To: NM Arts, Department of Cultural Affairs for the State of New Mexico (Attention Ben Owens).

From: Talking Stick Institute (David Boje) and artist George Mendoza

Re: Report on the Awarding of Art in Public Places Monies to In and Out of State Artists - December 7, 2010

We would like to ask you five important questions, after giving some brief factual background concerning the State of New Mexico and New Mexico State University investment strategies in purchasing art with New Mexico taxpayer dollars.

Who is Asking? We raise these questions as New Mexico taxpayers and members of Talking Stick Institute (http://talkingstick.info) who believe that NM taxpayer monies need to be wisely invested in accordance with institutional missions of a state agency and a state university --- into developing the economy of New Mexico’s artists. David Boje teaches small business courses at New Mexico State University, which for the past four years have been devoted to helping local artists achieve better economic results. http://peaceaware.com/vita  One such artist is George Mendoza who lives in Las Cruces, New Mexico, and competed in both competitions. George Mendoza is a legally blind painter and visionary texture-sculpture artist. He is among Las Cruces’ and New Mexico’s most accomplished artists  http://www.georgemendoza.com/.  David Tobey, Virginia Maria Romero, and Martina Myers, along with David Boje are on the Talking Stick Institute Board. They have acted in the past five years to conduct economic forums and conventions to help build the arts economy base of New Mexico.  This includes several Talking Stick circle meetings of local artists, media writers, economic development, and politicians in the Las Cruces arts scene gathering together to improve the economic circumstance of local artists. The emphasis of the first year (2007) was Storytelling ‘Talking stick Circle meetings’ held on Oct 1st and Nov 12th to sort out priorities for changing the economic conditions of artists. During the 2nd year, 2008, student/artist taskforces formed based on the three September workshops (Sep 8, 15 & 22). In the 3rd year 2009, the October 2nd and 3rd ‘What’s Art? Convention of Southern New Mexico’ became a combination convention and street festival with keynote speakers, art exhibits, and workshops on network and economics of arts and culture in New Mexico. Now in the 5th year we have been encouraging New Mexico artists to enter NM Arts Arts in Public Places competitions.

Factual Background to Our Questions: New Mexico has more artists per capita than any other state in the USA. The New Mexico economy is in a recession, and the economy for New Mexico artists is in need of a shrinking budget of state agency investment of New Mexico residents’ tax dollars. New Mexico has one of the highest per capita poverty rates in the US, and depends upon investments in its small business economy. New Mexico artists attract significant tourism, hotel & restaurant, and ancillary business revenue to the state. New Mexico State University has had a major budget cutback and has lost some 160 faculty and staff lines, plus severe cuts to its operating budget 2010-2011.

Fact 1: On Friday November 19th, Ben Owens the Projects Coordinator for NM Arts, a unit in Department of Cultural Affairs informed Las Cruces artists that the NM Art in Public Places, selection committee of seven (with 4 from NMSU and 3 from Las Cruces residents) had for the second time not selected even one New Mexico artist as a finalist. Why?

Fact 2: The NM Arts in Public Places awarded a commission of $170,900 for art in NMSU’s O’Donnell Hall to finalists not from New Mexico. The committee did not include as even one of the finalists, some 36 New Mexico artists and instead only selected as five finalists non-New Mexico artists: Lynn Basa of Chicago, IL, Judith Collins of Lakewood, CO, Daniel Goldstein of San Francisco, CA , Tim Prentice of West Cornwall, CT, and Koryn Rolstad of Seattle, WA. Why? The ultimate winner was Tim Prentice.

Fact 3: Currently, an award of $276,800 was given to a non-New Mexico set of finalists from Oregon, MA, two from PA, and one from NY: Ed Carpenter of Portland, OR; Michio Ihara of Concord, MA; Ray King of Philadelphia, PA; Albert Paley of Rochester, NY; and Meg Saligman of Philadelphia, PA.  Again we are told there were over 150 applicants and that every selection committee is different. What are the decision criteria? How many of the applicatns were New Mexico artists? What is different about New Mexico artists that applied?

Fact 4: According to our Talking Stick Institute report and analysis (see Table One below), the Total Prospectus awards reported in NM Arts (Arts Speak) Newsletter and on line prospectus award websites of NM Arts is $2,022,470. Of this amount, NM Arts does not report the disposition of $994,555 in awards as going to in-state or out of state artists (no artist names are provided). The subtotal for the New Mexico-residents-only competitions is $207,570. The subtotal for the announced winners of regional and USA-wide competitions is $820,345, and of these not one artist is identified in NM Arts publications and web documents as being a New Mexico artist.

We have five main questions:

1. Do the selection results mean that the selection committee could not find one local New Mexico artist of sufficient quality? Does it mean that non-New Mexico artists are better artists than those in New Mexico? We find this hard to believe, since the competition was indeed open to artists of New Mexico, and their enrollment in the competition was encouraged by the state. Facts: The New Mexico State University’s two selection committees for Art in Public Places commissions, have made awards totaling $447,600 in taxpayer dollars to artists who are not New Mexico’s artists. Not one of the finalists in both cases are from New Mexico. We are assuming that all selection committee members acted ethically and in accordance to the terms of their appointment. We are wondering why local people from the University and community would not find art of New Mexicans to be of sufficient quality to place as a finalist.  If the art is just bad in New Mexico, then perhaps the University Arts and Science College can help in its training of New Mexico artists.

1. Why is our NM taxpayer dollars not being reinvested by State Agencies and a State University in the developing the economic base of NM artists?
1. We are informed by press coverage that NM Arts (Department of Cultural Affairs) wants to buy art from non-New Mexico artists so that those other states will reciprocate and their state agencies and universities will buy New Mexico art from New Mexico artist. However, there has been no statistical report released by Department of Cultural Affairs stating just how much money NM artists are making from awards from other states. We also are not being informed about the actual breakdown of artist awards by NM Arts and the selection committees of state universities, historically to NM artists and artists from other states, as well as from Mexico and Canada.
2. The logic explained to us by you in prior emails, as an official of NM Arts, is that awards made to out-of-state artists for the art in public places at NMSU commissions, will result in those artists traveling to NM, spending money on hotels, restaurants, and hiring workers from the NM community to install their commissions. Once again, we would like to request the empirical statistics. Just how much money are they spending in NM? It seems likely that travel expenses would be but a fraction of the award amounts, and may even be reimbursed by such awards providing no net benetfit to the state.
3. We are wondering why in this economy some $447,600 is being awarded to artists out of state. That is about half a million dollars. Wouldn’t it be wonderful if students at NMSU saw the examples of NM artists, and that money was invested to bolster the business of art in New Mexico?

1. Is the composition of the selection committee for Prospectus #211 Center for the Arts at NMSU different from the Prospectus for O’Donnell Hall at NMSU? Can you provide the list of the current selection committee, as you did last time? Here is a list of the O’Donnell Hall selection committee:
2. Project Director/User Agency Representative: Wynn Egginton, Director, Education Research and Budgeting Office, College of Education, NMSU
3. Owner Agency Representative: Michael Rickenbaker, University Architect and Director of Facilities Planning and Construction, NMSU
4. Architect: Jim Vorenberg, AIA, Van H. Gilbert Architect [located in Las Cruces]
5. Artist: Tom Gerend, Watercolorist, signature member of the New Mexico Watercolor Society, the Rio Bravo Watercolorists and the Border Artists. He paints regularly with the Artamants, a Las Cruces art group.
6. Arts Professional: Sally Cutter, Owner, The Cutter Gallery [located in Las Cruces]
7. Community Member: Sheryl Parsley, Alumna, College of Education, NMSU
8. Community Member: Liz Marrufo, Director of Elementary Instruction, College of Education, NMSU

Again, we reiterate, each is a great citizen of the state, and we assume that there is some reason they have for their choices. In our last exchanges you indicated the committee members did not look at where the artist was from, and ignored names. This suggests that it is the weakness in art of New Mexico itself that is responsible for the result.

1. How do these two decisions to spend New Mexico Taxpayer dollars square with the missions of the following institutions which are about developing the NM arts economy for the benefit of NM artists?

1. What is the mission of the Education College (O'Donnell Hall): The mission of the College of Education at New Mexico State University? - to serve the people of New Mexico through education, research, extension education, and public service with specific emphasis on innovative practices, overcoming barriers to learning, international activities, technology, and literacy for the diverse populations of New Mexico, surrounding states and border communities. The College’s motto is “Transforming Lives.”

1. What is the mission of the University? "New Mexico State University is the state's land-grant university, serving the educational needs of New Mexico's diverse population through comprehensive programs of education, research, extension education, and public service." Source.

1. What is the mission of NM Arts (Department of Cultural Affairs, State of New Mexico)?: MISSION: “New Mexico Arts is the state arts agency and a division of the Department of Cultural Affairs. The 15-member governor-appointed New Mexico Arts Commission serves as our advisory body. Our primary function is to provide financial support for arts services and programs to non-profit organizations statewide and to administer the 1% public art program for the state of New Mexico.” (emphasis ours)

1. What is the mission of the NM Arts Commission? The mission of the Arts Commission, in conjunction with New Mexico Arts, is to stimulate opportunities for artists, arts organizations, and other groups for activities or projects to provide artistic or cultural services to the state, to maintain and encourage artistic excellence, and to promote awareness of and access to the arts for all of the people of New Mexico.

1. What is the mission of New Mexico Arts (Division of Cultural Affairs) that oversees awards for Art in Public Places? "To preserve, enhance, and develop the arts in New Mexico through partnerships, public awareness, and education, and to enrich the quality of life for present and future generations."

The question assumes that there is a State’s and University’s strategy which encourages artists in this state to apply for major Arts in Public Places Commission, However, from what we see in NM Arts publications, only the smaller awards are going to in-state artists, while selection committees, composed of local folks, are disposed to make the major awards to the out-of-state artists. We are wondering what are the important variables in making their decisions, and how they square with the above published mission statements of the institutions. We are also asking for better statistics, since there is not a full reporting of all results (see Question 5).

1. Since 1986, how many of the NM Art in Public Places awards went to New Mexico artists? And the total dollar amounts of in-state and out-of-state artist awards
1. For example, in NM Arts newsletter, "Artspeak" Summer 2010" (page 6), "Art in Public Places Commission at the San Juan Regional Medical Center in Farmington" made an award to an excellent Denver artist, Madeline Wiener (source).
2. While there are many small awards for AIPP to New Mexico artists, we do not know how many of the really big commissions go out of state?

Answers to these questions would show if indeed taxpayer money is evenly divided between out-of-state and in-state, and the effectiveness of the State’s strategy of encouraging selections by selection committees of artists in other states, with the expectation that those states’ selection committee will choose New Mexico artists. That could be the case, and we want to check out the empirical assumption with hard evidence.
Again, we greatly appreciate your earlier replies to our questions about Prospectus of O’Donnell Hall. As before, we assume that everyone is doing everything as it should be done. We now look forward to your replies concerning the New Mexico State University Center for the Arts award.

Department of Cultural Affairs, strategic plan report in 2010 (p. 39), after a SWOT analysis lists its mission: “Mission / Purpose Enrich the quality of life of New Mexicans in their communities by preserving, enhancing, and developing the arts in New Mexico through partnerships, public awareness, and education” (http://www.newmexicoculture.org/docs/2011report.pdf).
State-wide, the results of NM AIPP artist commission awards is quite troubling.  As the mission, as stated, by Department of Cultural affairs, is “preserving, enhancing, and developing arts in New Mexico through partnerships, public awareness and education” (2010: p. 39). In looking at the results of the listed prospectus’ competitions http://www.nmarts.org/commissions.html and available information in newsletters on its websites, it appears that the public is not made aware of most of the identities of the winners of the competitions.
Table 1 divides the available information on 21 Prospectus, into three types of awards: regional or national (USA) awards where artist identity is disclosed, New Mexico only competitions, and the regional/national competitions of NM AIPP whose identities are unknown.  In only seven competitions is the winner announced (in case of Prospectus 211 NMSU Center for the Arts, there are five finalists). In these seven, all but one are artists from outside New Mexico.
Total Prospectus award reported in NM Arts (Arts Speak) Newsletter and on line prospectus award websites of NM Arts is $2,022,470. Of this amount, NM Arts does not report the disposition of $994,555 in awards as going to in-state or out of state artists (no artist names are provided). The subtotal for the New Mexico-residents-only competitions is $207,570. The subtotal for the announced winners of regional and USA-wide competitions is $820,345, and of these not one artist is identified in NM Arts publications and web documents as being a New Mexico artist.
These are not the only awards given by NM Arts AIPP. However, as the mission of the program is to develop awareness and educate the public and preserve the arts and cultures of New Mexico, the lack of disclosed identity of the winners of competitions is disturbing. A search of on line resumes of New Mexico artists revealed several who had won NM AIPP competitions, but their names are not celebrated in the NM Arts newsletters, Department of Cultural Affairs annual report for 2010, or in the NM Arts or DCA websites. Examples include New Mexico resident artists, Ryan Henel who had two ‘Temporary Installation Mae for the Environment (TIME)’ NM AIPP awards, Beck Holtzman who had two TIME awards, and Donna Lorraine Contractor who had at least 10 NM AIPP competition winning entries between 1996 and 2009, but is not listed in any of the available State of New Mexico press releases, newsletters, or other reports.

  We would like to propose some new principles for guiding the future and hope of artist in New Mexico.

1. To strive to preserve and develop the economy of New Mexico artists by celebrating the wins they have in NM AIPP competitions.
2. To define the primary mission and purpose of DCA and NM Arts as preserving and developing the economy of small artist business of New Mexico artists.
3. To build and restore our New Mexico artistic and cultural heritage as a resource for K-12 and Higher Education institutions.
4. To proudly display the art of the Land of Enchantment in State Buildings funding art going into any city, state, or county new or renovated building costing over $100,000.

As there is no discernable record in the NM AIPP materials of any New Mexico artist ever winning a regional or USA competition hosted in New Mexico, we need to study why this is the case. It could be that there are such winners, but it they are unsung heroes.  Or, it could be the case that all the un-announced winners are residents of other states. 
What happens to the State of New Mexico’s AIPP collection if there is an absence of New Mexican winners of those competitions? According to the sample of prospectus in Table 1, about half the money is going to bring non-NM art into the collection.  And only $270, 570 of the $2,022,470 total is for New Mexico artist only competitions. 
This is effectively resulting in a marginalization of the New Mexico artist, as in most cases the identity of the winner is not fully disclosed. And when it is, more often, in this sample, it’s always a winner of the regional or national competition hosted in New Mexico that is always an out-of-state winner.  As such instead of preserving and developing the arts and culture of New Mexico, the result is to marginalize it, and to not remember it.  It could be concluded that it is a continued act of colonization of New Mexico Arts and Culture paid for by the taxpayer dollars of New Mexicans.
Toward NM AIPP Becoming Methodology of Liberation In this section we would like to offer an alternative methodology, with different technologies, processes, and techniques than NM AIPP (DCA) is currently enacting.  We hope that a methodology of liberation would bring balance, so that half or more of the New Mexico taxpayer dollars would purchase New Mexican artist’s art. 
We draw upon the work of a number of writers who look at ways to bring about balance.  Paulo Freire (1970), for example, began the quest for a ‘pedagogy of the oppressed’ as a methodology by which oppression is opposed by liberation. Linda Tuhiwai Smith (1999) looked at how methodologies can be decolonized, so that arts and research of indigenous peoples comes into play. Chela Sandoval (2000) looks at how the methodologies of oppression can be counter-balanced with the methodology of the oppressed people. Gerald Vizenor (1994, 1998, 2008, 2009) developed the concepts of survivance and remembrance to talk about the colonization of Native American tribal arts and culture. 
Vizenor’s (1999, 2008, 2009) method of ‘survivance’ ‘remembrance’ and ‘tansvaluation’ is helpful to apply to NM AIPP. Survivance can be defined as the arts and culture that manages to sustain in the face of colonization of a place’s arts and culture. Remembrance is what storytelling peoples of a place are sustaining about the acts and practices of colonization, as well, as any decolonization.  It is our position that NM AIPP is not helping survivance of NM arts and cultures and is obfuscating remembrance of its own acts of furthering colonization of NM arts and cultures.  Vizenor (1994: 45) refers to this as a transvaluation of arts and culture by diversifying the collection holdings of the State.
Why is this transvaluation, non-survivance, and de-remembrance happening to New Mexico? The ideal of NM Arts (DCA) is to diversify the arts collections of the State, to make it more cosmopolitan, and to enshrine the national art in public buildings.  An analysis of the trends in transvaluation would show the level of New Mexico’s assimilation of its arts and culture, its colonization by other states aesthetics. 
Boje’s (2001, 2007, 2008a, 2008b, 2011) storytelling methodology invents an approach called ‘antenarrative.’ An antenarrative can be defined as the methods and practices by which a an ‘ante’ a ‘before’ narrative coherence, is also a ‘bet’ that transformation will shape the potentiality of the future. Storytelling is triadic, with narratives of retrospective sensemaking forming coherence, and siphoning off the living stories webs of relationship in the Now, and both these have different antenarrative ways. The narrative focus into linear or recurring cyclic antenarrative projections. The living stories, such as in the arts and cultures of New Mexico are more mobile, nomadic, and morph as they mobilize context.  The point is that NM AIPP (DCA) is shaping the future of NM arts and culture by its methodologies. NM AIPP is a force field of art movements, methodologies by the State that is effecting antenarrative motion (Boje, 2001, 2008 a, 2008b, 2011), “that drives, inspires and focuses” (Sandoval, 2000: 81) NM arts and culture. In NM AIPP is what Sandoval (2000: 81) calls a “dispositional movement” where art moves through the election process of NM Arts (DCS) by way of local selection committees, that is a methodology of techniques for moving artistic energy that is not New Mexican while that which is cowboy, Native New Mexican, rancher, and settler arts of New Mexicans, is not being as widely selected (See Table One).  We conclude that the technologies, techniques and practices of power of NM AIPP are a force field of inner-storytelling (consciousness) and a force field of outer-storytelling of mobilities enacting New Mexican artist’s work with far less financing and presence in public places than that of the West coast and East coast artists and all the artists except New Mexicans. Storytelling in motion in NM AIPP by the methodologies of NM Arts (DCA) is currently a movement pitched toward colonization rather than liberation. The ongoing succession to New Mexican artist’s artwork survivance and remembrance needs to have as counter force field a storytelling of liberation and a methodology by NM AIPP of gathering an collecting art that is uniquely and specifically New Mexican.  This would result in an emancipatory storytelling by New Mexico artists that can challenge and oppose the dominant East and West coast artist’s artwork that is populating the public spaces of New Mexico (and states in between). NM AIPP investing in storytelling artworks of New Mexican survivance is a way to relaim New Mexico arts and cultures from colonizer praxis, from the colonizer policies of investing more in arts of East or West coast than in the Southwester arts and culture of the ranchers, cowboys, settlers, and Native American artists that is truly New Mexican artwork.  We can summarize our idea of what is happening to New Mexican artists in the NM AIPP methodologies of selection in five key processes of inner and outer storytelling force field relationships:

1. Inner force field of storytelling consciousness of being New Mexican artwork (Boje, 2007 a, b; 2008 d, e)
2. Inner force field of storytelling deconstruction - artistic consciousness could be deconstructing the dominant narrative of art styles of East and West coast (and states in-between) invading New Mexican State and City buildings’ public places (Boje, 2001)
3. Outer forces field of storytelling of ‘intervention research’ into methodologies of AIPP that appropriate public places for East or West coast artist artwork instead of transforming public places into something liberatory and purposefully connected to New Mexican socioeconomic realities (Boje, 2008b, 2009b; 2009c; 2010a; Boje & Gomez, 2008; Boje & Gladstone, 2010; Boje, Tobey, & Gladstone, 2010).
4. An outer (material, corporeal) force field of storytelling that is ethical about presence and remembrance. This is what Sandoval (2000: 82) calls the technology of “democratics” which is an equalitarian social justice. There is an ethical issues in the NM AIPP storytelling (Boje, 2008e) where New Mexican artist by not having more presence and remembrance in NM AIPP are not able to effectively decolonize the artistic influences so present in East and West coast (and states-in-between) that are so Non-New Mexican. 
5. An outer force field of storytelling in the movement of art artifacts into public places that is either egalitarian or differential in outcome. This idea builds upon Sandoval’s (2000: 82) concept of a differential movement being a force field that is a harmonic maneuver, and what Boje (2011) calls the materiality of storytelling. If as we hypothesize, NM AIPP (DCA) is giving differential access of West and East coast artwork as contrasted to access of New Mexican artists’ artwork in public places, than this differential movement of AIPP is a methodology and technology for which NM AIPP is ethically answerable (Boje, 2008d).  Being ethically answerable for storytelling is being that one State institution in once-occurrent Being-ness of all the events of selection where there is a differential outcome for New Mexican artists.

We are particularly concerned that other states, such as California have AIPP that invest in the artists of California, whereas in New Mexico’s AIPP the investment outcomes (Table One) do not appear to be in support of New Mexican artists or New Mexican cultures. We recommend that NM AIPP (DCA) review a possible change in strategy.
This has everything to do with creative economy. The creative economy is all the small businesses that depend upon New Mexican artist businesses such as, arts supply stores, hotels and restaurants benefiting from arts tourism, graphic and printing art services, etc. By survivance and remembrance of the arts and cultures of New Mexico, the heart of the arts, the New Mexican small business artist artwork, is sustained as New Mexican, and stimulate a vibrate creative economy. By diversifying the holdings, the identity of heart of the arts is diluted. And the economic value and efficacy of New Mexican arts and culture deteriorates under these acts of assimilation.  Tourism in New Mexico is a $5.2 billion a year industry. Nationally, it’s a $166 billion industry.  Of the $5.2 billion, arts and culture accounts for $4.9 billion in New Mexico (Boje, 2009d: 16-17, footnote 2) “The creative economy includes everyone involved in creative enterprises: writers, photographers, printers, glass blowers, chefs, sculptors, film makers, furniture makers, architects, choreographers, composers, dance troops, design and artist studios, advertising firms, museums, galleries, performing art venues, publishing companies, neighborhood cultural organizations, historical societies, and public schools, as well as higher education arts facilities (Boje, 2009d: 15). “The visual and performing arts segment represent the heart and soul of any creative economy the sectors that generate creativity” (Arkansas Creative Economy Report, 2007: 17). It the heart of the arts and culture driving the creative economy of the State is not New Mexican, than surely that economy will collapse. What travel to New Mexico of the art on display in NM AIPP is so oftentimes not of New Mexico, but of California, Oregon, New York, or Connecticut? In the last appendix F is an analysis of the jobs in southern and northern New Mexico that result from investment in the heart of the arts, which stimulates the entire creative economy of New Mexico.

Using the alternate (US Census Bureau data, year 2000) method, just Doña Ana county (where Las Cruces is a metropolitan city) there are 1,241 arts workers. In all Southern New Mexico counties there are 3,981. And in Northern New Mexico counties where Santa Fe, Albuquerque, and Taos are located, there are 11,546 such workers. The total for the entire State of New Mexico using the census method 16,768 arts workers. Again, all this census data suggests the survey method used by NMArts (DCA)’s consultants, is an undercount of arts and culture, creative economy employment.

There is a second implication. The core of Doña Ana County’s creative economy is the female workforce of arts-related occupations. Men are the core of the Northern NM county’s work force.

–62.45% Female in Doña Ana County
–48.89% in Northern NM Counties 

We have copied others who have made replies or raised similar questions. We have endeavored to keep to the facts, and ask questions that will be helpful.  We admit our interest is in helping the artists of New Mexico develop the arts and culture economy of the State.

Respectfully,

David Boje and George Mendoza

Teachers of small business, Artists of New Mexico, and Concerned New Mexico citizens and taxpayers.

Appendix A: COPY OF LETTER RECEIVED BY GEORGE MENDOZA Nov 19 2010

Thank you for your interest in New Mexico Arts' Art in Public Places Program and for taking time to submit your qualifications to Prospectus #211 New Mexico State University Center for the Arts.

We received 150 complete applications for this opportunity and the LSC narrowed the pool of applicants down to a group of 5 finalists/teams who have been invited to prepare a proposal for the project. Unfortunately, your application was not selected for further consideration. The finalists that have been short-listed for this project are Ed Carpenter of Portland, OR; Michio Ihara of Concord, MA; Ray King of Philadelphia, PA; Albert Paley of Rochester, NY; and Meg Saligman of Philadelphia, PA.

Every selection committee is different; as is every public space and we hope this decision will not deter you from applying to future AIPP opportunities.

Again, thank you for submitting qualifications for this opportunity.

Best Regards,

Ben Owen
AIPP Project Coordinator
New Mexico Arts

APPENDIX B
COPY OF PROSPECTUS 211

Prospectus #211: New Mexico State University Center for the Arts

The Art in Public Places Program of New Mexico Arts and the Local Selection Committee at New Mexico State University seek an artist or artist team to create a site-integrated commission project for the Center for the Arts Performance Hall in Las Cruces, New Mexico. This RFQ is open to professional artists or artist teams who are citizens of the United States, Canada and Mexico, and possess experience commensurate with the project scope and budget. Artists experienced in creating large-scale ceiling murals are encouraged to apply See http://www.nmarts.org/current-opportunities.html . 

APPENDIX C: News Items to Date
Alb. Journal Article Aug 3 2010 story coverage
See Sun News Article Aug 4 2010 by S. Derrickson Moore
Press Kit for George Mendoza http://www.georgemendoza.com/Press_Kit_George_Mendoza.pdf

APPENDIX D

David M. Boje’s studies and presentations on this topic

Boje, D. M. 2007a. 1st Talkingstick Institute meetings conducted to in October and November 2007 to plan a networking of local arts leaders and organization socioeconomic intervention into the Las Cruces Arts scene on Oct 1st and Nov 12th in Corbett Center of New Mexico State Unversity.
Boje, D. M. 2008a. 1st Arts Convention of Las Cruces and Mesilla Valley, on Sep 8, 15, and 22nd. Over 100 participants. This is a service learning project for Mgt448/548 small business consulting, as a service to city government, town of Mesilla, and some 127 arts organization members and leaders. see http://talkingstick.info for photos and press items; http://cobweb.nmsu.edu/first-new-mexico-arts-convention-held-at-nmsu-brings-leaders-together/
Boje, D. M. 2008b. Arts and Culture Alliance Proposal, presented to 21 April 2008 City Council of Las Cruces, NM. http://peaceaware.com/LCBGN/documents/Building%20a%20Vigorous%20Las%20Cruces%20Art%20Scene%204%20Page%20Summary.doc
Boje, D. M. (with Joe Gladstone & Virginia Maria Romero). 2008c. Las Cruces and Mesilla Valley Arts Scene Forgotten History: An Antenarrative Guide to Socioeconomic Growth: Report represented Dec 8th to Las Cruces Mayor and City Council, and in Nov to the Town of Mesilla Mayor and Board of Trustees. http://peaceaware.com/LCBGN/documents/word%20version%20TSI%20FINAL%20REPORT%20May%207%2008.doc 
Boje, D. M. 2009a. Interview on ‘Helping Artists Make A Living Aggie Almanac Program #99’ that aired 1/29/09 at 7pm 1/31/09 was at http://krwg-tv.org/almanac/AA_99.html Film by Gary Worth, NMSU Media Department, with coverage of Sep 8 2008 Talking Stick Institute’s Arts Convention and the December presentation to Las Cruces Mayor and City Council. http://www.youtube.com/watch?v=PJ0rl2WgXuY&feature=channel_page
Boje, D. M. 2009b . Radical Arts and Multicultural Antenarrative: Time and Space in New Mexico. April 2009 proceedings of Standing Conference for Management and Organization Inquiry, Electronic Proceedings edited by Donna Carlon. http://peaceaware.com/vita/paper_pdfs/Radical%20Antenarrative%20proceedings%20scmoi%202009.pdf
Boje, D. M. 2009c. Slides of presentation on Outcomes and Recommendations of the Oct 2nd & 3rd 2009 What’s Art Convention - to Mayor and Las Cruces City Council meeting, Nov 16. http://peaceaware.com/talkingstick/2009/WhatsArtCityCouncil.htm  and story of the convention http://peaceaware.com/talkingstick/2009/What%20is%20the%20story.htm
Boje, D. M. 2009d. Postcritical Ethnography, Hermeneutics, and Storytelling Ethics of the New Mexico Arts Scene, August 17, Keynote address and paper presentation for the UK Ethnography Conference, Liverpool
Boje, D. M. 2010a.  Why is our New Mexico Tax Dollars not invested by State Agencies in Building the Artist Business in New Mexico? Special Report 20 July 2010, updated August 22nd  2010, accessed December 2nd 2010 http://talkingstick.info and report at http://peaceaware.com/talkingstick/art_in_public_places.html 
Boje, D. M.; Gomez, C. 2008. A Study of Socioeconomic Interventions of Transorganization Storytelling Among New Mexico Arts Organizations. Revue Sciences do Gestion, Management Sciences Journal.  Accepted 2008.
Boje, D. M.; Gladstone, J. 2010. Ethics of Storytelling Answerability for Leadership and Change. Chapter in the Routledge book 'Organizational Change, Leadership and Ethics' (forming part of the series 'Understanding Organizational Change'. Editors,  Bernard Burnes and Rune Todnem. Accepted Septemer 15 2010.
Boje, D. M.; Oliver-Lewis, I. 2009. What’s Art Convention and Street Festival. Presentation on  community engagement by Mgt 448 and 548 Small Business Consulting students, to Service Learning Task force of NMSU, Health and Human Services Building, Room 310.
Boje, D. Tobey, D. & Gladstone, J. and community partners. 2010. What’s Art Presentation to Sixth Annual J. Paul Taylor Symposium will be 1:00 pm in the Center Ballroom on the 3rd floor of the Corbett Center, March 18th. Participants: David M. Boje, Professor, Management Department. Students: Joe Gladstone, David Tobey, and community partners:  Irene Oliver Lewis - Co-Founder and executive Director Alma d'art (Court Youth Center), & currently working with students in small business consulting class; Virginia Maria Romero - Artist, and board member of Talking Stick Institute; George Mendoza - Artist currently working with students in small business consulting class; TheMaggieCat- Artist currently working with students in small business consulting class; Pat Bonneau-White co-organizer with Irene Oliver Lewis, TheMaggieCat, & Virginia Maria Romero of 2009 What’s Art Convention of Las Cruces, New Mexico.

APPENDIX E: References for Arts and Cultures Storytelling Methodologies of Liberation

Boje, D. M. 2001. Narrative Methods for Organizational and Communication Research. London: Sage.
Boje, D. M. 2007. Chapter 17: Globalization Antenarratives. Pp. 505-549 in Albert Mills, Jeannie C. Helms-Mills & Carolyn Forshaw (Eds). Organizational Behavior in a Global Context. Toronto: Garamond Press. http://peaceaware.com/vita/paper_pdfs/Boje (2008) Globalization Antenarratives.pdf

Boje, David M. 2008d. Storytelling Organizations. London : Sage.

Boje, David M. 2008e. Critical Theory Ethics for Business and Public Administration. Charoltte, NC ; Information Age Press.

Boje, David M. (Ed). 2011. Shaping the Future of Storytelling and Organizations: An Antenarrative Handbook. London: Routledge.

Freire, Paulo. 1970. Pedagogy of the Oppressed. NY: Continuum Publishing Company.

Sandoval, Chela. 2000. Methodology of the Oppressed. Theory Out of Bounds, Volume 18. Minneapolis/London: University of Minnesota Press.

Smith, Linda Tuhiwai. 1999. Decolonizing Methodologies: Research and Indigenous Peoples. London/NY” Zed Books Ltd; Dunedin: University of Otago Press.

Vizenor, Gerald. 1994. Manifest Manners: Narratives on Postindian Survivance. London/Lincoln: University of Nebraska Press.

Vizenor, Gerald. 1998. Fugitive Poses: Native American Indian Scenes of Absence and Presence. London/Lincoln: University of Nebraska Press.

Vizenor, Gerald (Ed). 2008. Survivance: Narratives of Native Presence. London/Lincoln: University of Nebraska Press.

Vizenor, Gerald. 2009. Native Liberty: Natural Reason and Cultural Survivance. London/Lincoln: University of Nebraska Press.

Appendix F: Job Creation in Creative Economy Sectors of Southern and Northern New Mexico

BACKGROUND ON NEW MEXICO ARTS EMPLOYMENT
Tourism in New Mexico is a $5.2 billion a year industry. Nationally, it’s a $166 billion industry.  Of the $5.2 billion, arts and culture accounts for $4.9 billion in New Mexico. 

Candle Turner and David Boje of New Mexico State University’s College of Business, decided to use a census date method in order to assess the potential of the "Creative Economy." According to the NMArts (DCA) report, using the survey methodology of sampling organizations affiliated with local Arts Councils, there are only 853 arts workers in New Mexico. We believe this survey method grossly undercounts arts and culture, and creative economy employment in the state of New Mexico. Table shows, just in southern New Mexico counties, by the census data methodology, there are 3,981 workers, and in Dona Ana county1,241, and in northern couties of the state, 11,546 (Table 4).

Using the alternate (US Census Bureau data, year 2000) method, just Doña Ana county (where Las Cruces is a metropolitan city) there are 1,241 arts workers. In all Southern New Mexico counties there are 3,981. And in Northern New Mexico counties where Santa Fe, Albuquerque, and Taos are located, there are 11,546 such workers. The total for the entire State of New Mexico using the census method 16,768 arts workers. Again, all this census data suggests the survey method used by NMArts (DCA)’s consultants, is an undercount of arts and culture, creative economy employment.

There is a second implication. The core of Doña Ana County’s creative economy is the female workforce of arts-related occupations. Men are the core of the Northern NM county’s work force.

–62.45% Female in Doña Ana County
–48.89% in Northern NM Counties 

Table 2: Southern New Mexico Arts Workers (Boje & Turner, 2009 study)

Table 3 Figures for Just Dona Ana County

Table 4 - For Northern New Mexico Counties (Bernalillo, Santa Fe, & Los Lunas counties)