Click here to subscribe to Funk and Gloria's weekly newsletter.Kansas City has earned a six-page spread in the October issue of Art in America. The "Report From Kansas City" reports on the expansion of the Nelson-Atkins Museum of Art, the city's public art program and various other museums and art galleries. The article is not online.
The Historic Northeast Cultural Arts Commission is hosting a public sidewalk chalk drawing festival this weekend at the Concourse Park at Benton and St. John in the heart of the Historic Northeast Neighborhoods. The celebration is free and open to the public.
Today the Planned Industrial Expansion Authority considered 31 proposals for tax abatements for art galleries, studios and performing arts facilities that are facing large tax increases in the Crossroads Arts District. The plan is to assist these entities so that they can remain in the district and preserve the cultural vitality of the area.
Mayor Funkhouser submitted a letter to the PIEA in favor of these projects. To read the letter, click the link below.
Local arts champion David Hughes emailed me an article today from the August 14 edition of the Wall Street Journal about Charlie Parker and the golden age of jazz in Kansas City. The article, by William H. Smith, took an interesting slant: That the culture that put Kansas City on the map was actually fueled by the corruption of the Pendergast machine, and that the halcyon days ended when Boss Tom was indicted in the mid-1940s.
David sent a note along with the letter: "This is what we want happening again - visual art, jazz etc...maybe without so much of the corruption... Paris on the Plains..."
By "we" David means himself and a number of other very busy Kansas Citians who are working to strengthen Kansas City's already strong arts and culture scene.
One way they're doing that is by establishing a program called Kansas City LINC (short for Leveraging Investments in Creativity). It's part of a national initiative to make life easier for artists in all disciplines by doing such things as providing access to affordable insurance, helping to build an audience for the arts and identifying other areas of need and finding ways to meet those needs so that artists can thrive
The program is just getting rolling here in KC, and artists are encouraged to visit their website to register to become a part of the action
Meantime, the WSJ article mentioned some upcoming events in KC to celebrate Charlie Parker's birthday. On Sunday, August 26, there'll be a sax salute, a Mew Orleans-style marching band and a slew of local jazz musicians gathering at his grave site in Lincoln Cemetary on the edge of town. And later that night there'll be a late, late night celebration at the Mutual Musicians Foundation. The grave site tribute is at 1:00 pm and the MMF function starts at 3:00 pm. For a map to the grave site and further details, please visit Webjazz.net. (Thanks Dean.)
-JM
Date: July 2, 2007
To: Mark Funkhouser, Mayor
Ed Wolf
Joe Miller
Mike Eglinski
From: Kendrick Blackwood
Subject: Arts discussion with Joan Israelite, president and CEO of the Arts Council of Metropolitan Kansas City
I met recently with Joan Israelite of the Arts Council, and she had some insightful thoughts about the Arts in this town:
Mark could be the first Mayor to really look at how the City can strategically foster and promote the visual and performing arts, recognizing their importance as key assets for attracting business and the creative class and for downtown development, neighborhood development, youth development and cultural tourism.
To read the entire memo: Download joan_israelite.pdf
Date: June 7,2007
To: Mark Funkhouser, Mayor
Ed Wolf
Kendrick Blackwood
Mike Eglinski
From: Joe Miller
Subject: Crossroads Arts PIEA
As a follow-up on the interviews I conducted with various property owners in the Crossroads Arts District, I read the Crossroads Arts PIEA, which was passed toward the end of the previous Mayor and Council's term. I also interviewed Bob Long of EDC, who played a large role in creating the plan, Brian Pitts of the planning department who assisted as well, and Al Figuly of the PIEA.
To read more of Joe's memo: Download joe_memo_piea.6.7.07.pdf
There's been a lot of talk lately, in the newspaper and on the radio and elsewhere, about taxes and the Crossroads Arts District and the Planned Industrial Expansion Authority, etc. Lost in the chatter, I think, is what the Crossroads is really about: a sense of place and community. I got a good dose of that last week, when I went with my wife to take in the sights of First Friday, when the galleries all open their doors late into the evening and the streets are full of people.
We wound up in the backroom of the Dolphin Gallery, where all the founding members of the storied arts district, it seems, were gathered for beer and wine and barbecue. I sat down on an old leather loveseat in the back of the room next to Jim Leedy and listened as a he spun tales of his time as an art student in New York in the 1950s, when the center of the art universe was shifting to lower Manhattan, and Leedy counted among his friends Willem de Kooning and other masters of the abstract expressionism movement. As he spoke, I let my eyes wander around the place. It was an eclectic crowd, from men in suits with loosened ties to shaggy sculptors in stained cargo pants. In the corner stood a refrigerator with every inch of its doors and sides covered with snap shots from previous parties.
The scene, it seemed to me, was distinctly Kansas Citian, not only because there were slabs of blackened ribs on the long table in the middle of the room, but because there was at once an air of cutting-edge creativity -- the presense of artists who could hold their own with those from the nation's largest metros -- and a refreshing lack of pretention. This despite the fact that our arts community has much to brag about, with a world-class art school, top-notch museums and a network of benefactors who are among the most generous in the nation. These contributions define our city in many ways, but the people who helped make them are just regular folks.
The conversations I had with folks at the party were, by and large, light and upbeat, full of creative energy and possibility. But on several occasions -- usually after I'd say, with a broad gesture across the room, "This is great" -- folks would look down and shake their heads and say, "It's a shame it's all going to end."
There is, in the Crossroads, even amid the festiveness of First Friday, a sense of impending doom.
It's still unclear what elected officials can do to save this delicate community that's sprung up in our urban core. Perhaps the already approved Crossroad's Arts PIEA is the answer, at least for the short term. And the Mayor's Office is planning a joint town hall meeting with the Jackson County Executive in hopes of finding solutions to the drastic tax increases that have been coming each year.
But for now, for the sake of this blog post, it seems worthwhile to at least acknowledge that we need places and communities like this, that are distinctly ours, that make Kansas City unlike any other city in the world. It seems that at least some of this sentiment ought to be present as we frame what is to be done.
-JM
On Friday I met with David Hughes of the Charlotte Street Foundation. We talked about KC's art scene, and ways the city can support it. It was a great chat, and I'll write more about it in the future. Meantime, I want to post something he sent to me later that day. Turns out, local art leaders have already gotten together and laid out a plan for how Kansas City can become a national arts powerhouse. Check it out:
-JMOver the past week, I've met with several folks from the Crossroads Arts District, all of whom share similar concerns. Chief among these is the sharp increase in taxes they'll have to pay if the most recent round of property assessments goes through. They're also leery of the measures the City has taken to mitigate their problem -- in particular a tax abatement plan from the Planned Industrial Expansion Authority (PIEA) that was passed in the waning days of the previous council and mayoral administration.
So far I've met with: John O'Brien, owner of Dolphin Gallery; Bob Ehinger, who owns and rents a lot of properties in the area, including the Arts Incubator; gallery owners Jim and Stephanie Leedy; David Ford, owner of YJ's Snack Shop, micro-developer and artist; Stretch, an artist, business owner and developer; and Paul and Carol Crater, who own a building that they rent to artists for low rates. Mike Eglinski sat in on my meeting with O'Brien and Ehinger.
As leaders in the art community, they are all well aware of the typical pattern for urban redevelopment in which artists "discover" a neglected corner of a city, breathe life into it and then find themselves priced out of the neighborhood by the gentrification that inevitably follows. But they say Kansas City has exacerbated this phenomenon by giving out large tax incentives for developers to build high-dollar condos, lofts, offices, restaurants and storefronts. Many of these are exempt from paying taxes for decades, yet their new, city-subsidized developments are being used to assess the value of the buildings the artists own and occupy. The artists believe this is unfair, and they fear that they will be forced to leave the Crossroads, a neighborhood they’ve done so much to revive.
They explained to me that after the previous round of tax assessments, in 2005, the City sought to protect them by freezing their taxes, so that they might remain in the area. This is important, they explained, because they were the ones who built the value of the Crossroads in the first place, and who continue to keep it hip, so to speak. This ties into a theory of economic development and urban revitalization that has been gaining currency in recent years -- the "creative class," in the words of Richard Florida, are vital to the growth and resilience of cities. This is a concept that Kansas City's civic leaders have shown support for in recent years, most notably the Civic Council's Sasaki Plan for the renaissance of Downtown.
Yet the plan that arose out of this initial idea has been compromised by developers who artificially inflate property values with help from the city. One way the plan was compromised was by defining arts-based enterprises so broadly that the high-end developers can take advantage of the designation for their own benefit. Ford even suggested that the plan would allow Bazookas -- a strip club -- to qualify for an arts tax abatement.
But there are other aspects of the plan that trouble the artists even more. For instance, it requires applicants to deed their properties over to the PIEA and then have the properties deeded right back. It also apparently requires a 10-cent-per-square-foot fee, as well as closing costs. And there's language in the plan indicating that the applicants will need to spend the money saved on taxes for upkeep of the building. Lastly, the abatement will only last for 10 years, at the end of which the properties will presumably resume the full value accrued between now and then.
Each of these provisions makes them uneasy.
They are uncomfortable with signing over the deeds to their properties to a quasi-governmental agency, even for a short period of time. Their unease stems from an arguably healthy skepticism of trusting the government in such matters.
The 10-cent-per-square-foot amounts to a significant financial hit, because their buildings are quite large. Moreover, they're unsure of why this charge is being added to the deal, and they don't know who is getting the money.
The requirements for upkeep worry them as well; they fear that this might open them up to aesthetic oversight, which is anathema to artists who feel that they are well qualified to make such decisions and who tend to prefer a more organic and funky style.
And with the 10-year provision, they fear that they'll invest a decade of money and sweat equity into something they'll wind up losing anyway.
Even though all of these individuals were the first to redevelop the area, and though their constituency is the supposed beneficiary of the PIEA plan, they told me that none of them had any meaningful participation in its creation. In fact, they're unaware of exactly who put the plan together.
I asked them each what they would like to see happen on a policy level. Jim Leedy was most succinct: "Give us what you said you would give us: Freeze the taxes without strings."
Looking long term, they would all like to see the City work with Jackson County and perhaps the Kansas City School District to create an assessment and taxation policy that doesn't include such severe increases (in the Crossroads these have been, in some cases, increases of several hundred percent). They would also like to see the City do more on the front end to create an environment in which artistic enterprises can thrive and enjoy some protection from historic market forces, so as to have a vibrant and sustainable arts district. Short of that, they'd like to see the City not pursue policy that speeds up the pricing out of artists.
I asked them if they would be interested in convening a town hall meeting, perhaps jointly with the Mayor and Jackson County Executive Mike Sanders. They were open to this idea, but they stressed that measures should be taken to ensure the conversation is productive and not mired with high emotion and vitriol.
I have several more meetings set up with artists and arts supporters in the Crossroads. I will also obtain a copy of the PIEA plan to share with the Policy Analysis Team.
