Viewing page 93 of 104

-2-

met, particularly in those places outside of the large urban centers and in the communities with few facilities or funds for art.  We know what should be done but are limited by our financial resources.

THE MAGAZINE OF ART is another of our major methods of serving the art needs of our people and of our Chapters.  Trustee James Soby, as editor, with Helen Franc as Managing Editor, has furnished us in the last year with a readable, fascinating and vastly improved Magazine.  At the same time he has reorganized the production and format so that the financial needs of the Magazine should no longer constitute as grave a threat to its existence.  The Magazine is recognized as a vital force not only in America, but it is widely circulated and read abroad as a reflection of our cultural meaning.  With Robert Goldwater as Editor, recently returned from a Fulbright Fellowship year abroad, it should continue to improve. James Soby with fellow Trustee Thomas Rudd, as co-chairmen of a Magazine Committee, now supervise the Magazine with the aid of an outstanding advisory editorial board as a semi-autonomous operation.  The museum editions in San Francisco are continuing, and some other institutions are discussing taking bulk subscriptions to the Magazine for their members as a membership privilege on the special terms available.

TO INVESTIGATE THE ART NEEDS OF OUR COUNTRY is one of our primary responsibilities, as well as to find out the week spots and help correct them, not by duplicating local institutions but by complementing and strengthening them with national services. to discover these needs, our Vice President, Mrs. Eloise Spaeth, and our former Director, Otto Spaeth, made a two months' sampling survey across the United States in their own bus. They met with groups representing art institutions in various areas from Richmond, Va., Clearwater, Fla., New Orleans, La., and Dallas, Tex., to Los Angeles and San Francisco, Calif. As a result of the recommendations from this trip, we have already taken a number of steps.

Thus we helped a group of eleven AFA Chapters, meeting in Decatur, Illinois, to organize a system of block booking exhibitions for the institutions in the area so as to cut down the cost of travelling shows. Other groups will be organized as finances permit, with Iowa and Indiana being actively planned. In addition, the Art Institute of Chicago, under former Trustee Daniel C. Rich, has made an additional contribution by making material from the Art Institute available for exhibitions to the institutions in the Illinois group for circulation under a so-called "Chicago Plan" of distribution.

Mrs. Spaeth developed a series of miniature Exhibitions, two of which were shown for the first time at our Convention in Philadelphia in June. These shows are limited to the number of paintings but not in quality, and start out this fall as another attach on high costs.

WE CONTINUE OUR VIGOROUS INTEREST IN PUBLIC ART EDUCATION for every age, through the agencies of existing institutions, by implementing local programs through the supply of information and material int he field of visual aids. Thus we have done a great deal of good work recently towards filling the need for distribution of Art Films. We began with a special show of selected films at our Convention in June.  Then Trustee Sidney Berkowitz headed the organization of the first art Film Festival in this country, held at Woodstock, N.Y., this September, with the Federation as one of the three sponsoring organizations. This two-day conference expected 500 but was attended by some 1,200 people, and has given great impetus towards the broader use of Art Films. In this connection, former Director Otto Spaeth has had an extensive review of the AFA Art Films Guide on a much more comprehensive basis completed and turned over to us, and it is hoped that this can
Please note that the language and terminology used in this collection reflects the context and culture of the time of its creation, and may include culturally sensitive information. As an historical document, its contents may be at odds with contemporary views and terminology. The information within this collection does not reflect the views of the Smithsonian Institution, but is available in its original form to facilitate research. For questions or comments regarding sensitive content, access, and use related to this collection, please contact transcribe@si.edu.