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Monday, October 23, 2017

NATIONAL | Arts Partnerships and the Transformation of Cities

Date(s): October 23, 2017

Time: 6:00 PM  EST - 8:00 PM  EST

The New School, John L. Tishman Auditorium, 63 5th Ave, New York, NY 100

Click here to watch the program via Livestream.



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ArtTable is pleased to invite its members and friends to our Second Annual Leadership Series at the New School: Arts Partnerships and the Transformation of Cities.

Organized by ArtTable and co-presented with the Vera List Center for Art and Politics, the Center for New York City Affairs, and The New School, Arts Partnerships and the Transformation of Cities is a panel discussion focused on the vital role of the visual arts in a city’s overall future. The panel brings together six distinguished women who have worked to design and establish partnerships and programs that bring artists and artistic activity into dialogue with community authorities and the private sector. In addressing the complexities of such collaborations, these leaders ensure that artistic communities are fully represented and have an integral role in the preservation and growth of a city’s infrastructure. This event is the second in a series of annual public programs organized by ArtTable in collaboration with The New School  

Christy MacLear, Art Agency, Partners, will moderate. Panelists will include: Laurie Beckelman, The Shed; Sarah Calderon, Art Place America; Eva Franch i Gilabert, Storefront for Art and Architecture;Deborah Rappaport, Minnesota Street Project; and Regina R. Smith, Kresge Foundation. These panelists each represent a cross-section of America’s cities and bring a unique perspective to the financial, creative, and ideological implications of economic and cultural development.


Christy MacLear, Vice Chairman, Art Agency, Partners
MacLear recently joined Art Agency, Partners after serving as the inaugural executive director of the Robert Rauschenberg Foundation (2010-2016), where she was recognized for developing the strategic course for the Foundation.  In this role, she and her team increased public access to and scholarship of Rauschenberg’s artwork, launched a residency program serving over 100 artists annually on Captiva Island, and created philanthropic initiatives to connect art with education, climate change, and other important issues which interested the artist in a contemporary lens. Previously, she served as the founding executive director of the Philip Johnson Glass House (2005-2010), converting a 47-acre site to a Center for Modernism for the National Trust for Historic Preservation. Early in her career, she joined the team at the Walt Disney Development Corporation that was building an innovative new town, Celebration; she consulted with the leadership of the Cleveland Clinic on its patient experience and she served as director of the Museum Campus in Chicago, managing the creation of a lakefront park that surrounds the Shedd Aquarium, the Adler Planetarium and the Field Museum of Natural History. At Art Agency, Partners she is charged with expanding advisory services for artists to help plan their Foundations, and artists’ families to manage their estates with a long range view.  She holds a degree from Stanford in Urban Design and Architectural History and an MBA from Wharton. She currently serves on the Board of Trustees of Stanford University.


Laurie Beckelman, Associate Director, The Shed
Beckelman is the associate director of The Shed, a nonprofit organization that is currently constructing a facility in New York City’s Hudson Yards that will commission, produce, and present a variety of cultural programming. Scheduled to open in 2019, the project is housed in a technically innovative 200,000 square foot space at the intersection of the High Line and Hudson Yards. Designed by Diller, Scofidio + Refro with the Rockwell Group, the structure is expressly designed to accommodate innovative forms of artistic and cultural expression. A leading expert in the fields of cultural organization development and preservation management, Beckelman was former Chair of the New York City Landmarks Preservation Commission, where she managed the redevelopment plan for the Grand Central Terminal and guided the Empire State Development Corporation through the redevelopment of 42nd Street. She has served as director of the New Building Program for the Museum of Art & Design at Columbus Circle and has been involved in the development of such projects as the Children’s Museum of the Arts, the Dia Center for the Arts and the Museum of Chinese in America.

The Shed (formerly known as Culture Shed and Hudson Yards Cultural Shed) is the name of an independent 
non-profitcultural organization, as well as the six-story, 170,000 square-foot building under development on the far west side of Manhattan within the 26 acres Hudson Yards Redevelopment Project, the largest New York City project since Rockefeller Center. Hudson Yards is being called “tomorrow’s city.” With a location adjacent to the northern leg of the High Line, its 28 acres span west from 10th Avenue to 12th Avenue and the Hudson River and north from 30th Street to 34th Street. The site is home to the final piece of the High Line park; an extension of the number 7 subway line; five office towers and nearly 5,000 residences; 14 acres of public space; a public school; and an active rail yard, from which it gets its name. The West Side Rail Yards were once destined to become a new West Side Stadium — a proposed football stadium that was part of the city’s centerpiece failed bid to attract the 2012 Summer Olympics. It took years of negotiations with local elected officials and Community Board 4 (CB4) to make sure a new plan for the area melded commercial, retail, affordable residential, open space, a new school, and arts and culture activities. Already under construction and scheduled to open in 2019, the Shed is planned as an international center for artistic and cultural innovation with a commitment to leading artists, as well as an ever-evolving mix of disciplines and audiences—including art, performance, film, design, food, fashion, and new combinations of cultural content. By its unique and forward-thinking architectural design and its use of industrial crane technology, the space can expand and contract to accommodate a huge variety of events and audiences. The building's roof features a retractable shed, which can close and open within 15 minutes and, when open, will be a publicly accessible outdoor space. 

Sarah Calderon, Managing Director, ArtPlace America

Sarah Calderon is the Managing Director of ArtPlace America, which aims to fuse arts organizations and contributing artists with their communities. A ten-year collaboration among a number of foundations, federal agencies, and financial institutions, ArtPlace works to position arts and culture as a core sector of comprehensive community planning and development.  From 2008-2015, Sarah Calderon was the Executive Director of Casita Maria Center for Arts & Education (Bronx, NY). During her tenure, she oversaw the opening of a new, 90,000-square-foot facility for the Center's arts and education programming and developed partnerships with organizations ranging from Lincoln Center to the NYC Housing Authority.  Before joining Casita, Sarah founded and ran Stickball Printmedia Arts in East Harlem, a printmaking and digital arts organization for youth. Prior to that, she was with the NYC Department of Education creating the Annual Arts in Schools Report—a data collection, analysis, and reporting effort for arts education in NYC's public schools and MPR Associates working as a consultant, managing research and evaluation projects from design through publication. Sarah has also worked as a teaching artist in Chicago, Oakland, and New York City.

ArtPlace America (ArtPlace) is a ten-year collaboration among a number of foundations, federal agencies, and financial institutions that work to position arts and culture as a core sector of comprehensive community planning and development in order to help strengthen the social, physical, and economic fabric of communities. ArtPlace focuses its work on creative placemaking, which describes projects in which art plays an intentional and integrated role in place-based community planning and development. In creative placemaking, “creative” is an adverb describing the making, not an adjective describing the place. Successful creative placemaking projects are not measured by how many new arts centers, galleries, or cultural districts are built. Rather, their success is measured in the ways artists, formal and informal arts spaces, and creative interventions have contributed toward community outcomes. In practice, this means having arts and culture represented alongside sectors like housing and transportation – with each sector recognized as part of any healthy community, requiring planning and investment from its community, and having responsibility to contribute to its community’s future.

Eva Franch i GilabertChief Curator and Executive Director, Storefront for Art and Architecture

Eva Franch i Gilabert is the Chief Curator and Executive Director of Storefront for Art and Architecture, New York.  Storefront for Art and Architecture advances innovative and critical ideas that contribute to the design of cities, territories, and public life. Storefront’s exhibitions, events, competitions, publications, and projects provide alternative platforms for dialogue and collaboration across disciplinary, geographic, and ideological boundaries. Franch, who specializes in the making of alternative architecture histories and futures, joined Storefront in 2010, after teaching and lecturing worldwide and founding her own solo practice OOAA (Office of Architectural Affairs). At Storefront, some of her recent projects include Letters to the Mayor, a project that invites architects to write letters to their city mayors as a way to open up dialogue about the making of cities and public life with more than ten editions globally, including New York, Mexico City, Buenos Aires, Athens, Taipei, Madrid, among others; and Letters to the Developer; World Wide Storefront, a digital platform for alternative global projects; and the commissioning of design projects such as the Speechbuster by Jimenez Lai and Grayson Cox and the film The Architects by Amie Siegel, as part of OfficeUS. In 2014, Franch, with the project OfficeUS was selected by the US State Department to represent the United States Pavilion at the XIV Venice Architecture Biennale. 

Storefront for Art and Architecture advances innovative and critical ideas that contribute to the design of cities, territories, and public life. Storefront’s exhibitions, events, competitions, publications, and projects provide alternative platforms for dialogue and collaboration across disciplinary, geographic, and ideological boundaries. Since its founding in 1982, Storefront has presented the work of over one thousand architects and artists. It has continued to shape itself as a platform for emerging ideas that lie at the intersection of art and architecture, and for open dialogue and innovative exchange beyond and across borders, backgrounds, and ideologies, addressing issues from new technology to the social and political forces that shape the built environment.  

Deborah Rappaport, President, Rappaport Family Foundation; Founder, Minnesota Street Project

Deborah Rappaport is president of the Rappaport Family Foundation and founder, with her husband, of the Minnesota Street Project, a visionary mixed-use space for San Francisco’s art galleries, artists, and nonprofits that opened last year. The Foundation focuses on increasing civic engagement and access to the levers of power among traditionally underserved young adults. She is also a partner in Skyline Public Works, LLC, and a jewelry designer, operating as Deborah Rappaport Jewelry. Deborah is a member of the Boards of Directors of Berkeley Art Museum/Pacific Film Archive, Creative Capital, Headlands Center for the Arts, and People for the American Way and People for the American Way Foundation. She is a past president of the San Jose Museum of Art Board of Directors, a past member of the Bolinas Museum Board of Directors, and a past member of several political and social service boards. Deborah and her husband Andy are collectors, primarily of social commentary art produced across a wide range of media by emerging and mid-career artists. 

Minnesota Street Project, located in San Francisco’s historic Dogpatch district, Minnesota Street Project offers affordable and economically sustainable spaces for art galleries, 
artists and related nonprofits. Inhabiting three warehouses, the Project seeks to retain and strengthen San Francisco's contemporary art community in the short-term, while developing an internationally recognized arts destination in the long-term. Minnesota Street Project was inspired by the couple's belief that philanthropic support for the arts today requires an alternate model—one suited to the innovative nature of Silicon Valley and the region as a whole. Their vision of a dynamic, self-sustaining enterprise that shares its economic success with arts businesses and professionals aims to encourage heightened support for the arts from newcomer and established patrons alike. The project signals a radical relocation of the city’s gallery world from its traditional center near Union Square to DoReMi, the new nickname for a swath that is 10 square blocks and touches parts of Dogpatch, Potrero Hilland the Mission. “There is nothing like this that we’ve been able to find anywhere in the world,” says Deborah Rappaport. The project was inspired by a conversation with art dealer Catherine Clark, whose gallery had been continually priced out of one neighborhood and then another. “We were talking about how we didn’t want to live in a city that didn’t have a vibrant arts community,” Deborah says. “There have to be galleries, and there have to be artists’ non-profits, and artists have to be able to afford studios.” “We really want this to work,” Clark says. “We don’t want to see anymore attrition of arts organizations from San Francisco.”
Regina R. Smith Managing Director of the Arts and Culture Program, Kresge Foundation

Regina R. Smith, Managing Director, Arts and Culture Program at the Kresge Foundation
where she focuses her efforts programs that encourage the inclusion of arts and culture in community development. Smith has been with the foundation since 2008, as a program officer and senior program officer. Previously, she worked at the Arts & Science Council in Charlotte, North Carolina; served as programs and services director at Culture Works in Dayton, Ohio; and managed a nationally recognized program for the Indiana Arts Commission. In 1989, while on a nine-month Arts Administration Fellowship, Regina was in residence with three arts organizations: the Madison Art Center, COMPAS in St. Paul, Minnesota, and Chicago’s Department of Cultural Affairs. She began her career as a museum educator at the Cleveland Museum of Art.  

The Kresge Foundation, Arts & Culture Programs are designed to encourage the inclusion of arts, culture and community-engaged design into community development and urban planning practices, particularly targeting economically distressed communities. The program focuses on Creative Placemaking, an approach to community development and urban planning that integrates arts, culture, and community-engaged design strategies. Kresge’s unique niche in Creative Placemaking represents their commitment to influence community development-related systems and practices that expand opportunities for low-income people in disinvested communities in American cities. Through grants and investments, the foundation seeks to make Creative Placemaking an integral element of equitable community development and urban planning practices.  This approach supports their belief that all community members should have the opportunity to participate in and benefit from community development activities and from the integration of arts, culture and design into such efforts to improve life circumstances for low-income people in cities.

This program is supported by generous contributions from our partners:


ArtTable is a 501.c.3 organization.
All programs are non-refundable.
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