University of Chicago professor Hung Wuy defines experimental art in China, and explains it role and history since its beginnings in 1979.

"The Charlotte MSO today is led by a senior marketing executive with a full-time staff of 10 plus one part-time employee and a commissioned sales representative. The mission of the MSO is to improve the overall quality of marketing, increase revenues and build audiences for each of the four participating organizations — Opera Carolina, Charlotte Repertory Theatre, North Carolina Dance Theatre (NCDT) and the North Carolina Blumenthal Performing Arts Center." [Executive Summary p. 4]

This Monograph explores an alternative view of stabilization, one that comes from a community perspective and focuses on the delivery of cultural services to a community rather than on individual cultural institutions. In the process, some emerging trends surrounding cultural participation, regionalism, and a new form of philanthropy will be identified.

Little Angels Art School in Seol, Korea aims to help young artists build personal character while studying the arts and traditional academics. Little Angels has excellent facilities, nearly four thousand students between its elementary, junior and senior high, and its students have recieved international recognition.

Arlington County, Va., has successfully developed a new way of working in this changing climate: the arts incubator. This new model of support is infinitely adaptable and transferable to any community interested in expanding its arts presence despite limited resources.

This publication offers a broad base of information designed to present both the theory and practice of the museum profession. It defines the role of the museum worker, describes ethical responsibilities, and reiterates the public service role prescribed by the museum profession. The text offers instruction in the standards and ethics of the museum community. It also reinforces the ideals of responsible stewardship of the cultural and scientific heritage of the world.

The role of public museums in a nation's mythmaking process (Perez de Cuellar et al, 1995: 188) has been highlighted in a recent UNESCO report which argues that government support for museums should be an increasingly important part of cultural policy. The policy significance of museums resides in their efficacy in recording and expressing publicly the distinctive identity of their chosen territory (local, regional or national) (Perez de Cuellar et al 1995: 188).

A number of developments in the museum movement during the last few years have forced museums to give greater attention to ethical issues. Members of a profession are increasingly regarded as constituting an ethical community. Every person within such a community must have a sense of personal obligation as well as a responsibility for others to assure ethical achievement. This volume firmly places notions of ethics in the field of action.

In 1923 and 1935 two New York museums entered the debate on the artistic qualities of African Art by mounting major exhibits on the subject, and by using the terms and arguments of art history to make a case for the aesthetic importance of particular African objects. The exhibits employed very different methods, however, and their divergent approaches to this subject reveal not only a shift in the art museum's interaction with non-Western art, but an epistemological shift in the conception of the art museum. The ways in which these exhibits, and the reactions to them, framed and

This Monographs will provide some appropriate next steps you and your organization can take toward creating artists' live/work space in your community. It will also provide four case studies as models that can be adapted to your specific circumstances.