This report traces the history, theoretical underpinnings, values, and methods of community cultural development practice, emphasizing its effectiveness as a response to the social and economic forces that weaken cultural ties, and offers recommendations to strengthen and support the field.

This paper critically reviews claims that public art helps develop senses of identity and senses of place, contributes to civic identy, addresses community needs, etc., and provides theoretical critiques of public art's contributions to urban regeneration.

The article suggests that a holistic strategy which combines developing technology alongside creative action to produce technology that can play a part in extending the boundaries of human though and action.

November 1998 Forum that sought to stimulate dialogue about how to build a stronger, more financially secure future for the arts in America.

With the publication of the final report of the ninety-second American Assembly, it is time to offer some observations and thoughts. The ninety-second assembly, and its most recent report, represents a significant stop along the road to full societal recognition and informed investment in the American arts industry. There were, however, two tears in the fabric of the ninety-second assembly and in its final report. One involves definition, the other, inclusiveness.

This article examines the way in which public art is read by looking at works of art in case studies from France and America.

Arlington County, Va., has successfully developed a new way of working in this changing climate: the arts incubator. This new model of support is infinitely adaptable and transferable to any community interested in expanding its arts presence despite limited resources.

Local arts agencies pioneering folk arts programming have found that it opens new relationships to underserved sectors of their communities, furthers mutual understanding between different cultural groups, and offers accessible new artistic experiences.

The artsworlds that have been the major focus of this journal are primarily nonprofit in structure, whether intentionally on the part of the artists or patrons, or simply because they haven't been able to make a profit yet. With the voluntary poverty that artists and their allies are likely to assume has come an assumption of virtue; allegiance to artistic values is to be unquestioned and accommodation to commercial values is to be understood as selling out.

A 1994 California Arts Council study on how the nonprofit arts contribute to California's economic growth and job creation.