Capitol Ideas

Mr. Silva goes to Jefferson City

The lone artwork in the Truman Building -- the multistoried concrete-and-glass bunker that houses offices and conference rooms catty-corner to the Capitol in Jefferson City -- is a lackluster oil portrait of Harry S. himself. Because the Truman Building is one of those efficient, featureless multipurpose facilities, the absence of art doesn't exactly stand out, but on a day when some 400 citizens arrive at the Capitol to advocate for arts funding, the lack of even an inoffensive picture of a flight of ducks says something about the uneasy relationship between art and government.

To commission art for the Truman Building would be, presumably, more trouble than it would be worth. It probably took a majority vote in committee just to get light and oxygen. The legislative wrangling to approve of an art object that wouldn't offend some thin-skinned constituency is probably more than most representatives want to undertake these days.

The politicization of the arts is nothing new, of course, and it existed long before the National Endowment for the Arts or the NEA Four. When Oedipus Rex first took to the boards, it was for a state-funded theater festival, with a few wealthy patrons contributing to the cause and undoubtedly given Powell Club amenities in return. Macbeth was performed at James I's court and probably created a little tension, what with the story of an overly ambitious Scottish king being performed before an overly ambitious Scottish king. The legend of Michelangelo on the scaffold arguing with Pope Julius II about God's two-dimensional demeanor is a tale artists consider heroic and statesmen probably don't care to consider at all. Better that the colorless Truman Building remain so.

Scott Giffen of Gash/Voigt Dance Theatre goes to Jefferson City to support the arts: "I keep knocking, get my foot in the door."
Eddie Silva
Scott Giffen of Gash/Voigt Dance Theatre goes to Jefferson City to support the arts: "I keep knocking, get my foot in the door."

Yet the older Capitol -- with its architectural symbolism derived from Enlightenment ideals, as opposed to the Truman Building's postmodern lack of ideals -- is known (at least among those who've studied any American art history) more for the art it contains than for any legislative achievements. The Thomas Hart Benton murals reside there, third floor off the rotunda. They remain as a stunning testimony to an artist whose critical reputation has dimmed in recent years. Asked about Benton's legacy after getting off the train in Jefferson City, one artist put it best: "He had a good student."

That Benton got commissions from the state of Missouri and Jackson Pollock got them from Peggy Guggenheim suggests something about the relationship among art, public funding and private patronage, although, like all relationships, what to glean from this is not altogether evident. Before they made work that sold to a precious, and influential, few, Pollock and most of the other artists who burst forth with abstract expressionism had subsisted on WPA dollars. Maybe what can be said is that artists need dough to develop work, and whether that work receives negative or positive attention or both, without that work life isn't as lively as life can be. If a combination of state and private funding for the arts was good enough for Sophocles, it ought to be good enough for us.

And this is why a multitude of artists and arts advocates make the trek to Jeff City for Citizens Day at the Legislature, an annual event sponsored by Missouri Citizens for the Arts (MCA), the lobbying arm of the Missouri Arts Council (MAC). The purpose of the day, according to MCA executive director Debra Carnahan (the name is more than familiar -- she's the guv's daughter-in-law), is to "give a cohesive presentation from concerned citizens who know the importance of the arts and to let state representatives know they know who's who."

"Visibility" is the key word -- to let state reps know that behind that $5.16 million MAC request are a significant number of voting citizens who support it, and they aren't a bunch of slackers in berets, either. Boarding the Jeff City-bound train in Kirkwood is a tribe of well-attired suburbanites, mostly female, mostly middle-aged.

One of the younger and more fresh-faced who is ready and eager to bend some elbows is Scott Giffen, arts administrator for Gash/Voigt Dance Theatre. He's the only one in this artsy crowd attired in the standard congressional blue suit and red tie. He's been with Gash/Voigt just six months, fresh out of Greenville College with degrees in both music and business. "I'm passionate about supporting the arts," he says, tan trench coat tucked under his arm. He has big visions for this day on this, his first visit to the Capitol: "I want to promote the arts in every way I can. I hope to talk to conservatives. I understand capitalism and what it entails. You have to find a balance between government help and freedom in the arts. I recognize the need for government support, especially for small and midsize organizations.

"I also hope to learn because I want to continue to do this and do it well. I want to listen and make it a point of understanding. If I listen, there will be a better response to what I say."

Giffen picks up a packet for a legislator, Vicki Hartzler, Republican from Harrisonville, just the kind of budget-cutting conservative he wants to meet.

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