December 27, 2017

The Palette is available to all interested with an e-Subscription

In this issue:

I was a 'hippy, and I didn't want a desk job'
Ultraviolet Named Pantone’s 2018 Color of the Year
Atypical Warhol sculpture fails to sell at auction
Pacific Art & Office Supply: Keeping up with trends, online competition
Operators of Hoosier Highlander, 71-year-old Highland staple, seek buyer to keep business open
Your Paintings Are Numbered
Elementary students need comprehensive art education: Jordan





I was a 'hippy, and I didn't want a desk job'
Founder of Vancouver-based art-supply chain decided on incremental, steady growth for Opus

The series: We look at decision makers among Canada's mid-sized companies who took successful action in a competitive global digital economy.

If growth is the mantra of retailing, can a retailer also abide by Small Is Beautiful?

The book by economist E.F. Schumacher, published at a time of turbulence and change, as the world was hurtling into the 1973-1974 oil shock, championed people over profit, sustainability over resource depletion, "enoughness" over the whole concept of bigger being better. For many, these concerns are echoing just as loudly today.

The book was a touchstone, a rethinking of business on a more human scale, and it affected David van Berckel heavily.

He wanted to grow what became Opus Art Supplies, now a mid-sized chain based in Vancouver, with that community-centred, grassroots ethos. Small Is Beautiful still holds sway for Mr. van Berckel, he says, four and a half decades later – even as he has grown Opus.

As a young man in the early 1970s, Mr. van Berckel had been reconsidering his itinerant career in civil engineering. He had worked with the non-profit development organization CUSO International for a spell. "I was in Borneo for two years, and then I bummed around the world for a couple of years. I decided I was going to come back to Vancouver. I basically was a returning hippy, and I didn't want a desk job," he says.

The business side of the arts interested him, but in Vancouver at the time, art galleries were mostly making ends meet from picture framing. So, Mr. van Berckel bought a small framing business from someone who wanted out.

The timing was good. Metal picture frames were just coming into vogue. Other picture framing businesses started springing up. And Mr. van Berckel got into wholesale, supplying metal frames to those stores. "It was fortunate that it was booming. Picture framers were opening up all over the place. I was able to surf that wave," he says.

"And so, that's how I got started. I had a little retail shop selling framing, and also distributing this line of metal moldings." After Emily Carr University of Art and Design (then the Emily Carr College of Art) moved in across the street from the Opus store on Granville Island in 1980, the company expanded heavily into art supplies (with the frame wholesale business moving to another site nearby).

Over the decades, the business continued to grow "incrementally," as Mr. van Berckel describes it.

It has branched into seven stores around B.C. Its mail-order business has made the necessary switch to online, also handling both online retail and direct sales to schools and other businesses. (Together, online and direct sales bring in roughly the equivalent of an Opus store in annual sales.) And now Opus has gone further digital, expanded from art supplies to high-end digital photo printing, another pivot by the company as it looks for new growth and a larger customer base.

Even with Emily Carr University having moved out of Granville Island last year, taking with it the students who used to cross the street for pencils, pens and paper, Opus nevertheless expects little change in overall sales at the flagship store. Amateur artists, rather than students, are its bread and butter.

But is all of this emphasis on steady growth at cross purposes with the philosophy of Small Is Beautiful? The short answer, Mr. van Berckel suggests, is that in retail, growth isn't an option.

Because costs are always rising, stasis isn't really possible, he says. The alternative to growth is simply decline. "In order for a business to stay healthy, it has to grow. It's very difficult to tread water because costs keep growing. So you really have to focus on growth," Mr. van Berckel says.

For a retailer with a distinct culture, growth has to feel authentic to the brand and to "the culture that has driven the company, in this case, for decades," says Mark Startup, vice-president at the Retail Council of Canada's Vancouver office.

Nevertheless, he adds, "I would be hard pressed to believe that any retailer, in their strategy, isn't seeking growth."

For Opus, maintaining a certain culture meant hiring staff from local arts communities, and each store has a budget to give back to community arts programs. The company has also given about $20,000 a year to Emily Carr in bursaries for students in need, Mr. van Berckel notes.

Much of it, though, may come down to a certain grassroots feel that the business had from the start. "Back in the day, we'd have customers coming in, and it happened several times, asking us what the rebate was [for members]. They thought we were a co-op. They asked us about dividends," says Scott Cronshaw, vice-president at Opus.

Even though this meant explaining to customers that Opus wasn't a small co-op, "I'm proud that they think we don't have any other stores. It means we're not looking like a chain, we're not acting like a chain," Mr. Cronshaw says.

In commenting on Small Is Beautiful, British organic food pioneer Peter Segger told the Observer newspaper that the major influence of Mr. Schumacher is that in adopting the ethos, "you could start on whatever scale you chose."

Arguably, then, the ethos is adaptable. This helps, since Opus's market is changing.

The customer base for art supplies is limited. Competition doesn't really come from other art supply stores. Competition comes from all other forms of leisure activities.

"I always look at it like a pyramid," Mr. van Berckel said. At the top are the relatively small number of professional artists. Then there are the slightly larger number of serious amateurs, those who could sell their work if they wanted to. But then there are the vast number of leisure artists, by far the bulk of Opus's customers.

With leisure artists, "there is no shortage of money. They are quite well off. It's a leisure pursuit of the intelligentsia, and there's money there. And so, we're competing for their time," he said.

Picture-framing and art supplies isn't growing. "I wouldn't say it is a sunset industry, because I think [customers] will always be there. But there's almost no growth in the industry," Mr. van Berckel says. And so with the prospect of a stagnating, dwindling customer base, Opus added high-quality digital printing, looking to cater to the same kind of market in Vancouver that, say, Toronto Image Works has in Toronto. And helping to feed this is Opus's database of regular customers, which the company has used to let them know about the new digital printing business.

It has also enabled Mr. van Berckel to consider the future of Opus. "I've been approached, obviously. People are interested in buying [the business]. But it's just money. They're not interested in the business, they just want money," Mr. van Berckel says.

He is leaning toward an alternative that has always been in keeping with its culture. "I'll probably do a co-op because B.C. is well know for co-ops," he says, Mountain Equipment Co-op being one of the most apparent, with its headquarters in Vancouver. The Globe and Mail


Ultraviolet Named Pantone’s 2018 Color of the Year

In a world filled with constant uncertainty, color remains one of the few things we can rely on. In celebration of this fact, Pantone annually selects one shade that stands out against the rest. They’ve decided this year to award that honor to Pantone 18-3838, otherwise known as ultraviolet.

In choosing this “enigmatic purple shade,” Pantone said in a release, the color company, whose tones are often used in fabrics and plastics, hope that its “spiritual, cosmic hue” will push “the boundaries of what inspires us to look upward and outward to the future.”

To mark this, the folks at Pantone, together with online art gallery Saatchi Art, have commissioned artists working in a variety of mediums to create a series of prints featuring ultraviolet. If you feel so inclined as to want a work done in what Pantone calls “a spiritual, cosmic hue,” you’ll be able to purchase these pieces on Saatchi Art starting on January 1. ART NEWS


Atypical Warhol sculpture fails to sell at auction

The buzz quickly spread to media outlets like The New York Times and National Public Radio when a previously unknown sculpture by the late Pop artist Andy Warhol was discovered in a New England attic.

The piece was slated for auction last Saturday, and expectations were high, but it didn’t sell — an outcome blamed, in part, on a high minimum bid placed on it at the last minute by the estate’s executor.

The sculpture was a gift from Warhol to his last boyfriend, Jon Gould, who died in 1986 of complications from AIDS. Warhol died in 1987 of complications from gallbladder surgery. The sculpture and other memorabilia from their relationship was kept by Harriett Gould, Mr. Gould’s mother, who died a year ago.

Objects in the auction, which also included house furnishings and additional items from the Gould-Warhol relationship, were to be sold without a minimum price.

“In the 11th hour, 48 hours prior to the auction, the executor’s attorney put a high reserve on the sculpture,” said Dan Meader, director of John McInnis Auctioneers in Amesbury, Mass., by telephone Thursday.

Mr. Meader declined to give the reserve amount but said it was close to the auction house’s original estimate of $500,000 to $1 million.

“It was a great auction otherwise,” he said. “There was a lot of interest. Over 2,700 registered to bid from 20 countries. Bids came from all over the world. Things went for way higher than the estimates.”

For the sculpture Warhol appears to have reconfigured a blank stretched canvas and added splotches of the primary colors, red, yellow and blue. It’s atypical of the artist’s popularly known work, and speculation about its significance has ranged from being a commentary upon abstract art to one about his relationship to Mr. Gould. An inscription on the back reads “Jon/Andy Warhol 83.”

No plans have been made to date to feature the sculpture in a future auction.

“We’re letting the dust settle,” Mr. Meader said.

There also is the possibility that the auction house will be approached directly by an interested party.

Removing the sculpture still left a vast array of items to satisfy Warhol fans.

“He bought Jon a tremendous amount of things,” Mr. Meader said. “He showered him with gifts.”

Sales included the bed Jon and Andy owned, purchased by a North Carolina bidder; greeting cards Warhol had designed and sold through Tiffany, purchased by the Tiffany archives; and a beaded Halston dress that had been a gift to Mrs. Gould, purchased by a member of the Halston family.

Among the many snapshots was one of, “Andy sitting on the back deck with members of Jon’s family. We actually sold the chairs they were sitting in. It looks like a picture of a real New England family,” Mr. Meader said.

“We all know the Andy of the Pop Art world and his eccentricity.”

In pictures like this you see the side that shows “he was a normal guy.” Pittsburgh Post-Gazette


Pacific Art & Office Supply: Keeping up with trends, online competition

When did your business begin?

“I started in 1975. It will be coming up on 43 years in April. We started in Ilwaco before moving to Long Beach about four years ago.”

How has the business evolved through the years?

“I’ve increased the inventory a lot in craft and art supplies. Originally, in Ilwaco, we were a print and office supply store. In 2002, my husband had a stroke and we shut the printing down. By then I had some art supplies and just kept adding to get more people in. Now I have office, art, craft and scrapbooking things in here — a little bit of everything.”

What accounts for the majority of your sales?

“It used to always be the office supplies, but now it’s the arts and crafts. It used to be most everybody painted watercolors here but now I’m selling a lot of acrylic paint.”

How has the Internet had an impact on your business?

“Some of the things I used to buy off wholesalers, I have to buy off Amazon with shipping and taxes. There will come a time when people will begin to miss going into a store and actually handling stuff. You don’t really know what you’re getting online.”

Are there misconceptions you regularly encounter?

“People sometimes think stores like Staples are cheaper for supplies because of their name.”

Are there any products or services you offer that you wish more people were aware of?

“Yes, a lot of the arts and crafts things. I also have things like pricing stickers and string tags, stuff that people will normally drive to Astoria for.”

Did the 2008-09 recession have an impact on your business?

“Yes, it was dead all of the sudden. It hit here about a year or two after it was felt in the cities.”

What do you feel the craft industry will look like 20 years from now?

“People still love places like Michaels and JoAnn Fabrics. I think those places will still look similar as long as people keep doing crafts.”

Have you witnessed crafting trends come and go through the years?

“Oh yeah. People will come in and say ‘Oh my gosh, you don’t have blank?’ Then I will put a whole bunch in and nobody comes and buys it (ha-ha). I put signs on the window and everything.”

Any particular examples come to mind?

“Scrapbooking. People hardly do it anymore, now they’re making cards. The coloring books for adults is another one. It’s still kind of going.”

Do you have a specific example of how Internet sales have impacted your business?

“When we first opened we had office supplies and almost every business bought their stuff from us, but now they go online to Quill or Staples and it’s dropped off by UPS. I had a big fight with the City of Ilwaco because I was in the building on the other side of their parking lot, and sometimes UPS would leave their deliveries with me if they weren’t open. I asked why they were buying from Staples when I was right next door and they said ‘because they deliver.’ It was just too simple to order it online. I think the cell phones have made a difference, too — you can just look up anything on your phone.”

What’s the biggest lesson about business you’ve learned through the years?

“I think the biggest one for me is being nice and trying to accommodate what the customer needs. The personal attention to customers is the biggest thing.”

Are there any particular requests or customers that stick out?

“I’ve had a couple funny things happen over the years, especially when computers first came in. I had a lady call me one day and ask for ink for her VCR.” Coast River Business Journal


Operators of Hoosier Highlander, 71-year-old Highland staple, seek buyer to keep business open

HIGHLAND, IN: The owners of the longtime downtown Highland landmark Hoosier Highlander are long past retirement age and looking to sell off the 71-year-old business, which is one of the few independent frame shops left in Lake County.

Donna Freeland and Sue Ferguson have been running the custom frame shop and art supply store at 2932 Highway Ave. since 1994 and are now hoping to retire sooner rather than later. They want a buyer who will "keep this iconic business in downtown Highland."

"The years have flown by while we were the caretakers of the iconic downtown Highland store," Feguson said. "We have loved our jobs because we have loved what we were doing."

On a stormy Halloween 23 years ago, they took over the 1,500-square-foot stationary store that first opened in 1946. They eventually phased out most office supplies to focus on framing, fine art supplies like canvasses, and the card making and scrapbooking supplies that were more in demand.

"Our customers are true treasures," Ferguson said. "They have framed some very interesting and beautiful things. I could go on and on with a list but a couple that come to mind: some baby clothing that crossed the prairie in a covered wagon and a collection of packages of every single kind of Kool Aid."

Ferguson said the business has helped customers celebrate baptisms, graduations, weddings, and other significant occasions with invitations, albums and framed photos from their respective events.

The store carries more than 2,000 frames from five different distributors, as well as mat boards with various color shades from four different manufacturers. Hoosier Highlander competes mainly with big box stores and art galleries that offer framing service.

"We feel that being the 'only game in town' can have advantages," Ferguson said. "As far as we know, we are the only independent custom framer in Lake County."

The store draws widely, bringing in customers from all over the area. Many are art students from Purdue University Northwest, Indiana University Northwest of the South Shore Arts League.

"Every day we learn something new," Ferguson said. "One day it could be about a specific artist, another we might learn about the function of an art supply product or the advantages of a newly marketed pen."


Your Paintings Are Numbered
The mid-century paint-by-number craze revealed a belief that with enough curiosity, and the ability to follow basic directions, anyone can be an artist.

In 1953, the Detroit-based paint company Craft Master was the driving power behind the paint-by-number craze that swept the midcentury hobbyist market. Not only had the company invented the paint-by-number movement, they had quashed their competition in the process. Even in the 21st century, the basic premise of paint-by-number holds true: With enough curiosity, and the ability to follow basic directions, anyone can be an artist.

For five years, Craft Master honed the assembly and distribution of their kits, employing professional artists to develop the kitschy scenes that quickly came to be inextricably associated with the paint-by-number genre — flowers, bullfighters, fishermen, dancers, landscapes, even copies of famous works of art. By the early 1950s, the company had 800 employees who produced 50,000 paint-by-number sets a day, grossing what they claimed to be more than a million dollars a month By 1954, Craft Master was credited with manufacturing enough paint-by-number kits to total over $80 million in sales, published 10 million copies of their 64-page product catalog, and could boast lengthy features in Time and Life. Two years later, however, unable to keep up with domestic and international demand, Craft Master went bankrupt, a victim of its own success. Paint-by-number kits continued to sell through the 1960s, as other companies stepped into the void left by Craft Master. In the ’70s, advances in computer scanning technology allowed painting enthusiasts to order personalized kits, created from computer-digitized photographs, converted to an outlined map of the image and printed on canvas, ready to paint.

Ever since their commercial release, paint-by-number kits have been a convenient ready-made metaphor for the commercialization and mechanization of culture in the early 1950s. Consequently, and unsurprisingly, paint-by-number art triggered a strong, immediate reaction from the art world — a community that was none too pleased to see hobbyists take up their paintbrushes and crank out a Craft Master copy of The Last Supper. “The denunciation of paint by number became a sport among social critics preoccupied with the raw edge of suburbia, where mass culture seemed most at home with jerry-built entropy of supermarket sad hearts, tract houses, picture windows, and pink lampshades,” art historian and curator William Bird, Jr. observes. “The unchecked popularity of number painting threatened artistic values, just as the parlor lithograph of an earlier day had leaved the cultural authority of art; paradoxically, the mechanical process of reproduction made art more accessible.”

According to the midcentury critics, “real art” was the product of its historical provenance. By this logic, paint-by-number kits were nothing but an infinite number of copies of some commercially manufactured painting, and copies of silly things that that. There was no singularity to the paint-by-number experience, no expertise that could be showcased, just copies and copies and more copies still. Detractors to the genre could hardly even deign to consider paint-by-number popular art — to the mid-20th-century art world, paint-by-number was hardly art at all. Art, especially high culture art, certainly didn’t come in a box, the paint-by-number critics sneered, with capsules of pigment and the pretense that any Everyman could paint.

But the numbered painting genre caught the populist wave of the American Pop art movement as well as the cultural cachet of avowed professional amateur artists like Grandma Moses. By the mid-20th century, thanks to companies like Craft Master, more Americans were familiar with paint-by-number art than they were with post-surrealism or any other genre. Somewhere between velvet Elvises and Shrinky Dinks, paint-by-numbers has become firmly entrenched in the world of genuinely kitsch Americana, inspiring denizens of do-it-yourselfers to take up their paintbrushes.

The numbered painting genre traces its history to the vision of the artist Dan Robbins and the entrepreneurial prowess of Max Klein, who, together, came up with idea of self-contained art kits as early as 1949. (Unbeknownst to Robbins, there were a few similarly styled paint sets marketed to children that had been in the toy market for close to three decades; when Klein’s research turned up already existing patents for the idea, he simply ignored them, arguing that what he and his company were doing totally different.) As President of the Palmer Paint Co. in the 1940s — the corporate predecessor to Craft Master — Klein saw that the hobbyist painting market was wide open and hired artist Dan Robbins to develop products that could be marketed to that niche. Some of Palmer Paints’ first forays into the hobbyist market came in the form of Lil’ Abner figurine painting kits as well as washable paint boards that could be painted, rinsed off, and then painted again.

But it was when Robbins combined these two projects with — as he claims — some inspiration from Leonardo da Vinci that Palmer Paints hit its jackpot. “I remembered hearing about how Leonardo da Vinci would challenge his own students or apprentices with creative assignments,” Robbins reminisced in his autobiography. “He would hand out numbered patterns indicating where certain colors should be used in specific projects such as underpainting, preliminary background colors or some lesser works that did not require his immediate attention.” Take a little bit of the figurine kits, combine it with painting boards, throw in a little da Vinci, and voilà, meet the paint-by-number concept.

Interestingly, art historians can offer no concrete evidence to substantiate Robbins’s claim about Leonardo’s supposed style of outlining objects for others— namely, apprentices — to fill in. The entire point of Leonardo’s distinctive technique, known as sfumato, was to blend colors; art historians contend that these blurred lines gave Leonardo’s paintings a smoke-like appearance – scarcely the hard lines and rigid shapes that are the foundation of every paint-by-number piece. “While there is a long history of recognized artistic masters assigning different parts of paintings to apprentices and underlings based on their respective skills,” art historian Erin Thompson argues, “paintings certainly wouldn’t have been divvied up by outlining rough shapes and then designating specific paint colors to fill in the empty areas. That’s part of the mythos-building of paint-by-number.”

Leonardo might not have pioneered the formulaic technique that Robbins developed, but by using the Renaissance master’s name, the paint-by-number art movement gained an important bit of legitimacy to its audiences, making them “real art.”

Artistic legacy aside, the paint-by-number concept was relatively easy to develop, and Dan Robbins quickly hit on the first four scenes that would comprise Craft Master’s first manufactured sets. These first paint-by-number kits were to contain a canvas with the painting’s subject outlined, a paintbrush, and a palette of paints in small capsules. The nitty-gritty details of actually manufacturing and assembling the kits, however, were another story.

First and foremost, providing the kits with individual paint sets turned out to be a logistical nightmare. Craft Master eventually hit on the idea of filling pharmaceutical capsules with paint and bought thousands and thousands of .000 gelatin capsules from Eli Lilly. (“Ultimately, we bought so many boxes from Eli Lilly, they became suspicious as to how we were using their capsules, fearing we were filling them with drugs or other unapproved substances,” Robbins recalled. “After a brief visit from the FDA, we were able to assure everyone concerned that we were merely filling their capsules with paint. They couldn’t believe it!”)

The assembly-line manufacture of the kits required a lengthy series of iterations to refine the best way to get all of the parts into the kits; and after months of headaches, trial-and-errors, glitches, and more problems, the kits went into departments stores. And then no one bought them. Concerned that the kits weren’t selling — and having sworn to department stores that they would — Max Klein hatched the idea of paying people to demonstrate the kits in the department stores to show potential customers the potential and possibilities each kit contained. Artists set up shop and painted-by-number Craft Master’s fishermen, bull fighters, and horses. Klein used some of the company’s own money to buy kits early on, to convince stores that there was demand for the paint-by-number concept.

By 1952, the kits flew off the shelves and Craft Master has firmly established itself in the midcentury hobbyist market. Although other paint-by-number companies came and went (as many as 35 companies in total), Craft Master formed the evolutionary backbone for that amateur craft lineage.

While paint-by-number kits were busy taking the hobbyist market by storm, the art world began to embrace different sorts of art that were equally outside the auspices of traditional painting. This populist sort of art took two tracks: the first was the Pop Art movement, with it soup cans and Marilyn Monroes, emphasizing the staying power of then-contemporary popular culture; the second, was the unabashed embrace of the amateur painter. If the amateur, without “proper” training, could simply feel the art coming to life, well, then, that was real art.

“In principle, the work of art has always been reproducible,” Walter Benjamin explained. “What man has made, man has always been able to make again.” But this begs the question, then, if a thing can be made and remade, what is its value? Is there any difference, then, between the original and the copy, if both are made in the image of the other? Provenance, it turns out, is the key. “Even with the perfect reproduction, one thing stands out: the here and now of the work of art — its unique existence in the place where it is at this moment,” Benjamin argues.

Paint-by-number embraced its kitschy genre with full abandon and has for decades. Paint-by-number came into its own at a peculiar point in American history — on one side, bounded by strict establishmentarianism and McCarthy-era rigidity; on the other side, it embraced art by an untrained but enthusiastic amateur. Even though paint-by-number kits are a dime a dozen to the tune of millions of dollars over the last six decades, there is a singularity about each one that positions each as a real bit of art — or at least that was the intent. There might be tens of thousands of copies of Dan Robbins’s paint-by-number kits, each one with the same scene stamped out, over and over.

The history of paint-by-number has proven to be art medium and metaphor, all rolled in to one. Hyperallergic

Elementary students need comprehensive art education: Jordan

The opinion column below was submitted by Thomas Jordan, a sixth-grader at Jerry Whitehead Elementary School in Sparks, as part of a class project in Mark Midcalf's classroom.

Elementary schools have quite the stock of art materials such as paint, crayons, colored pencils, chalk, etc. However, they never provide any art services with dedicated art teachers for children to partake in. It has been proven in middle schools and high schools around the globe that art improves test scores in math, science, social studies, reading and more — all while kids have fun.

Which brings me to my first reason why I believe art classes should be part of the elementary school curriculum. Art can improve skills such as math, reading, cognitive ability, verbal skills, academic achievement, social and emotional development, equitable opportunity, motivation, concentration, teamwork and much more. The majority of teachers in fourth grade and below use drawing in their word problems to help children understand these problems better than if they were just told to complete it and left alone to fail by their lack of understanding. Seeing something being completed is easier than being told how to complete in terms you don't understand. Not only that, it may encourage students to want to come to school more often, rather than not. After all, school shouldn't be treated like a chore.

Another reason why art should be part of the elementary school curriculum is because in 1994 the Goals 2000 Educate America Act was passed to set the school reform agenda of the Bush and Clinton administrations as what all schools should teach. But somehow that has only made its way into middle schools and high schools. What ever happened to elementary schools? Test scores are improving because of art, and if kids can learn more from it then it grants them a better preparation of middle school, high school, college and even further beyond as the grades that they get now can influence the variety of jobs that they can choose from later in life. These grades can also provide them scholarships which they can use to get into any college they please. All they need is the grades. And if we can give it to them with paint and crayons, I'd say it's worth a shot.

And the final reason I believe art classes should be part of the elementary school curriculum is because art encourages flexible thinking and problem-solving skills in young learners. Art takes creative thought and conviction, and students who constantly use this in art class use this in other subjects such as math, science, reading, etc. Art class is required in middle schools and high schools but it isn't in elementary schools, at least not with dedicated art teachers. Why is that? We have an important fact: Art improves grades and test scores in middle schoolers and high schoolers, so who's to say elementary schoolers can't benefit from this? We have the facts but it is up to us to choose what to do with them.

Art is neglected by many but is loved by so many more. The results of what art can bring is remarkable. Art does so much good in middle schools and high schools, so I believe elementary schools deserve a chance at dedicated art programs. It would be foolish to let such an opportunity go to waste. Reno Gazette Journal