Small Business Class at New Mexico State
to help Vitalize Las Cruces Arts Scene
I am Professor David Boje, and with experienced consultant and doctoral student,
David Tobey, and doctoral student and teaching assistant, Claudia Gomez, our volunteer
small business organizer, Janelle Rose Reynolds, and the students, clients, and guests of
the small business consulting seminar, as well as Lisa and Yvonne, the founding board
members of Talking Stick Story Circles, we welcome you here this evening. Our very
own Professor Chris Erickson writes in 2007 issue of New Mexico Business Outlook:
Local officials should also focus on improving amenities. Las Cruces
needs more parks, more theaters, and more arts in general. The local arts
scene is fine for a town our size, but there is also considerable room for
improvement especially as we grow. - Feb 20071
Talking Stick Story Circles in association the Mgmt 448 and Mgmt 548
(undergraduate & masters level) Small Business Consulting classes of New Mexico State
University’s Business College are proud to host the first institute workshop to Vitalize
Las Cruces Arts Scene (LCAS).
QUESTIONS FOR TONIGHT:
1. What is the Flat Grand Narrative (s) of LCAS identity as a unique local
culture and economic development resource (i.e. the flat grand narratives
2. What are the vibrant little stories (antenarratives) that can transform
(disorder) the LCAS to enliven the flat grand narrative?
3. How do we pursue granting local Las Cruces artists more agency, power,
and standing in the whole Las Cruces Arts Scene? Use PRISMA Scale to
answer the question (list any ideas/recommendations)
a. Premier – best art scene any city this size
b. Robust – many profitable arts scene segments
c. Improving – is getting profitable
d. Satisfactory – about average for a city this size
e. Moot – very few art sectors are profitable
f. Absent – there are black holes in the art scene
New Mexico Business Outlook Feb 2007, Column by Chris Erickson
As Leo Paz, an NMSU small business consulting student, puts it: “The primary
reason for the problem is that the vision of what constitutes a unique local culture has
never been adequately defined and may not even exist. The second problem is a lack of
communication, cooperation and conciliation among local artists and existing
organizations.” They co-exist, but do they self-organize to achieve synergy?
Direct employment & Revenue - Renaissance and Fiestas, museums, and 40 art
galleries attract over 100,000 people a year to Las Cruces. Small businesses hire arts
people to care for arts customers.
Improving quality of life - Golf and shopping at Wal-Mart are not the only reasons why
Las Cruces is desirable place to live. Families move here because of the vibrant LCAS.
Let me start with some facts. A very recent (Sept. 24, 2007) economic study of
61 million travelers by the Travel Industry Association touted the benefits of a vital
dynamic arts scene, such as recruiting top employees, and increasing economic
development because families want more than golf courses and Wal-Mart and K-Mart art
scene. Families want a vital and dynamic arts scene for their children. 2 The study, "The
Business of the Arts: A Look into the Economic Impact of the Arts on the Houston
Region," according to Sixel (2007) “found that the economic impact of the symphonies,
art museums, ballet and opera is nearly 2 1/2 times the economic impact of the
convention industry in 2005.”
We faculty and students of the Small Business Consulting Class, and the Talking
Stick Story Circles Institute, believe that a vital arts scene is a reason families accept
employment in Las Cruces, a reason they buy homes, a reason for art-tourism.
Lets take a preliminary gaze at the potential of a dynamic and vitalized LCAS:
Smaller than Las Cruces, -- In 1985, Loveland was the first city in Colorado to
adopt an Art in Public Places ordinance, designating one percent of the city's
capital construction projects of $50,000 or more for the purchase of art. Currently,
the city's art collection is valued at more than 6 million dollars with
approximately 83% of the total value of the collection donated by organizations
Sept. 24, 2007, 10:54PM
Economic study touts benefits of arts scene -
culture is called vital to the recruiting of top employees - There’s a connection between
the arts scene and economic development says L.M. SIXEL
in 2007 Houston Chronicle
Lancaster (PA)-size communities that were studied recently, and saw a median
economic benefit of $3.8 million from their arts scene (Lancaster is 56,348
BIGGER CITIES GET BIGGER BY INVESTING IN THEIR ARTS SCENE:
Milwaukee's nonprofit arts industry supports nearly 3,000 full-time equivalent
jobs with a payroll of nearly $80 million, according to a study done by Americans
for the Arts (Jurewicz, 2005 Business Journal of Milwaukee).4
In Denver, Arts & culture equals more than $1.4 billion a year in
economic activity, employs more than 10,000 people, disbursing $95 million in
wages and roughly $16 million in payroll, seat and sales taxes annually, their arts
scene drew 2.4 million visitors from outside metro Denver area, a $334 million
boon to local economy.5
We would therefore like to propose, for your consideration this evening, that necessity of
a Las Cruces Arts Scene (hereafter LCAS) task force, and an in-depth socioeconomic
study. Tonight’s Talking Stick Story Circles will be asked to generate ideas and stories
on these and any emergent LCAS proposals:
1. Benchmark the LCAS against other comparable university cities (Boulder, Iowa
City, etc) for processes of promotion, lodger fee expenditures, art quality, web site
mentions of ‘art scene’ consumer awareness, tourism-revenue, employment in the
arts, school and university interfaces, and diversity of arts (from musical,
theatrical, painting, sculpture, to weaving and crafts).
2. How to persuade the City of Las Cruces to put its lodger tax fee into the
promotion and purchase of Las Cruces artists’ artwork that exemplifies the life
force of the LCAS. We enlist as well County Commissioners in this project.
3. How to better inform Las Cruces visitors and residents about the history, current
crossroads and possible futures of LCAS. Reason – people visit and settle in cities
with a vital arts scene, and insufficient art sales in 40 local galleries.
4. How to erect a clearinghouse for accurate and timely information on events of Las
Cruces artists and their art projects, when the scene is so fragmented, splintered,
fractionated, and divided. For example – artists have some web site visibility;
Visitor’s Bureau has some display of artist events and locations.
5. How to work with the Las Cruces Mayor and City Council and the Doña Ana
County Commissioners, Visitor’s Bureau, Chamber of Commerce, New Mexico
State University, area public schools, and various state agencies (Economic
Development, New Mexico Arts, Tourism, etc.) to leverage resources to promote
the LCAS as an economic development asset.
6. Unite youth education opportunities to learn from and contribute to the vitality of
the LCAS (e.g. exemplary programs such as A Children’s Theatre of the Mesilla
Valley (ACT) that instructs youth in acting, screen writing, video production, and
promotes their work in Organ Mountain Film Festival).
7. Other proposals will be made as the Talking Stick Story Circles do their work this
Since we are a teaching and learning enterprise, lets talk a bit about knowledge. Our
Talking Stick Story Circles this evening will be a Delphic Oracle, telling stories about the
history, present, and future of LCAS.
Example: Look at how these websites describe LCAS:
1 mention at LC official City website http://www.las-cruces.com/
0 mention Convention & Visitors Bureau main page http://www.lascrucescvb.org/
2nd layer down is “arts community” link; 3rd layer City of Artists Arts Calendar
? - 3 Arts links at LC Info page do not work at
http://www.lascrucesinformation.com/ (Bruder Realty owns the site)
Example: Iowa City ARTS SCENE from the Iowa City Official Website:6
From music and art festivals to Broadway performances, Iowa City has an event to
suit anyone's taste. During the summer months, live music becomes a part of the
downtown's irresistible ambiance. Each July, the city is host to a jazz festival that
attracts music enthusiasts from both near and far. The annual Iowa Arts Festival
features the state's best visual art, music, and food. Iowa City is also home to
several community theaters, including Riverside Theatre's Shakespearean stage.
Located in City Park, this open-air theater presents shows under the stars.
TALKING STICK STORY CIRCLES:
Talking Stick Story Circles are conversational encounters with a back-and-forth of
story-telling and story-listening, noticing fragments of retrospective narrative and
fashioning as well prospective antenarratives (bets of story transformative possibilities)
that affect the whole, that change Flat Grand Narratives into something vibrant with
By critiquing the retrospective Flat Grand Narratives we can appreciate the
Prospective Antenarrative Future-Making in acts of concentrated story listening and story
noticing. An example of Flat Grand Narrative is the fact that a recent and expensive City
of Las Cruces publication costing $250,000 a year, did not list the ‘Arts Scene’ as a major
attraction and industry (there are examples of museums, events, and performing arts, but
the identity of the arts scene is left implicit). Another example of a Flat Grand Narrative
is 70% of the artists (& craftsperson's) works at the annual Renaissance Faire are by non-
Las Cruces artists (this one is debated by a counter-grand-narrative that most of the artists
at the Faire were local or regional, or at the very least from New Mexico). Yet another
example of Flat Grand Narrative is the fact that Las Cruces consumers of arts are
reported to do their more serious arts purchases in cities with a higher threshold of Arts
Scene Identity, such as Santa Fe/Taos, Silver City, etc. To answer these questions we
need solid studies of the economic performance of various communicative strategies in
use in the LCAS.
The power of Talking Stick Story Circles is not the storytelling or in our critiques
of Flat Grand Narratives, it is the story listening, and our approach to 'Story Noticing.' It
is not just being able to repeat a story, it is the concentrated acts of 'Story Noticing' is a
special type of listening to what is between-the-lines, what is the context of an utterance,
and what are the referents of words or phrases to the consciousness of artists, gallery,
theatre, museum owners, and the consciousness of Las Cruces consumers. For example,
does a story about Artist A's art have meaning for Gallery B's context, which makes B's
Gallery event meaningful to A, and to C the art-consumer? When organization B
Gallery/Museum/Festival is aware of Artist A's art, how does A's story and B's story and
C's story interact to co-construct the Las Cruces Arts Scene, its socioeconomic vitality?
How are these stories redistributed in the media (newspapers, magazines, Visitor’s
convention and Tourism Bureau handouts, web sites), and leveraged by City Council,
Mayor's Office, County Offices, and New Mexico State University?
The evolution of the LCAS, we hope, will get a boost on this Monday Oct 1st
2007. The NMSU students have been this term with local artists, galleries, museums,
studios, and arts organizations dedicated to the LCAS. LCAS is patiently struggling for
recognition and legitimacy, for outlet and purchase, among galleries, theatres, and
museums, to reach the Southern New Mexico consumer. LCAS is diverse ranging from
paintings, crafts, sculpture to performing arts of music and theatre. There are spurts of
sporadic organizing done by Doña Ana Arts Council, CAPA, Visitor’s Bureau, Chamber
of Commerce, ArtForms, and a variety of other local organizations.
Participants at the workshop will work in a series of Talking Stick Story Circles,
telling stories about how to move from the Grand Flat Narrative (where LCAS gets
hardly a murmur ion city literature and websites) to a vibrant Story Possibility for the
future of the Las Cruces Arts Scene. The small business consulting class of the Business
College of New Mexico State University believes that passing the Talking Stick among
artists and their promoters will allow some very powerful stories to emerge. The students
and faculty are here to listen.
NIETZSCHE - Freidrich Nietzsche (1997) in his Untimely Mediations, speaks of
three kinds of history.
1. Antiquarian: ancient kinds of theatre, music, dance, and visual arts that
have long roots, and expert practices. In New Mexico this would be
sculpture that comes from the blacksmiths, from their expert-forge
practices. It would be Native American pottery and weaving works of art
that comes from hundreds of years in a community of practice.
2. Monumental: emerging monuments of art, that break away from
antiquarian, that forge some new direction, yet is done with a sense of
expert craft aesthetic. Monumental history is concerted effort to amplify a
certain behavior, practice, or art that we wish to keep.
3. Critical: a critical art goes way out there to speak back to power, to bring
some very political and even unethical practice into the public’s
consideration. Critical art would draw attention to an antiquarian art that
has turned romantic, that romanticizes power or to a monumental art that
builds monuments to power-systems, and leads to a mediocre art. Critical
art is very much concerned with unmasking world-systems, such as
globalization that pushes Third World imitative art in the Wal-Mart,
Target, Best Buy, etc. A critical art can work in a variety of mediums, to
bring consumers into awareness of their culpability for consuming junk
THE DANGER OF AN EXCESS OF HISTORY: There is presently a grave
danger that LCAS is being overwhelmed, shattered, fragmented, and even suffocated by
what Freidrich Nietzsche (1997) in his Untimely Mediations, calls an excess of history.
The excess of history is defined as a world-process, a global supply chain that
overburdens LCAS with mediocre art. It is an excess of history that is sucking the life out
of the LCAS, enslaving our youth in a mediocre artistic scene. This excess of history
overburdens small local arts business, is antithetical to Las Cruces economic
development, including the ability to attract professional (older) baby boomer families to
bring their children to live in Las Cruces. Las Cruces is loosing what we think is a fairly
conservative economic estimate of upwards of $20 to 30 million a year in what cities of
comparable size, with a major university are able to generate in terms of employment in
the arts, art revenues, including art-tourism dollars.
THE GOOD NEWS: The good news is a complex web of arts organizations are self-
organizing a web of circumstances that is elevating the LCAS:7
ArtForms: Artists Association of New Mexico
CAPA – City of Artists Promotional Association http://www.cityofartists.org/
Doña Ana Arts Council www.daarts.org
Doña Ana County Lyric Opera www.nmsu.edu/~music
Embroiderers’ Guild of America (Las Cruces Chapter)
Las Colcheras Quilt Guild
Las Cruces Chamber Ballet
Las Cruces International Mariachi Office
Las Cruces Symphony Association
Mesilla Valley Film Society www.fountaintehatre.org
Mesilla Valley Fine Arts, Inc
Rio Grande Recorders’ Society
Las Cruces Arts Scene Organizations
There are also a dozen galleries, jus in Mesilla, another dozen in downtown Las Cruces,
another dozen museums, and a half-dozen theatres building the identity of the Las Cruces
The Downtown Ramble on 1st Friday of each month is a celebration of the Las
Cruces Arts Scene. The City of Las Cruces is helpful. An Artistic Barricade will
surround construction site of new city hall (Derrickson, 2007)8
The Las Cruces Convention and Visitor’s Business Bureau (LCCVBB) has put
out a handy brochure, “From Rock Art To Pop Art” detailing the organizations and
events involves in the Las Cruces Arts Scene. In the words of the LCCVBB: “The art
community is quickly transforming from one of the area’s best kept secrets, to one of Las
Cruces’ most popular attractions.”9
MAIN STREET DOWNTOWN HISTORY: The Main Street downtown of Las
Cruces, was once the center and heart of Las Cruces community. Las Cruces was founded
in 1848 because Doña Ana village was overcrowded with “discharged veterans, and land-
hungry Texans” that swarmed the region following the Mexican-American War of
1846.10 Settlers drew suertes (lucky lots) from a hat. “Each settler drew a town lot and a
farm lot” (ibid). Las Cruces (Wikipedia site) provides this history:
In 1830 there was an Apache massacre somewhere of a party of nine
travelers, including a Mexican Army General, a priest, and five (or four)
choir boys. Only one choir boy survived the massacre, and buried the
others, marking the graves with crosses, according to the story that "Tio"
Tuseño told tourists for a handout. According to another unverified
folktale, the area became known as "El Pueblo del Jardín de Las Cruces"
("The Village of the Garden of the Crosses"). The city government did not
start displaying three Latin crosses as a symbol for the city until
preparation for the 1949 centennial began.
April 1881 the railroad “forged Las Cruces into a bustling shipping, mercantile,
banking center and seat of government” (ibid, Historical Districts). With automobile
travel, residents and businesses of Las Cruces moved to the suburbs, and away from the
historic downtown Main Street core. As Main Street began its decline, federal
redevelopment craze that raged across the U.S. razed historic districts nationwide, and
Las Cruces followed suit (ibid). The first revitalization of Las Cruces downtown was in
1968, and leveled forty-three blocks of original town site, along with St. Geneveve’s
An Artistic Barricade will surround construction site of new city hall By S. Derrickson
Moore Sun-News reporter 09/25/2007 http://www.lcsun-
Las Cruces Convention and Visitors Bureau, undated “Official Map” brochure, quote
from section Arts and Culture
From Las Cruces Historical Districts: The Heart of Las Cruces. Marty Davenport
(researcher and writer) Jon Hunner (editor). Undated
church and Loretto Academy (who were adjacent). By 1970, Main Street was a
pedestrian mall that re-routed auto traffic in what “became derisively called ‘The
Racetrack’” (ibid). Main Street Downtown continued to decline. This lead in the 1990s to
a series of revitalization efforts, including the most recent restoration of the Rio Grande
The current revitalization effort is to open Main Street to automobile traffic,
which is supposed to create a strategic rebirth of the historic heart and soul of Las Cruces.
According to Las Cruces (Wikipedia website):
Plans to re-open the whole mall to vehicular traffic besides the completed
one-block example have drawn criticism from people who feel the multi-
million dollar project is too costly and from others who enjoy the
aesthetics, usually quiet, and the ever important shade of the fully-covered
area of the pedestrian mall. Nevertheless, the mall's north and south
entrances have been torn down. Furthermore, in August 2005, a master
plan was adopted, the centerpiece of which is the restoration of narrow
lanes of two-way traffic on this model portion of Main Street.
A brochure titled Main Street Downtown is much more hopeful prospective
sensemaking: “Main Street Downtown is the cultural corridor of our rapidly growing
city, boasting museums, art galleries, theaters and unique shops, small restaurants, and of
course, the historic Rio Grande Theatre and the ever popular Farmer’s & Crafts Market.”
According to the revitalization plan promotional brochure, as Main Street Downtown
builds momentum, there will be “an increasing variety of shopping and dining
experiences” that will emerge and offer “more opportunities for exciting festivals, fairs
and open-air entertainment on the new Main Street Plaza.”
In sum, LCAS is a complicated web of circumstances involving mighty efforts by
40 galleries, a dozen arts organizations, museums, and a series of urban renewals since
DELPHIC ORACLE: Tonight the Talking Stick Story Circle process is a
Delphic Oracle of story noticing, about LCAS at the crossroads of choice. Taking a
wrong turn, not making a quick u-turn can mean a disastrous consequence for the LCAS.
GRAND FLAT NARRATIVE: I call the old excess-history, the Grand Flat
Narrative of LCAS. The Grand Flat Narrative of LCAS is that the consumers, and some
of the galleries, festivals, fiestas, and museums do not recognize Las Cruces artists. One
Grand Flat Narrative portrays a deteriorating LCAS, the other a more revitalizing LCAS.
The downward spiral Grand Flat Narrative says, Galleries are not moving that much
product; the school system’s art program, as we hear it, are in the doldrums; the
consumers of art in Southern New Mexico shop outside of Las Cruces. Some have
reported the Renaissance Faire to be 70% non-Las Cruces’ artists who are nomads
traveling from faire-to-faire. Others are suggesting that the Doña Ana Arts Council has
been successful in making the Renaissance Faire representative of regional and local
artists. In the downward scenario, Las Cruces, Doña Ana, and surrounding counties of
Southern New Mexico are loosing tens of millions in arts-industry revenue by a failure to
story the prospective horizons and possibilities of the Las Cruces Arts Scene (hereafter,
LCAS). The problem is the loss of revenues to business, the loss of taxable revenues to
the State that comes from not jump-starting a viable Las Cruces Arts Scene, one that
rivals Santa Fe or the 50 art galleries in Silver City.
The alternative Grand Flat Narrative of LCAS: the Doña Ana Arts Council’s
Renaissance ArtsFair is largely local and regional artists, and DAAC claims
responsibility for Downtown Main Street developments that they tout as being highly
favorable to the further development of the local LCAS (www.daarts.org). In this Grand
Flat Narrative there is a developing and robust local LCAS with many of the dozens arts
organizing organizations (e.g. CAPA, ArtForms, etc) working to self-organize a web of
circumstances. So is the first Grand Flat Narrative an instance of sour grapes? As art
critic, S. Derrickson Moore of the Sun News put it (Aug 31 2007) Las Cruces is an Art
Las Cruces … top notch theater groups, a Tony Award-winning playwright,
Mark Medoff, in residence, some great galleries, writers, musicians,
historians, a world-class used bookstore, Coas, and a symphony that had
attracted international attention.… The state of the arts is Las Cruces, we
concluded, is downright exciting
NARRATIVE-ORDER & STORY-DISORDER: My theory of storytelling is that
self-organizing complexity is the interplay of narrative-order and control (such as the
above two Flat Grand Narratives) and story disorder that is out-of-control. Out of the
opposition of narrative-order of opposed Flat Grand Narratives and story-disorder comes
emergence. And it is this emergence that will spell the success or failure of LCAS.
Out of narrative-order and story-disorder, comes an emerging story is that there is
a diverse community of Las Cruces artists that is growing in talent and national
prominence is an attractive ‘arts scene’ to Las Cruces Arts consumers.
YOUTH AND LCAS: Let us unveil a conception of LCAS for your youth, and
generations of youth, that is the antithesis of mediocre Wal-Mart, K-Mart, and Target art.
We hear that Wal-Mart is negotiating with the City of Las Cruces to open a 3rd Wal-Mart.
This one will be somewhere along Route 70. Wal-Mart, more than any other retailer is
responsible for what Nietzsche (1993) calls an excess of history, one that has become a
Grand Flat Narrative of mediocre art.
We would like to propose that vitalizing the LCAS is a celebration of life, an
anecdote to the excess of history, a monstrous world-process of global art-deadness.
LCAS is a consolidation of the hope of youth, our hope that youth will escape the excess
of history and find “life-drives” (Nietzsche, 1993: 122) to become cultivated people. A
cultivated people acts unhistorically, by erecting monumental art, and acts in a
suprahistorical way to celebrate the antiquarian roots of rancher-blacksmithing, the
farmer’s handy-crafts, the cowboy poetry, the indigenous weaving and pottery-making.
In short a vitalized LCAS rejects the Wal-Mart mediocre-art fashion of a world-system
that imports its imitative art from China, while denigrating its artistic heritage.
AUGUST 31, 2007Las Cruces Becomes An Art Mecca By S. Derrickson Moore
UNHISTORICAL: The power of unhistorical is to forget the Old Flat Grand
Narrative of the LCAS, to learn from it and forget it. Lets enter the meditative story calm,
and focus on abolishing the horizons of the old Flat Grand Narrative. Let’s let in the light
of a LCAS that is becoming vital now, that is generating what Nietzsche (1993) calls
‘Monumental’ art. Monumental art is emerging, coming out of the Las Cruces desert
sands, pushing itself onto the museum, gallery, and studio spaces, and is about to be
consumed, pushing the world-process, the other direction, from local, to State, to Nation,
SUPRAHISTORICAL: The power of leading the eye of the artist and consumer
away from the excess of history gone global, and living in the artistic atmosphere of the
local, celebrating, the antiquarian art of black smiths, forges, weavers, glass and pottery
makers, singers, and poets, painters and sculptors, who are home grown. This is what
suprahistorical mean: to practice the most ancient antiquarian cowboy, Indian, farmer and
rancher arts, and to thereby reverse the course of art globalization, to resist Wal-Mart art.
The danger, of course, is that art studios, and art museums are imitating Wal-Mart art,
that every home in Las Cruces gets its art at Wal-Mart, Target, and K-Mart, that all the
homes have that Home Depot and Lowe’s aesthetic-mediocre-look. The suprahistorical
reveres and preserves the great traditions of Southern New Mexico Art. It is not the
continuation of Santa Fe imitation, where Mesilla Square is an imitation of Santa Fe
Square, or Las Cruces opera is an imitative of Santa Fe opera.
So our LCAS manifesto is to learn from the Excess of History, and to be
Unhistorical and Suprahistorical. Otherwise this generation of youth of Las Cruces will
be the first one to be educated without a vital LCAS, without a vital Farmer’s Art Market,
without the Art Ramble. We wonder about the sanity of the errant wreckage of Las
cruces downtown revitalizations, since the 1970 disaster, and since the promises of a
genuine place and pace for LCAS, downtown, seems not to happen.
Fragmented and in pieces, disassociated from a place, revitalizing museum art, the
nomadic gallery art artists, the mediocre Wal-Mart art, the classics drone on and on the
public radio, all the funding of LCAS is not working to create a living artistic
The LCAS is a self-organizing force of narrative-order, and story-disorder. But is
it dynamic, vital, an engine of economic development.
We believe that the future of the youth depends on a vitalized LCAS. It is the
reason why enrollment at New Mexico State University stays flat. Compared to other
universities, in cities of similar size, the LCAS is a bit flat. I once recruited a bright Ph.D.
student from Auckland New Zealand. She said she could not survive in this scene, her
creativity would be stifled. There just was not enough artistic life force for her here. Let
the cultivation of youth artistic sensibility be a mission point for this land grant
university. Let us recognize that art is a critical asset of economic development that is
essential to counter the mediocre art of the global world-process. Our youth still have
hope that their garage band will capture the music scene, that their cowboy poetry will
garner applause at Spirit Wind’s Poet’s Night, or that their paintings and sculptures will
be shown at a local gallery.
Let me be blunt. The LCAS is a bit sickly. It suffers many illnesses including the
malady of an excess of history. The local history is overwhelmed by the globalization of
bad art history, the art pushed through the global supply chain from Asia to Las Cruces.
There is a globalization attack on the local artistic atmosphere. The youth of Las Cruces
possess the anecdote, their vitalistic instinct for life.
There are many ideas as to what to do about this:
1. e.g. I wish the City of Las Cruces elected officials would designate monies
to advertise the city as an art center in national magazines. We are
wonderful and Las Cruces Style is as good as anything Santa Fe and/or
Taos can come up with. Maybe Denise Chaves needs to write a book titled
"Las Cruces Style". We just need exposure to the uninformed public. - Sep
17 2007 Las Cruces Sun News Blogspot
2. I was at a CAPA meeting 10 to 11:30 AM on Oct 1 2007. One of the
artists wanted to know if the art galleries and art festivals were selling art
to the consuming public. How are they doing? How can we benchmark the
performance of the LCAS against art sales in other communities?
3. Can the lodger’s fee tax be spent a little differently to build the base of the
What ideas do you have to improve LCAS?
Contact David Boje for more information on the Small Business Consulting and Talking
Stick Story Circle project to create the emergent story of the Ls Cruces Arts Scene