In the "Politics of Art," an essay by Kay Leigh Hagan, the writer discusses five lessons learned over the course of a business quarter. "1) we can make a difference. 2) Raise the revenue or cut the budget. 3) Put up or shut up. 4) Calling the tune means paying the piper; and 5) Begging bruises the knees even when standing up for your rights." Good tips, especially when cuts in arts administrative positions were common in March and April of 1979. An editorial analysis of Atlanta Bureau of Cultural Affairs reads that the BCA had "gone the way of most government funding agencies, placing political commitments and pressures over artistic excellence and professionalism." Also in the paper: a profile of painter and printmaker Benny Andrews sets the record straight on the definition of artistic excellence. He says "I do not believe that committees do good paintings. It's a very selfish endeavor; one must believe in oneself to the point of feeling unique, and, of course, that's pretty nervy and selfish." Andrews grew up in a family of sharecroppers and was a mostly self-taught artist who went on to receive a fellowship from the NEA, among other accolades. His perspective in the midst of art world politics and race in Atlanta is and was invaluable. The Artist to Artist conversation for this issue features installation artist Laurie Anderson and John Turturro, the latter of whom created images from "forced writing techniques."
