Wilfred B. Young Building

Since its founding in 1881, the University of Connecticut has undergone many changes, and the Wilfred B. Young Building perfectly embodies this dynamic history. In the years after World War II, a surging student population spurred a raft of new construction under the tenure of President Albert N. Jorgensen. The building that later became known as the Young Building appeared during this period, officially opening in the fall of 1953.

Along with the growing student population, the building also reflects the changing academic climate at UConn. When it first opened, the building housed the College of Agriculture. In the 1960s, it became home to the College of Agriculture and Natural Resources. Now it holds the College of Agriculture, Health, and Natural Resources. The multiplying specialties illustrate how the university’s educational mission has developed over the years, shifting to meet the needs and interests of students and the wider society.

The building’s namesake, Wilfred B. Young, also played an important role in UConn’s history. Born in Indiana in 1903, Young spent his early life learning agriculture and animal husbandry, as well as working in the famed Chicago stockyards. He came to Connecticut in 1931, recruited by Professor Harry L. Garrigus to teach and conduct research through the Agricultural Experiment Station. He served as Dean of the College of Agriculture and Natural Resources from 1945 to 1966. Young retired in 1966 and died in 1978. The building was named in his honor the following year in recognition of his many contributions to the university.

This post was written by Shaine Scarminach, a UConn History Ph.D candidate who is a student assistant in Archives & Special Collections. 

J. Louis von der Mehden Hall

J. Louis von der Mehden, Jr., was born July 20, 1873, in San Francisco, California. A musician and composer, von der Mehden held several positions in San Francisco before moving east to New York City after the 1906 earthquake. He was steadily employed as a cellist or conductor with theatrical or commercial bands and worked for a year as the musical director of Herald Square Theater before becoming involved full time in the recording industry, working at different times for five different phonograph studios: U.S. Phonograph, Pathé Frère, Columbia, Lyraphone and the Victor Talking Machine Company. On some recordings he played cello in the orchestra; more regularly he would conduct performances, often arranging the music the night before the recording sessions. In 1926, von der Mehden and his wife Susan moved to Old Saybrook, Connecticut, full-time, having purchased a house in 1911.

J. Louis von der Mehden, Jr. died on August 27, 1954, in Middlesex Memorial Hospital and was buried in Cypress Cemetery at Saybrook Point.

In 1956, UConn President Albert N. Jorgensen reported to the Board of Trustees that under the provisions of the will of the late Susan Evelyn von der Mehden, who died less than one year after her husband, the University was to receive a considerable sum from the estate. There were three provisions: first, the University was to receive all of the original compositions of the late J. Louis von der Mehden; second, the University was to erect a building to be used as a concert hall in which this music could be performed; and third, the University was to provide a vault for the safekeeping of the music. The von der Mehden’s had no obvious connection to the University of Connecticut so it is unknown why Mrs. von der Mehden chose to make such a large donation to the university.

The J. Louis von der Mehden Recital Hall was completed in 1961 and has been in regular use as a recital and performance hall.

Archives & Special Collections holds Mr. von der Mehden’s papers, which consist of diaries, newspaper clippings, correspondence, notes, financial records, photographs, musical manuscripts, scores, publications, and celluloid cylinders.

Homer Babbidge Library

Homer Daniels Babbidge, Jr., was born in West Newton, Massachusetts, on May 18, 1925. His father was a captain of merchant ships and the family soon moved to New Haven, Connecticut; in 1935 the family moved again, this time to Amherst, Massachusetts. Babbidge graduated with his undergraduate and doctoral degrees from Yale University, and taught at Yale’s Department of American Studies before taking positions with the U.S. Department of Health, Education and Welfare and acting as the Vice-President of the American Council on Education.

In 1962, at the age of 37, Babbidge became the 8th President of the University of Connecticut. In his Inaugural Address on October 20, 1962, he said “The task of a public university is to wed the new spirit of democracy to the old values of learning.”

In 1962 total enrollment at the University of Connecticut was 12,000 at the main campus in Storrs and across the regional campuses; by 1971 enrollment had grown to over 23,500. During Babbidge’s tenure he oversaw the development of a Junior Year Abroad program, the elimination of the rule that women students be forbidden to wear slacks in the Student Union, and the formation of the Benton Museum of Art on the Storrs campus, the School of Social Work on the Torrington campus, and the UConn medical and dental schools, including the UConn Health Center in Farmington. While serving as President he also taught classes in the Department of History on the History of American Higher Education.

Babbidge led the university at a challenging time. As it was on almost every campus in the country, UConn students demonstrated against the war in Vietnam and on racial discrimination. On November 26, 1968, Students for a Democratic Society (SDS) demonstrated against the recruitment on campus of students for the chemical company Olin-Mathieson. Sixty-seven students were arrested for demonstrating and Babbidge called it “the saddest day of my life.”

For what he stated was a promise he made to himself to not hold the job for more than ten years, in October 1971 Babbidge announced that he would resign from the Presidency of UConn on October 1, 1972. More than 7000 students, staff and faculty petitioned his resignation, asking him to reconsider, but to no avail.

After his time at UConn Babbidge returned to Yale as Master of the university’s Timothy Dwight College; in 1976 he became the Hartford Graduate School’s first president. He even briefly dabbled in politics, running for Governor in 1974. Babbidge died on March 27, 1984, from cancer.

During Babbidge’s tenure the UConn library gained its 1,000,000th book. Even before Babbidge left office plans were drawn up to build a new library, given that the space in the Wilbur Cross Library had exceeded the limits of the collection and library services. A study done after 1972 determined that the Wilbur Cross Library had space for just 753 students, less than 5% of the student population.

Groundbreaking for a new library costing $19 million was on July 10, 1975. The library had seven floors with a total 385,000 square feet and shelf space for 1.6 million volumes.

The building opened in 1978, known then as simply the University of Connecticut Library. After Babbidge’s death in 1984 the name was changed to honor the university’s 8th president.

25th Annual Connecticut Children’s Book Fair THIS Weekend – With Exhibition on View

For 25 years, the Connecticut Children’s Book Fair has welcomed families, collectors, teachers, students and librarians to UConn to meet and to hear talented, award-winning authors and illustrators discuss their work.  This weekend on November 4 and 5, we are excited to once again foster the enjoyment of reading among Connecticut’s youth with two days of dynamic programming. The Book Fair takes place at the Rome Commons Ballroom on the UConn campus — visitor information can be found on the event website.

Archives and Special Collections celebrates the Connecticut Children’s Book Fair in this milestone year by featuring the collections of authors and illustrators found in the Northeast Children’s Literature Collection (NCLC). The Book Fair is also an opportunity to highlight recent research conducted in the papers and archives of NCLC authors and illustrators.

The following is an excerpt of an exhibition essay by Nicolas Ochart, Student Exhibitions Intern in Archives and Special Collections, for an exhibition currently on view in the McDonald Reading Room in the Thomas J. Dodd Research Center. This semester, Nicolas is responsible for conceiving and developing small-scale exhibitions that highlight archival material found in the collections. He hopes to pursue professional curatorial work in an effort to promote the work and experiences of marginalized and underrepresented communities in the United States. In December, Nicolas will receive his B.A. in Art History from the University of Connecticut.

The Northeast Children’s Literature Collection was developed in 1989 to collect and preserve the history of children’s literature and illustrations, and comprises the archives of over 120 notable authors and artists. Among completed editions of beloved children’s books, the collection also includes countless preliminary sketches, letters, dummies, manuscripts, notes, and correspondence with family, editors, and other writers and artists.

The collection’s extensive holdings have made the University of Connecticut a nexus for scholars and children’s book writers and illustrators across the nation interested in studying the literary and aesthetic qualities of the form. In an effort to support and encourage study of the Northeast Children’s Literature Collection, Archives and Special Collections have developed a number of awards for researchers, including the Billie M. Levy Travel and Research Grant and the James Marshall Fellowship. Grantees and Fellows have written on such varied topics as queer American Jewishness in the art and writings of Maurice Sendak, as well as influences of modernism and fashion design in the work of Esphyr Slobodkina. Aspiring and established authors and illustrators have also looked at papers by James Marshall, Natalie Babbitt, Tomie dePaola, and Eleanor Estes for guidance in their own practice.

The objects on display in Archives and Special Collections represent just some of the archival materials past Fellows and Grantees have found noteworthy in their research. These objects also dialogue with others in Archives and Special Collections, and together offer rich and surprising stories of classic tales.

The collection’s extensive and cross-historical nature provides a visual and narrative mapping of the perseverance of certain character types and situations. One of the most persistent topics of interest in children’s literature concerns problems that arise from class conflicts, and the tensions between members of the aristocracy, bourgeoisie, and working class communities. Where a character is from and the spaces they are permitted to navigate reveals much about their personality, goals, and interactions with other characters in their environment. These works show desire and punishment, as characters’ morality largely dictates whether they are granted social mobility or afflicted with poverty or other penalties.

Even if clear moral distinctions between classes are not drawn, the picturing of difference is almost always apparent. The objects displayed in Archives and Special Collections represent a sampling of the visualization of class and “otherness” in popular children’s fables and fairy tales, as well as the ways in which characters’ bodies, properties, and reputations are threatened by these factors.

We encourage exploration of the Northeast Children’s Literature Collection, or explore the blog for Archives and Special Collections, to learn more about scholarship conducted by visiting academics, writers, and artists.

– Nicolas Ochart



Conservation Tour of 1951

Written by Shaine Scarminach, a UConn History doctoral candidate, who is currently serving as a Graduate Intern in Archives & Special Collections.


When summer rolls around, the idea of a road trip entices many Americans into their cars and out onto the open road. The University of Connecticut was no exception to road trip fever.

In the summer of 1951, Dr. A. Raymond Kienholz of the Department of Forestry and Wildlife , who had previously served as Connecticut State Forester, organized a conservation road trip. Its purpose was to survey the nation’s natural features and instruct tour members in conservation science. Several years before the creation of the interstate highway system, 32 people ranging in age from 19 to 62 and coming from all over the United States hopped on to a university bus and set out to see the country. In just two months, they traveled 12,000 miles through 26 states, studying the environment by day and camping out at night.

Tour members (pictured here) learn some camping basics on the Storrs campus before the tour. More photographs of the conservation workshop from Archives and Special Collections can be found in our digital repository

Roger L. Crossgrove: A Lifetime of Art and Art-making


Roger L. Crossgrove: A LIfe in Art 

Three concurrent exhibitions on display now through August 4, 2017 at UConn.

Until his passing in December of 2016, Roger L. Crossgrove was a highly visible and active participant in Connecticut’s arts community. The works on display in the Homer Babbidge Library, the Thomas J. Dodd Research Center Gallery, and McDonald Reading Room in Archives and Special Collections through August 4, 2017 are representative of his artistic life expressed in various media.

Born in Farnam, Nebraska in 1921 and raised on the family’s farm, Crossgrove’s mother, a self-taught artist, encouraged his interest in art at a young age. From 1942 to 1946, Crossgrove served in the US Army as a Staff Sergeant, 73rd Field Hospital in the Philippines. After returning home, he received his BFA from the University of Nebraska in 1949 and his MFA in 1951 from the University of Illinois at Champaign-Urbana.

Crossgrove fell in love with the art of Mexico and twice had the opportunity to live and paint there, first in 1950 on the GI Bill and again in 1965, the influence of which is evident in the early oil paintings on display in the Plaza Gallery in Homer Babbidge Library. Between 1950 and 1968, Crossgrove taught at the prestigious Pratt Institute in the Department of Graphic Art and Illustration. In 1968, he was recruited by the University of Connecticut to serve as Department Head in the School of Fine Arts. Crossgrove retired from the University of Connecticut in 1988. During his collective 38 years as an art professor, Crossgrove taught noted artists such as Tomie dePaola, Robert Mapplethorpe, Joseph A. Smith, Normand Chartier, Cyndy Szekeres, and Michael Maslin. Described as patient, supportive, firm, friendly, generous, and cheerful, he is remembered for emphasizing well-rounded foundational lessons, in a wide variety of idioms, as crucial preparation for a career in fine art or illustration. In 2008, Crossgrove was the recipient of the UConn School of Fine Arts Lifetime Achievement Award.  Read more…

Hilary Knight on HBO tonight

Kay Thompson's Eloise (New York : Simon and Schuster, 1955).  Illustrated by Hilary Knight.  Pg. 7.

Kay Thompson’s Eloise (New York : Simon and Schuster, 1955). Illustrated by Hilary Knight. Pg. 7.





At 9pm on March 23, 2015, HBO will present a documentary produced by Lena Dunham, titled It’s me, Hilary: the Man who Drew Eloise, in commemoration of the 50th anniversary of the first Eloise book.  Lena Dunham, now 28, bears a tattoo of Eloise that is visible at times during her appearances on the HBO show Girls, so Hilary Knight sent her a signed book and a letter asking Ms. Dunham to share Indian food with him.  The rest, as they say, is history.  Read the full LA Times story.  The Northeast Children’s Literature Collection holds some of Mr. Knight’s archival papers.  Don’t miss the show tonight at 9pm.



Insights on a Fellowship

Glastonbury, Conn., English teacher David Polochanin was recently awarded the James Marshall Fellowship, as he pursues to write young adult literature as part of a yearlong sabbatical. During his research, he will write an occasional series of blog posts, based on his observations and insights relating to the contents of the Northeast Children’s Literature Collection at the University of Connecticut.   This is the second in the series.

Blog post 2: On The Psychology Of Writing

“You may think that this is the first Newbery acceptance speech I have ever made. But it isn’t. Long ago, before I ever wrote a book, when I was a children’s librarian and first aware of the Newbery Medal, I used to often put myself to sleep at night making speeches accepting this coveted award. These speeches were all exceptionally good and I wish I could remember them now. After I started writing, I stopped this pleasant habit, for my mind busied itself with wayward excursions creating chapters for… books.”

           Excerpt from Eleanor Estes’ 1952 Newbery Medal speech for her book Ginger Pye
 Eleanor Estes Newbery speech pg. 3

 Eleanor Estes Newbery Speech pg. 4

Within the publishing industry, there is a genre subset that exists mainly because of the uncertainty, mystery, and pressure that all writers face – the self-help writing guide. New books are sold every year, offering expert advice on such writerly, often impossible, things as how to summon the muses, where characters come from, the best ways to begin and end a story, if outlining is necessary for everyone, as if these were insider secrets only known to a few. Still, we learn that some authors write early in morning; others late at night. Some claim the best ideas come while taking long walks; others write what they dream and form stories around that.

To prove the marketability of such books, there is still a shelf at your local Barnes and Noble and the UConn Co-op reserved for such titles as John Gardner’s The Art of Fiction, Ray Bradbury’s Zen In The Art Of Writing, Stephen King’s On Writing: A Memoir Of The Craft, Natalie Goldberg’s Writing Down the Bones: Freeing The Writer Within, Anne Lamott’s Bird By Bird: Some Instructions on Writing and Life, and Strunk and White’s The Elements of Style, among others.

As a writer, especially at the beginning, during those fledgling phases when you’ve got 40 pages of something and it isn’t going so well, it’s hard not to look at these books. They are indeed tempting to read. Teachers at the college level routinely assign them as class texts, and the content is often useful, if not entertaining. I’ve bought a bunch of them myself, and every now and then, I return to them for inspiration or direction.

So, what makes me bring up the self-help industry for writers? A progressive-minded document from 1952.

Browsing through the Eleanor Estes papers recently I came upon several drafts of her Newbery Medal speech, given in 1952 for her book Ginger Pye, which stopped me in my tracks. As I read the draft, complete with cross-outs and edits, I stopped at the excerpt at the top of this post and had to reread it. I copied it verbatim on my yellow legal pad. Estes, a former librarian in New York City, said this was not her first speech. She had given many of them, in her head, putting herself to sleep at night imagining that she had won the award. What she was saying could have easily been included in a how-to-write guide; it still could.

With so much written about the psychology of writing – directly or indirectly – the truth remains elusive. What works for some will not work for all. I know for a fact that I do not have the motivation to write at 4:30 a.m., as some writers do. My most productive work time is sometime between 10 a.m. and 2 p.m. It used to be from 9 p.m. to midnight, before my kids entered the picture. I have had numerous ideas come to me while on bike rides and while driving my car, though I would hesitate to say there is a direct correlation between generating writing ideas and movement. Perhaps through doing these activities, my mind has an opportunity to clear out some space for creative thought. But who really knows.

Reading from superior examples in the genre you’re writing seems to help warm up the brain. Perhaps it’s nothing more than mere imitation. But is this scientifically based? I doubt it, or know if it can be. Still, Ted Kooser, the Pulitzer Prize winning poet who has been the U.S. Poet Laureate, in interviews says he has done this, as have many other writers. When I was a journalist at the Providence Journal, before a major assignment an editor once sent me a handful of front-page feature stories from the Wall Street Journal before I started to write one of my own. I did “channel” something from those stories, but I think I was too young to figure out how the articles she sent could help me.

Nevertheless, I guess the Estes comment surprised me because of the time period in which she wrote it, and also because it still makes so much sense today. How could it not help to imagine doing the very thing you want to do? Isn’t visualization/imagery the most primitive version of positive psychology? Estes was priming her brain to write great works, and her nightly fantasizing ritual ultimately gave her a tight focus and, quite likely, a motivation.

It worked for her. Could it work for others?

Sifting through boxes of manuscripts in the Northeast Children’s Literature Collection, I suppose, can have a similar effect: to gain a psychological edge in the writing process. It’s easy to forget sometimes that writing is truly an art form, and that artists need inspiration and particular conditions in order to do it well. Whether it’s writing near the window at Starbucks, which seems to be a favorite for many, or in a secluded study room at a library, I’m not sure if there are any big secrets that will work for everyone. The trick, I think, is discovering what will work for you.

“Timmy Trapped on Mars”: What Makes Failed Pitches “Bad”? by Tanya Rose Lane

For almost two years, I have been blessed with the incredible opportunity to work under Terri Goldich, the curator for the Northeast Children’s Literature Collection located in the Thomas J. Dodd Research Center. That’s right– not only do I get to work hands-on with sketches, dummies, and correspondence from children’s authors and illustrators but I also get paid for it! My most interesting assignment, by far, has been performing the box inventory and description for the Mo Willems Papers. Hailing from New Orleans and a graduate of NYU’s Tisch School of the Arts, Mo Willems is a wildly successful children’s author, illustrator, animator, and Caldecott Medal recipient. With animation credits that include Sesame Street, shows on both Nickelodeon and Cartoon Network, plus the popular Pigeon book series, it is hard to believe that Mo Willems has entire boxes within his collection here dedicated to failed pitches. Why did some of Mo’s seemingly most fun and interesting ideas get rejected by editors and animation networks? But, alas, there must be reasons why some artists’ creative ideas never quite come to life and I set out to investigate those reasons.

The possible answer to my question lies within an overcrowded box deep within the shadows of the stacks (let me just note that, as a library assistant, the storage technique authors often use of stuffing every document they’ve ever owned into boxes that won’t hold all of them is both irritating and humorous). After I managed to yank the folder entitled “Failed Pitches” out of one of Mo’s boxes, I came across an interesting set of sketches and animation designs that were clearly from the beginning stages of an animated T.V. show. The show in question, “Timmy Trapped on Mars” was an idea that Mo pitched in 1998. The plot is essentially this: while on a walk through his suburban neighborhood, Timmy and his pet goldfish are abducted by a passing UFO. When taken to Mars, the aliens there identify Timmy’s fish Cleveland as a superior being. Cleveland soon is out to get Timmy for drowning him and feeding him nasty flakes daily while on planet Earth. Timmy’s only new friend, Bubba, is his guide while he is trapped on Mars. 

Artwork and animation: Willems, Mo. “Timmy Trapped on Mars”. May 1998. Mo Willems Papers, Box #4, “Failed Pitches”. Archives and Special Collections at the Thomas J. Dodd Research Center.  All rights reserved.  No reproduction of any kind allowed. 

When I went through Mo’s notes that accompanied his artwork, I soon saw how he tried to identify possible aspects of the animated show that might not have “worked” with networks.  It seems that in order to get the green light on this T.V. show, Mo would have had to find a way to have Timmy act as an active protagonist instead of a sad main character constantly “pining” for planet Earth. He would also need to find a way to make the main dynamic of Cleveland vs. Timmy interesting and turn their relationship into one that is more complicated and complex. In his notes, Mo mentioned that he wanted to explore the role reversal with the fish as the ruler and the boy as a pet. This is where I think things could have gotten complicated and potentially unattractive to television networks. Mo Willems is known for his dark, satirical work where he satirizes adult authority and rules, something that definitely works in projects like the Pigeon books. However, the idea of role reversal here and challenging rules might not have gone over well with T.V. producers. The outer space setting also brings attention to another topic wrought with tension, that being the environment. By going to outer space and switching things up, Timmy’s situation makes me think, at least as an adult, that perhaps we earthlings are the ones who have things backwards. All of this might have been viewed as too political for an animated show for children or, maybe, producers just thought the plot had no lasting power. Maybe there were too many animated shows in 1998 about outer space or goldfish; it could have been absolutely anything. What do you think?

Insights on a Fellowship

Glastonbury, Conn., English teacher David Polochanin was recently awarded the James Marshall Fellowship, as he pursues to write young adult literature as part of a yearlong sabbatical. During his research, he will write an occasional series of blog posts, based on his observations and insights relating to the contents of the Northeast Children’s Literature Collection at the University of Connecticut. Polochanin’s work has been widely published in major newspapers in New England, including The Boston Globe, Providence Journal, and Hartford Courant. His education writing has appeared in Education Week and Middle Ground, and his poetry has been included in an anthology by Native West Press, and will be published in the prose poetry journal Sentence.

Archives & Special Collections stacks

Photo in Archives & Special Collections stacks @ David Polochanin 2013

 Blog Post 1: On Production

Combing through the archives of this collection has been fascinating, and an extraordinary opportunity. Since my days as a reporting intern for the Boston Globe nearly 20 years ago, I’ve been interested in authors’ behind-the-scenes writing process – perhaps because the art of creation is typically so mysterious. After all, when authors are interviewed by admirers, one of the first questions they are asked is, “How did you write this?” or “Where did the idea come from?”

I am not so much interested in where ideas come from, but I am intrigued with the process of writing itself.

In a way, I am learning that it is not so complicated.

While I have examined only a fraction of what the Northeast Children’s Literature Collection holds, I am struck by the sheer production of some of these authors, the volume of work they have created, and that, it would seem, an author’s ability and determination to produce such large amounts of work are major factors leading to publication, success, accolades, fame. This drive ultimately distinguishes a recreational writer, I think, from writers who earn a living by writing, particularly as a creative writer, for adults and children alike.

Their success is not reliant upon talent, alone.

It takes tenacity to produce. I am reminded of an interview I read recently with Newbery Medal winning author Kate DiCamillo, posted on the website ReadingRockets.org. She said, “I’ve been in so many writing workshops, writing classes, and to the right of me and to the left of me, there’s always somebody much more talented than I am. And what I figured out is they’re not willing to go through the rejection, which is enormous, and then the compromise that comes with editing your work. I decided a long time ago that I didn’t have to be talented. I just had to be persistent, and that that was something that I could control — the persistence. I’ve always been kind of persistent.”

Again and again in author interviews, this is a common refrain. In order to publish your work, one must work hard. Sounds simple. But the determination involved when there are dozens of things vying for our time, is remarkable. It means casting these distractions – the Internet, TV, the laundry, the long shower – aside to sit somewhere and write for extended periods of time. In today’s society, a place where patience is underrated, this kind of discipline is increasingly difficult.

So when I look through boxes of drafts, notes, and manuscripts by such celebrated children’s authors as Eleanor Estes and Ruth Krauss, whose works are well represented in the Northeast Children’s Literature Collection, seeing the sheer amount of their work stacked in box after box on the shelves in the back room, you begin to get a sense of why these are noteworthy writers and why their work is housed in a university archive.

Writing is a way of life. And you can tell that many of the writers here have dedicated their lives to the craft, to creating stories, poetry, or nonfiction. They have been prolific producers. It’s not unlike any other line of work that requires intense focus and discipline in order to rise to the top of a profession. The best physicians are often board-certified, keep up with current research, and teach young doctors in training; the best NBA players spend hours beyond their usual practice and game time to practice three-pointers and free throws and watch video of their games.

‘Consuming’ is the right word to describe this sort of dedication.

In his book The Outliers, author Malcolm Gladwell theorizes that it takes 10,000 hours to become an expert at a craft, including reaching the highest levels of achievement in business, technology, sports, and music. I’d argue the same goes for writing. Over 10 years, that’s 1,000 hours a year, or 83 hours a month, 19 hours a week, or about three hours a day. Of course, this is provided that you write every day.

Poring through this collection’s files and folders and the sheer volume of production included here makes it clear, at least in my mind: the more a writer produces, the more likely they are to get published, and the more likely one is to eventually publish work of enduring value. Kate DiCamillo has it right: First comes a stubborn persistence, then comes talent.

Susan Raab’s latest artstomarket blog on digital technology

Check out Susan’s blog about the Pew Research Center’s Internet & American Life Project report on the impact digital technology and social media have on the arts in America.  Over 1200 NEA grantees participated in an online survey.  The report investigates the many uses of technology in the arts world and identifies challenges organizations face in difficult economic times.

Susan Raab hosts new blog “Artstomarket”

Susan Raab is interviewing some of the best in the arts business and publishing their fascinating advice on her new blog “Artstomarket.”  Read great tips like “do’s and don’ts in the arts business” by Roxie Munro and Steve Light, advice on networking and making yourself “visible and indispensable” from Michael Astrachan,  President and Creative Director, XVIVO LLC.  This great blog was created in conjunction with the workshops coming up at UConn on September 28, 2012, for students in the morning and folks working in the creative arts in the afternoon.