Flexible Support
Flexible Support
Art from the Inside
Cristeta Boarini: 826 MSP Program Director; Robyn Cline: City of Savage Economic Development Commissioner; Amanda Cortes: Artspace and Springboard for the Arts; Paul Creager: Square Lake Film and Music Festival Founder and Director; Adrienne Doyle: Juxtaposition Arts Tactical Lead and Development Associate; Craig Dunn: Access Consultant; Tricia Heuring: Public Functionary Executive Director; Alejandra Iannone: Interdisciplinary Artist and Sparkle Theatricals Creative Creative Director; Ryan-Olivia McCoy: Black Label Movement and Shapeshift dancer; Christal Moose: Native Arts Collaborative Agency and Native Pride Productions, Inc. Arts Manager and Artist; Adaobi Okolue: Twin Cities Media Alliance Executive Director; Alejandra Pelinka: City of Bloomington Director of Creative Placemaking; Tommy Sar: Independent Consultant; Andrea Sjogren: Community Education; Lue Vang: McKnight Foundation Accountant; Sara Wilson: Lommen Abdo P.A. Attorney; Kate Walker: Valley Chamber Chorale Singer; Lauren White: Augsburg College Assistant Director of Leadership Gifts.
Cigale Ahlquist, Fundraising, Organizational Development, Audience Development / Marketing; Courtney Kupsch, Youth Programming, Audience Development / Marketing, Fundraising; Jim Tarbox, General Management/ Administration/ Support, Marketing/Audience Development, Volunteerism; Leah Battin, Education, Artistic, General Administration; Monica Cruz Zorrilla, Organizational Development, Community Education, Community Service / Development; Samantha Prudhon Falkowski, General Management/ Administration/ Support, Education, Artistic.
ACHF Arts Access ACHF Arts Education ACHF Cultural Heritage
A reduction in geographic, cultural and/or physical barriers to arts participation; a change in knowledge, attitude, behavior or condition due to arts events; arts groups' are strengthened by connecting to their communities through the arts; artists expan Interviews/Conversations with participants ; Community dialogue (group conversations with a large group) ; Reviewing recorded information or documentation (such as finances, attendance records, work plans)
We conducted interviews and had many conversations with participants and family members of the incarcerated, engaged in community dialogue about incarceration, the art of the participants, and re-entry. We also tracked our attendance and expanded our efforts based on community demand. In total we had at least 47 incarcerated artists participate between the men's facility in Stillwater and the women's prison in Shakopee. 75 pieces of art was exhibited at 4 exhibitions, 50 pieces were for sale and 27 pieces were purchased totaling $4,375 in sales to the artists. Between art exhibitions, community engagement events, virtual events, we had over 500 people attend all activities and events. We met with many family members of our incarcerated artists who overwhelmingly told us how much the project meant to them and their loved ones. Many members of the public shared that seeing the art of incarcerated, has helped them see the humanity of those we often forget.
Other,local or private