

 

Scott Meyer

• How I met the interviewee

I met Scott Meyer at the Third Friday in February. We talked for a few minutes, and he gave me his email address and website (www.shop.glasstownartglass.com) so I can contact him further.

• Why this interviewee is important for my research subject and what he/she can contribute

As I learned when I briefly interviewed him last month, Scott opened his blown-glass gallery in September of 2009. This means that Scott has the perspective of a new arrival in the arts district, but he’s also been there long enough to know what business is like in the Glasstown Arts District. Scott was more than willing to discuss his experiences with Third Fridays, and I would like to know more about his perspectives on what makes a business successful.

• When and where the interview will take place

I expect this interview to continue both online and in person. I plan on emailing him, but I also expect to talk to him in person at the next Third Friday

 

 

Gary Thayer

• How I met the interviewee

I met Gary Thayer at Third Friday in February. He had just moved into the arts district and plans the grand opening of his store One Planet, One World for Third Friday in March. We spoke for quite awhile, and not only was Gary willing to talk to me, but he also recommended that I talk to Maryanne Lods, director of the arts district.

• Why this interviewee is important for my research subject and what he/she can contribute

Gary is in the process of opening his business in the Arts District. I would really like to talk to him about his hopes and expectations, and what challenges he faced in getting set up in the Arts District. His shop specializes in “fair trade products” and “superfoods,” so I am especially interested in talking to him about how products affect overall success (how does having such as small niche limit or encourage success, or both?).

• When and where the interview will take place

I definitely plan to show up at the grand opening of One Planet, One World on Third Friday. Actually, I think I should take very detailed notes about the grand opening experience. It might make for a good starting point for my article, a good hook to draw readers in. I might try to stop by the Village on High before Third Friday to see if Gary has more time to talk with me.

 

 

Rusty Heart

• How I met the interviewee; Why this interviewee is important for my research subject and what he/she can contribute

I know this isn’t a specific name, but I can explain my reasoning for the ambiguity. Last Third Friday, I found it really useful to talk to the people at the gift store The Rusty Heart. I spoke with the manager, Jim Fay, and a former employee, Janice Morey (whose names I’m probably butchering). The Rusty Heart is one of the stores that has been there the longest, and Jim and Janice both had a lot to say about how the economy has impacted the store and its related locations (the same owner also owned the Secret Garden, a wonderful enclosed garden that had beautiful landscape and lighting, a pond, and often live music. Unfortunately, due to the poor economy, it is no longer being maintained).

• When and where the interview will take place

I don’t know for sure who I will speak to when I return to the Rusty Heart, but Jim and Janice were both very friendly, and I’m sure either of them, or the store’s owner, would be willing to talk to me in person for awhile.

 

 

 

 

I also want to talk more to Barbara Hares, who leases(?) Earth Gatherings in the Village on High; Maryann Cannon, an artist who works in La Botega of Arts and owns the Village on High; and Leslie Staaite, who makes the soy candles sold in Angels of Light in the Village on High. Although they will be more quick interviews, not as detailed as my main 4 discussed above, I felt that when I spoke with Barbara, she had some good points to consider. Maryann seemed genuinely interested in talking to me, and Leslie’s store has been one of my favorites for years.

 

I haven’t given up on trying to talk to someone from the Levoy Theatre, but I recently learned that my one acquaintance involved with the project is no longer working with them. The Levoy Preservation Society wasn’t at last month’s Third Friday at all, so I wonder if they are still involved with the event. We’ll see. For now, I think my list is long enough, even if some of the details are missing.

Class Discussion Post

For Wednesday night’s class (3/3/2010), we read a few chapters of Things that Talk: Object Lessons from Art and Science. The authors argue that apparently silent objects like soap bubbles, early photographs, Rorshach inkblot cards, and newspaper clippings actually say a lot about history, social beliefs and attitudes, and scientific principles and discoveries. I personally found the chapter about the Rorshach inkblots to be the most interesting. As a psychology minor, I’ve taken a lot of psychology classes at Rowan, and I’ve always been curious about the Rorschach inkblot test. I’ve heard a lot of the controversy surrounding the Rorshach test. Opponents of the test claim that the Rorshach test is too subjective, and even that it is psuedoscience rather than real science. So I was surprised to read all about the procedures used to standardize the test, from the way the inkblots are printed to the kinds of guidance the test administrators are trained to give. It made the test seem much more reliable and valid.

Annotated Bibliogrphy

Hello again, everyone. I’ve been so behind on my blog posts! Can’t wait until spring break to catch up on things, there is just too much to do this semester (and I haven’t even started on my 6th class yet). Anyway, I apologize for my lack of posts recently. Here is my annotated bibliography. 

Coutts, G., & Jokela, T. (Eds.). (2008). Art, community and environment: Educational perspectives. Chicago: University of Chicago Press.  

Art, Community and Environment: Educational Perspectives, edited by Glen Coutts and Timo Jokela, presents a series of chapters by different authors about the relationship between art and environment, and specifically how art functions within and as part of communities. Coutts and Jokela divide the book into three sections. The chapters in the first section, “Environment,” focus on the impact of the environment on the subject matter and creation of art, the importance of the natural environment in the learning process specifically relating to the creation of art, and the techniques of design in the construction of urban environments. The second section, “Communities,” explores the importance of art in empowering subgroups within communities, the use of new media and virtual learning environments in finding participants and audiences for community art projects, the empowerment that cooperative community art education gives to communities as a whole, and the ability of community art projects to transcend physical boundaries such as districts and neighborhoods. The final section of the book, “Education,” is also the longest. It addresses such issues as the importance of including art education in school curricula, the questions of what defines art both in the community and in schools, programs for training prospective art teachers and community artists and arts facilitators, and the advantages of community art programs. Coutts and Jokela stress that the subjects of art, community, environment, and education are so intertwined that they cannot be so neatly divided that all the connections a reader should make are isolated in their separate sections. Although the book has a broad focus, I believe that many of the chapters, particularly those in the “Communities” section, will provide my research with balance. Much of my personal research and interviews will most likely be more focused on what the community does for the arts district, so this scholarly perspective will balance that out by discussing what the arts district does for the community.

Ebewo, P. and Sirayi, M. (2009). The concept of arts/cultural management: A critical reflection. Journal of Arts Management, Law & Society, 28(4), 281-295.

In “The Concept of Arts/Cultural Management: A Critical Reflection,” Ebewo and Sirayi reflect on and critique arts/cultural management as an academic discipline. According to Ebewo and Sirayi, arts/cultural management is the use of promotional techniques to publicize culture-related events, activities, and organizations. The authors compare arts/cultural management to business management, claiming that it involves many of the same tasks, such as organizing, recruiting and leading workers, and problem solving. According to Ebewo and Sirayi, the discipline of arts/cultural management until this point has been substandard in its expectations of practitioners’ knowledge. Ebewo and Sirayi propose that arts/cultural managers should have strong backgrounds in the arts and social sciences. According to Ebewo and Sirayi, subsequent courses of study should include finance and marketing, psychology, and public relations to create well-rounded, interdisciplinary educations and training programs. This academic article is useful to my research because it indirectly addresses the challenges faced in the creation of arts districts. In proposing a knowledge base necessary for arts and cultural planners, Ebewo and Sirayi are also specifying what sort of knowledge community developers in general should have.

Grodach, C., & Loukaitou-Sideris, A. (2007). Cultural development strategies and urban revitalization: A survey of US cities. International Journal of Cultural Policy, 13(4), 349-370.  

            In “Cultural Development Strategies and Urban Revitalization: A Survey of US Cities,” Grodach and Loukaitou-Sideris seek to differentiate their study of cultural planning from others by distinguishing between three different strategies of cultural planning used by municipal governments. The authors first present the Entrepreneur Strategy of cultural planning, which is marked by financial incentives for prospective businesses, downtown locations, and an anticipated audience of tourists. According to the authors, the Entrepreneur Strategy of cultural planning is often criticized for catering to outside tourists rather than the community in which the strategy is put to use. Grodach and Loukaitou-Sideris’s second type of cultural planning strategy is the Creative Class Strategy, which seeks to attract individuals in professions considered to be creative through the establishment of arts and entertainment districts in the hopes that these professionals will adopt an economy-stimulating lifestyle based on heavy consumerism. The authors argue that the Creative Class Strategy, like the Entrepreneur Strategy, targets only one favored group rather than the entire community, the favored group in this instance being the creative professionals. The third type of cultural planning strategy identified by Grodach and Loukaitou-Sideris is the Progressive Strategy, which typically uses community arts centers and art education programs for the purpose of developing a community identity and appealing particularly to marginalized groups. According to the authors, the strongest criticism against the Progressive Strategy is the difficulty involved in developing these centers and programs without the assistance of private investors. Grodach and Loukaitou-Sideris suggest that these apparently incompatible strategies can be used in conjunction with each other by municipal governments that combine elements of each strategy. Grodach and Loukaitou-Sideris present their quantitative research, a survey of U.S. cities in which they investigated what percentage of cities had recently created different categories of art, music, and culturally specific attractions. The authors conclude that most cities employ the Entrepreneur Strategy of cultural planning, but combine elements of the Creative Class and Progressive Strategies as well. This scholarly article will guide my research by helping me identify how Millville uses these strategies in planning and publicizing its Glasstown Arts District.

Hauss, A. F. (2006). South Jersey movie houses (NJ). Images of America. Arcadia Publishing.  

            In South Jersey Movie Houses, Allen Hauss presents a history of movie theatres in Camden, Burlington, Gloucester, Salem, Cumberland, and Atlantic counties, plus the region known as the Jersey Shore. Hauss accomplishes this task primarily through pictures of each of the historic movie theatres he discusses. In the captions for each picture, Hauss provides much of the factual information that make the book valuable as a research tool, including dates, seating capacity, admission prices, and notable builders, owners, and performers. The author divides the first four chapters by counties. In the fifth chapter, Hauss details the technology used between 1925 and 1980 in these movie theatres, specifically the technical specifics of the projectors. Hauss uses the final chapter to revisit the historic theatres in their current forms. Although most of the theatres have been closed down and put to use for other, non-cinematic purposes, Hauss states that efforts to renovate certain theatres are currently underway. This creative/journalistic source will be useful if I am able to include the Levoy Theatre preservation project in my research, which I hope is the case.

James, N. V. D. (1998). Millville (NJ). Images of America. Arcadia Publishing.  

            In Millville, James presents photographs of the city dating back to the 1750’s. James’s concise but detailed history of Millville’s founding and entrance into the glass-making business introduces readers to the past identity of the city. For my research, this creative/journalistic source is useful because it allows me to see, through photographs, how several of the places I will visit during Third Fridays have changed over the years. For example, one of the photographs depicts High Street, the location of the Glasstown Arts District, in 1900. Although the High Street in the photograph is very different from the High Street I am familiar with, it appears that some of the buildings might still be in existence, though altered. Also useful are the three photographs of the Levoy Theatre: the original Levoy Theatre in 1909; the construction on the new Levoy Theatre, which opened in 1912; and the new Levoy Theatre after its renovations in the 1930’s. Although this book was published before the Glasstown Arts District was built, it briefly touches on one aspect of the current Arts District. James notes that the Levoy Theatre preservation project has begun by the time she was writing, which gives me a timeline for when different parts of the Arts District were begun.

Lee, E. (2006). Turning to art to bring in business. NJBIZ, 19(44), 3-4.  

            In “Turning to Art to Bring in Business,” Lee outlines a community development plan to build an arts district in Orange City, New Jersey. The Valley Arts District provided for in this plan would transform a section of uninhabited factory buildings in Orange City into an extensive arts district with space for over 60 artists to live and work. Lee discusses the funding of the arts district, which is headed by the non-profit organization HANDS. Lee paraphrases the opinion of Patrick Morissy, the executive director of HANDS, on the importance of maintaining reasonable housing costs to encourage artists to move into the arts district and remain there. According to Lee, the Valley Arts District development plan is only one part of the larger Jefferson Art Walk plan, which itself is the first phase of the Central Valley Redevelopment Plan undertaken in conjunction with the city of West Orange. Lee claims that the two cities have applied to get the location designated as a Brownfield Development Area, a designation that would grant the project extra funds and personnel and speed the process of obtaining necessary permits. This journalistic source is especially useful to my research because it presents some of the financial and political challenges that face municipalities in the process of creating arts districts. It might also point out possible flaws in the Glasstown Arts District that explain why many artists, galleries, stores, and restaurants that open in the arts district are eventually forced to close.

Newman, T., Curtis, K., & Stephens, J. (2003). Do community-based arts projects result in social gains? A review of the literature. Community Development Journal, 38(4), 310-322.

In “Do Community-Based Arts Projects Result in Social Gains? A Review of the Literature,” Newman, Curtis, and Stephens evaluate the success of community-based arts projects. The authors claim that community arts programs have typically been successful in the U.K. However, in this article they are specifically addressing community arts programs that target demographic groups that might be considered marginalized. The authors present the issues posed in evaluating community arts programs, specifically the large numbers of investors and possible outcomes. Newman, Curtis, and Stephens explain that it is difficult to be certain whether correlations between community arts programs and the financial success of businesses can be interpreted as causation because there are many confounding variables. However, the authors urge researchers not to shy away from evaluating the success of community arts programs. Newman, Curtis, and Stephens concluded that citizens generally felt that their communities were helped by arts programs and that these programs were successful. However, the authors note that the positive effects of arts programs were not distributed uniformly through the community and that certain geographic neighborhoods and demographics of people were helped more than others. This source is useful to my research because its conclusions help explain why there are such significant discrepancies among people’s judgments regarding the success of arts districts such as Millville’s Glasstown Arts District.

Phillips, R. (2002). Note: Evaluated community economic development planning programs with a small number of participants: a non-parametric approach. Growth & Change, 33(4), 497-513.  

            In “Note: Evaluated Community Economic Development Planning Programs with a Small Number of Participants: A Non-Parametric Approach,” Rhonda Phillips presents quantitative studies of economic development planning programs. According to Phillips, assessing such programs quantitatively is difficult because they involve issues such as how to quantify outcomes and benefits of the programs and because researchers can only conjecture what might have happened had these programs not been put into effect. Phillips argues that quantitative research should be done on these programs despite the difficulty of the process because the information gained through quantitative research can help guide the processes of future development plans. The author proposes that quantitative research in this field can be done using non-parametric approaches such as creating comparison groups to simulate alternative paths of development. To illustrate her point, Phillips presents quantitative data found using these methods on seven different economic-growth related hypotheses regarding a particular technology-based economic development program in Atlanta. Although we have talked mostly about qualitative research methods in this class, I believe that this source might prove useful during my research. If I could gain access to the numerical data on the success of the businesses in the Arts District, it could add some concrete information to my otherwise qualitative and thus somewhat subjective research. Even if I am not able to find the data necessary to do my own quantitative comparison, I think the article concisely explains the problems with quantitatively analyzing the success of development plans.

Phillips, R. (2004). Artful business: Using the arts for community economic development. Community Development Journal, 39(2), 112-122.

In “Artful Business: Using the Arts for Community Economic Development,’ Phillips examines the use of the arts to stimulate economic development. Phillips argues that this topic is worthy of further study due to the recent growth in popularity of using the arts for economic development. Phillips identifies four different approaches communities can use when putting into effect arts-based programs. According to Phillips, arts business incubators begin by housing new businesses in a centralized location where administrative services and development assistance is provided by a shared supervising organization. Phillips presents the second approach, arts cooperatives, as non-profit organizations comprised of local artists and artisans who share the expenses of advertising and publicity. The third approach Phillips describes is that of the tourist venue, where the main goal is not to stimulate the economy of the community itself by strengthening businesses but to draw in tourists in the hopes that they will stimulate the economy. The final approach Phillips presents is the comprehensive approach, in which communities regard the revitalization of the community as a whole to be more than a single part of a larger plan and instead believe that simply integrating the arts into the fabric of community life will improve the community. Phillips concludes that creating a successful arts-based community development plan is difficult but possible as long as the developers take into consideration the most prevalent needs of arts districts. These needs include the importance of government and community support for the arts in general; the resources, financial and otherwise, that can be utilized; the necessity of building a strong connection between the arts programs and the community; the value of sharing resources among artists and artisans in order to conserve them; and flexibility in terms of the type of assistance artists and artisans can expect to receive from their community. This source is valuable to my research, because identifying which approach Millville has taken in the creation of the Glasstown Arts District could give me valuable insight into how the arts district currently functions.

Purcell, R. (2009). Images for change: Community development, community arts and photography. Community Development Journal, 44(1), 111.

In “Images for Change: Community Development, Community Arts, and Photography,” Purcell argues that photography has a place in the importance of the arts in community development. Purcell presents the view of Henri Lefebvre that developing and marketing culture has become a goal of social organization. According to the author, these social organization groups are often considered subgroups of municipal governments that themselves need to be organized by a larger government. Purcell discusses the problems in the collaboration between culture and community groups. According to Purcell, cultural development plans in the UK and Ireland have frequently failed to produce positive, significant results. It is in this critique that Purcell situates his argument that certain techniques of photography can be used to help fill this gap in community development. This scholarly source is useful for my research due to its critical nature of arts districts. Purcell’s argument about the importance of photographic techniques in advancing community development may provide my research with a progressive element, or at least provide me with inspiration.

Rosenberg, R.C. (2005). Art as community revitalization driver. Journal of Housing & Community Development, 62 (1), 6-11.

            In “Art as Community Revitalization Driver,” Rosenberg chronicles the development of two successful arts districts and the process of working on a third. According to Rosenberg, the Lincoln Center on New York City’s West Side was the first use of the arts in an urban or community development plan. Rosenberg states that the initiative for this project was begun in 1955. According to Rosenberg, the project’s long-term economic benefits have been significant. Rosenberg goes on to describe the case of the Brooklyn Academy of Music (BAM). According to Rosenberg, after a long period of neglect and degeneration into street crime, a new executive director and board of directors revitalized BAM. Rosenberg claims that the relationship between the city of Brooklyn and BAM is reciprocal, and that each positively influences the other. Finally, Rosenberg addresses the arts-based development plan being put into effect in Chester, Pennsylvania. Rosenberg discusses the problems facing the organizers of the development plan: gaining the support of civic and community leaders and organizing collaboration between the leaders of different community and arts groups. This academic source is valuable to my research because it provides a detailed, sequential account of the development processes of arts districts.

Sloan, G. (2004, November 26). A colorful burst of art districts. USA Today, p. 02D.

            In “A Colorful Burst of Art Districts,” Sloan presents a brief tourist guide to three art districts. The districts Sloan reviews are the Crossroads in Kansas City, MO; Old City district in Philadelphia; and the Pearl District in Portland, Oregon. For each district, Sloan presents tourist information, consisting mainly of his top picks in such categories as the best galleries, restaurants, and cafes. Sloan also includes his personal suggestions of unique stores, bakeries, and specialty shops that should not be missed. This creative/journalistic article is very brief, but I consider it useful for my research because I may want to structure at least part of my final article this way. Although Sloan’s article is very subjective and so brief it hardly qualifies as an article at all, its tourist guide format helped it target an audience for whom there is a large market. My choices for categories like this will be much more in-depth and will comprise only a part of the article, of course. However, Sloan’s laid-back style of writing works well for this genre of article, and incorporating a similar style in my own writing may help my article to appeal to a wider audience.

Vossman, L. (2002). How many artists does it take to build a downtown? Planning, 68(6), 20-23.

            In the journalistic article “How Many Artists Does it Take to Build a Downtown?” Vossman explores the issues facing arts district developers, focusing specifically on the East Village Arts District in California. According to Vossman, to be successful, an arts district needs financial resources, physical space, and long-term support from its community and government. Vossman states that one of the most significant changes made in the creation of the arts district was the building of apartments for artists. Although these apartments were specially designed to function as both a living space and a studio, Vossman claims that the high cost of rent is a problem for many artists. According to Vossman, the city’s provisions for affordable housing are no longer being used to help artists afford these apartments. The author notes that despite this difficulty, the arts district has been financially successful, and plans to open a hotel nearby are currently in the works. Vossman presents a strong argument for public art, claiming that it serves to improve the image of the district and economically supports local artists. Vossman claims that the development and sustainability of arts districts is an ongoing process. This article is among the most useful I have found in explaining what specific challenges face arts district developers. Of particular interest is the process Vossman recounts in which landowners rent space to artists and businesses for a small amount of money, raise the rent steeply and suddenly so that business are forced to close, and then reduce the rate again to attract new tenets.

Initial reactions to Third Friday

Just got back from Third Friday with Sam. It started out pretty badly. I wanted to go to the Looking Glass Cafe, a nice little restaurant on High Street that has been there for years. Neither of us had ever been there, but it seemed like part of the classic Third Friday experience. We had a great meal that we will never have again, because it turns out that this is the Looking Glass Cafe’s last Third Friday. They are closing on Sunday,  for good. It seemed like a bad omen.

Luckily, the night improved after that. First, I talked to Scott Meyer, an artist and gallery owner who specializes in handblown glass. His work was amazing. He has been blowing glass for 20 years and just opened his gallery, Glasstown Art Glass, in September of 2009. He said that the Third Friday even is a “good thing” and “very needed.” Scott Meyer said that the event provides a “focal point” for people and that later in the evening, the gallery is often packed with people.

Next, I talked to the people at the Rusty Heart, manager Jim Fay and former employee Janice Morey (I apologize if I have mispelled names here, and I will be sure to correct their spellings later). The Rusty Heart, as Janice Morey describes it, is a “unique gift shop” that carries everything from collectibles and greeting cards to antiques. Both Jim Fay and Janice Morey admitted that the shop has been hit hard by the poor economy. They explained that the Secret Garden, a beautifully decorated enclosed garden in the back of the store, had to be closed because of the economic stress. However, they remain hopeful that the economy will pick up. Third Fridays, especially, are good for the store’s financial well-being. According to Janice Morey, there are at least 20 people in the shop at all times during most Third Friday evenings.

Our next stop was the wonderful collection of tiny shops known as the Village on High. Each shop is about the size of a nice outdoor building, not quite a toolshed but not much bigger. First we visited one of our favorite places, one of the few of “our” places that is still left. The shop Angels of Light sells soy candles in all kinds of great scents. The lady who was working there, whose daughter Leslie Staaite makes the candles, gave me my next destination. Barbara Hares has run a shop called Earth Dwellings, where she sells handmade hats, bags, and accessories and supplies for jewelry crafters, for 4 years. For her, Third Friday is “usually great” for business, but even better is the “following” that she has developed among shoppers who depend on her for jewelry and sewing supplies and her unique accessories.

I spent a long time talking to Gary Thayer, a gentleman who is currently in the process of opening a new store in the Village on High called One Planet, One World. The grand opening will be the next Third Friday, March 19th. One Planet, One World will sell fair trade products (products from developing countries where their creators are paid what would be considered by already developed countries to be an appropriate amount, from what I understand; if anyone has more insight into the movement feel free to correct me) and will soon house highly nutritious “superfoods.” Gary Thayer sent me to the gallery La Bottega of Art to find Maryann Cannon, who Thayer described as the reason the Village on High existed. He also instructed me to talk to Marianne Lods, one of the head of the Glasstown Arts District and who he referred to as the “driving force behind the arts district.”

All in all, it’s been a pretty good night, research-wise. There are still some other people I would like to talk to, and I need to come up with some more in-depth questions and figure out what, exactly, I would like to focus on, but I met a lot of helpful people who are really passionate about what they do. Should be a good project, I think. (I hope this post was at least mostly coherent; I need some sleep and some time to reflect on things to write a more polished account of the night, but I wanted to get the details down now before I forget them. Also sorry for the lack of links toward the end. Most of these shops don’t have websites, unfortunately.)