ART at OTB
"It was like a near-death experience," said Dayna Hanson, as we spoke in the office of her dance troupe, 33 Fainting Spells. "You suddenly realize anew the value of what you have."
Hanson is referring to April of last year, when On the Boards weathered a risky transition into its expensive new Queen Anne space and kept its integrity intact. The New Performance series continued to bring in vital, invigorating acts from all over the world, and locally focused programs (Northwest New Works and 12 Minutes Max, even more crucial to OTB's identity) continued to flourish. Then, seemingly out of nowhere, OTB's board of directors asked longstanding Artistic Director Mark Murphy to step down.
Of course, this crisis wasn't as abrupt as it seemed from outside; conducting a capital campaign and building a new home will strain any organization. While the details of the conflicts between Murphy and the board have never been made public, it's probable that these conflicts were serious and that the board's decision was not made frivolously. However, Murphy's connections to the artistic community here and across the country are deep, and a body of performers campaigned passionately to convince the board to reverse its decision. The board also agreed to the formation of an advisory group of artists who would be a permanent addition to OTB's organizational structure--the Artist Resource Team, or ART, of which Hanson is a member.
The past year has been spent discussing this group's composition, function, and relationship to the board. The result is an independent advisory group. "What we hoped to create is a group that can support study, discussion, and research that the board and the staff can see as a new, formalized resource," said Hanson. Though its functions are still being determined (bureaucratic structures aren't built in a day), ART's primary purpose is communication and access--connecting artists back into the work that's behind the scenes, as well as on the stage. For example, how can OTB keep tickets affordable to artists as prices rise? Intermission Impossible, which used to be a celebration of the previous year and an annual fundraising event, has transformed into Cirque de la Lune, a pricey event aimed solely at funders; how can that be redefined to include artists again?
While there's little concrete progress on these or other issues, the formation of ART itself is a positive sign. OTB has bounced back dramatically from the 1999 crisis, a testament to the board's commitment and flexibility. Staff morale is at a new high, reflecting their full support of Murphy, who has programmed a strong new season ("Kick-ass!" as dancer Crispin Spaeth, another member of ART, put it). It seems likely that some potential trouble spots--the position of managing director is currently unfilled, and Murphy's contract is up for renewal--will be navigated smoothly. BRET FETZER
Bet on Betty
That most coveted of local visual-arts awards--the Betty Bowen Memorial--was announced earlier this month, with rumor (as usual) preceding official notification by two weeks or so. The grand prize went to Iole Alessandrini, whose work frequently explores the meaning and use of such intangibles as light and sound. Her recent work includes Lux Aqua Pura earlier this year at the Volunteer Park water tower and an installation at Sand Point last summer; her next project will be for the new Bellevue Art Museum for their (uncannily appropriate) inaugural show, Luminous: Light as Material, Medium, and Metaphor. Three special-recognition awards were given out this year to Eric Bashor, Lauren Grossman, and Victoria Haven. EMILY HALL
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