Among the many fascinating anecdotes included in John E. Booth's The Critic, Power and the Performing Arts, is an exchange between Robert Shaw, the conductor of the Atlanta Symphony Orchestra in the 1960s and Jack Tarvey of the Atlanta Constitution. After listening to Mr. Shaw's complaints that the paper did not have a good music critic, Mr. Tarvey shot back and you're damn lucky we don't have one.

Nearly one million charitable, educational, religious, health and social welfare organizations create, nurture, and sustain the values that frame American life. They promote altruism, in a society that reinforces self-interest; community, in a society that rewards individual achievement; and pluralism, in a society some times threatened with divisiveness. They provoke, challenge and question. They also teach, mediate and heal.

Paper presented at the conference Art Museums and the Price of Success; an International Comparison, held at the Rijksmuseum, Amsterdam, the Netherlands, on December 10 and 11, 1992, and organized by the Boekman Foundation, Amsterdam.

Paper presented at the conference Art Museums and the Price of Success; an International Comparison, held at the Rijksmuseum, Amsterdam, the Netherlands, on December 10 and 11, 1992, and organized by the Boekman Foundation, Amsterdam.

The 1993 annual convention of the National Assembly of Local Arts Agencies, June 6-9, in Miami Beach, Florida, featured a plenary session on The Religious Right and the role they continue to play in the politics of our nation's public arts funding process. The lively debate featured three speakers - People for the American Way president, Arthur Kropp; National Campaign for Freedom of Expression director, David Mendoza; and founder and president of the Christian Action Network, Martin J. Mawyer. The moderator was Harriet Sanford, NALAA board member, and Executive Director of the Fulton County

This paper is a history of the Shaw Memorial dedicated to the memory of Robert Gould Shaw, the commander of the first all black regiment to be raised in the North during the Civil War. The paper deals not only with a nearly fourteen year struggle by the artist, Augustus Saint-Gaudens, the master sculptor of American art by the end of the century, to come to terms with art, but it also marked an intense contest over the memory of the Civil War.

This report examines the use of theatre as a tool and model for community development, both historically and in the present. It is based on a 1992 symposium organized by Cornell University and Roadside Theater.

Judy Levine details the twenty-year history of the Theater for the Forgotten, originally formed to present drama to prison inmates in New York City, Since then, public and foundation funders for arts programs have become more focused on professional organizations for whom the arts are the only priority, whereas funders for social service programs regard the arts as frills. Those who see art as social service are caught between the two definitions and must exercise considerable ingenuity to survive with their mission intact. (p. 4)

Recommendations from the President's Committee on the Arts and the Humanities include the importance of arts education for all, and that private (as well as public) funding is crucial if a sound cultural policy is to be maintained. Direct public support for the arts and the humanities from the federal government is a relatively new phenomenon. For most of its history, the has relied on the private sector and a system of tax incentives to foster the growth of cultural institutions.