Educational Background VISUAL ARTS BRIAN O'DOHERTY, DIRECTOR University College, Dublin, Ireland, M.D., Harvard University, S.M. Hyg. Professional Experience Artist: One man shows, Byron Gallery, 1966; Betty Parsons Gallery, 1970; David Hendricks, 1971; numerous group shows; Art Critic, New York Times, 1961-64; Author: Object and Idea, 1967; Editor, Art in America Magazine, 19711974; Adjunct Professor, Department of Art, Barnard College. Educational Background FEDERAL-STATE PARTNERSHIP CLARK MITZE, DIRECTOR Northern Iowa University, B.A.; University of Iowa, M.A.; Washington University. Professional Experience High school teacher, 1944-52; Assistant Professor, Washington University, 1952-67; Music Critic, St. Louis Globe-Democrat, 1963-68; Director, Missouri State Council on the Arts, 1965-68; Contributor: (Music Reviews) The Washington Post. PERFORMING ARTS AND PUBLIC MEDIA POLLY BUCK, DIRECTOR Educational Background Bennington College, Vermont; Columbia University. Professional Experience Managing member, Republic National Committee; 1956-64; Secretary, Republican National Convention, 1960–64; Trustee, Wesley College, 1974 to present; Member, Executive Committee, Center for Women in Politics, Rutgers University, 1972-74; Panel Co-Chairman, Public Media, National Endowment for the Arts, 1972-74; Chairman, Delaware State Arts Council, 1989–74. DANCE JOSEPH J. KRAKORA, DIRECTOR Educational Background Denison University, Granville, Ohio, B.A. Professional Experience Managing Director and Designer, Pit and Balcony Theatre, 1961-63; Associate Director of Development, Lincoln Center, 1968-69; Assistant Director of Development, Princeton University, 1969-70; Vice President for Development and Director of Finance, City Center Joffrey Ballet, 1970-74. MUSIC WALTER F. ANDERSON, DIRECTOR Educational Background Oberlin Conservatory, Mus. B.; Cleveland Institute of Music; Berkshire Music Center. Professional Experience Chairman of Music Department, Wilberforce University, 1937-38; Concert pianist, 1938-1946; Instructor, Kentucky State College, 1939-42; Director of Music, Cleveland Settlement House, 1943-46; Director and Professor of Music, Antioch College, 1946-1968. Occidental College, B.A., University of Geneva, George Washington University, M.A. Professional Experience Free lance writer for publications including: Washington Post, New York Magazine, Art in America, Cinema Journal, Media & Methods, Evening Star, 1966-71; Senior Editor, Videorecord World; Consultant, Public Media, National Endowment for the Arts. Educational Background THEATRE RUTH MAYLEAS, DIRECTOR Cornell University, B.A., Alliance Francaise, Paris; Hanya Holm School of Dance. Professional Experience Assistant to Director, National Theatre Service Department, ANTA, 1952–54; Researcher, Theatre Arts Magazine, 1954-55; Associate Director, U.S. Centre, International Theatre Institute and Director, National Theatre Service Department, ANTA, 1955-56 Awards: Ford Foundation Travel and Study Grant, 1963. OFFICE OF THE GENERAL COUNSEL ROBERT WADE, ASSOCIATE GENERAL COUNSEL Educational Background George Washington University, B.A.; School of Law, George Washington University, J.D. Professional Experience Private law practice, Denning & Wohlstetter, Washington, D.C., 1968-69; General Accounting Office, 1969-72. GRANTS OFFICE (ARTS ENDOWMENT) Educational Background JAMES THOMAS, GRANTS OFFICER University of Texas, B.B.A. Professional Experience Certified Public Accountant, D.C.; Auditor, U.S. General Accounting Office, 1962-68; U.S. Navy, 1951-55. SUPPLEMENTAL PREPARED STATEMENT OF NANCY HANKS, CHAIRMAN, NATIONAL ENDOWMENT FOR THE ARTS Mr. CHAIRMAN. I am pleased to have this opportunity to comment on H.R. 1118, a Bill to amend the National Foundation on the Arts and Humanities Act of 1965 to further cultural activities by making unused railroad passenger depots available to communities for such activities. At the outset, let me pay special tribute to the initiatives taken and the leadership demonstrated by Congressman Thompson. His pioneering work over a number of years has focused our country's attention on this significant subject area. My comments today are drawn largely from testimony given this past summer before the Subcommittee on Surface Transportation dealing with the same issue. As you know, the National Endowment for the Arts has long been a strong supporter of the recycling of architecturally significant structures. In the past few years, particularly, our Architecture + Environmental Arts Program has given many grants to support the burgeoning movement across the country to save and reuse old buildings-courthouses, warehouses, surplus Federal buildings, and even entire derelict sections of cities. Our interest in railroad stations therefore, came as a natural outgrowth of this express agency interest, and one which I might add is enthusiastically endorsed by our advisory group, the National Council on the Arts. It is an interest which relates directly to one of the Endowment's three primary goals-the preservation of our Nation's cultural legacy. Back in August of 1972, Michael Straight, Deputy Chairman of the Endowment, and Bill Lacy, Director of the Architecture + Environmental Arts Program, expressed the Endowment's keen interest in this subject in the original testimony on H.R. 9719 before the Select Subcommittee on Education which was held appropriately in one of the finer examples of a reused railroad station, the Mount Royal Station in Baltimore, Maryland, now in use as a part of the Maryland Institute College of Art. In their testimony they noted that the Endowment organized a national call-toaction workshop on reusing old railroad stations. The City of Indianapolis, Indiana served as the fitting host for the meeting since they are in the process of successfully converting their historic station to a commercial shopping mall to augment its continued use as a train station. This meeting brought together 300 mayors, city officials, planners, urban renewal specialists, bankers, developers and other interested individuals to explore ways to restore stations and to find sources of financial support for their adaptive use. Featured at the conference was a book, "Reusing Railroad Stations," and a 30-minute film, "Stations," both also funded by the Endowment. The book was written by a New York architecture firm, Hardy, Holzman, Pfeiffer, Associates, for the Educational Facilities Laboratories also located in New York City, who helped plan and organize the meeting. The publication contained dozens of selected examples of stations that had been successfully reused, as well as those still endangered. It also discussed potential strategies and inherent problems in mounting successful community programs for adapting old stations to new ones. The book was complemented by Roger Hagan's film which had its premier showing in Indianapolis, and has since been in great demand by civic groups all over the country. "Stations" was made to develop awareness of this man-made resource in our midst, and to provide a variety of models for action. Included were schools, museums, restaurants, shops, offices, hotels and other entertainment and cultural centers that were once terminals or depots. The film concludes with these words: Old things around us help us find our bearings. I found Americans more inclined to believe this than they once were. Perhaps we will not be so quick to rip the root out of the land. We might just pass this way again. A second publication in this series is now available. It is a compilation of the papers presented at the Indianapolis Conference entitled "Reusing Railroad Stations-Book II." Also produced by the Educational Facilities Laboratories it will provide more detailed information on ways to go about developing and financing such projects. The publication also documents 16 additional case studies of successful railroad station reuses. At this time, I would like to submit a copy of this publication for the record. Although we have been close to this issue for several years, we were unprepared for the outpouring of public sentiment and interest which the conference and our other activities evoked. Suddenly a focus had been created for the widely held opinion that our Nation's railroad stations had not outlived their usefulness in the thousands of communities where they still occupy a prominent central location. Magazine articles, newspaper columns, public lectures, H.R. 1118 and the passage of P.L. 93-496 have served to keep this public hope and interest unabated. Over the past year we have received approximately 700 requests from cities, towns, public interest organizations, and concerned individuals asking for help in converting their stations into civic and cultural centers-only occasionally in conjunction with their use as intermodal transportation centers since many significant railroad stations are simply not large enough to serve in this capacity today. Typical of these letters, is the following from Calvin College in Michigan: DEAR MISS HANKS: I am particularly keen to learn of any ways in which the National Endowment for the Arts can be useful in saving the Durand Depot near Flint. The latest news, after plans to demolish have been on and off again, is that it will be bulldozed soon. . . Durand is a very small town which cannot make this its priority. Yet, good planning, and some has been done, could make this an excellent specialty shopping center and tourist stop as well as an Amtrak office. The depot which was highlighted in "Reusing Railroad Stations" is the largest and most magnificent left in Michigan. What can you do to help? RONALD VANDERKOOI. Of the ten case studies of successful reuses documented in "Reusing Railroad Stations," eight were funded by private means or foundations (in one case the municipality purchased the initial option). Of the other two, one received pres ervation funds through HUD and the other received Naional Park Service funding. Of the 16 case studies which were being documented in the Endowment's second volume of "Reusing Railroad Stations," the majority again are privately financed either through private developers or nonprofit citizens' interest groups. One is receiving some funds through Amtrak. The tendency for adaptive-use projects to be privately financed is evident throughout the country. The Endowment applauds this tendency. In the Endowment's experience, however, our grants in the planning and feasibility stages of a project often generate (s) the necessary private or municipal funding to implement the project. The Endowment has long advocated that architecturally and historically significant buildings, which have outlived their original function, be recycled and put to contemporary use. The Endowment believes this concept is especially important at a time when we are all critically aware of the need to conserve our Nation's resources, especially energy and materials. Because of their "endangered" status, we have taken a particularly active interest in the fate of railroad stations. In the process, we have become acutely aware of the great value-both symbolic and practical-which is attached to railroad stations by communities throughout the Nation. While the Endowment clearly supports the primary intentions of H.R. 1118namely to preserve and put to use underutilized railroad stations--and has made efforts to achieve this objective in the period since our original testimony on this Bill, we still have the same reservations expressed by Deputy Chairman Michael Straight at this time. The Endowment's reservations then and now are concerned primarily with our ability to effectively carry out a program to acquire by purchase underused railroad stations, to carry out repairs and minor remodeling of such stations and to lease them for use for cultural purposes. To quote from Mr. Straight: "The reservation is simply that at the present time the Endowment has been seen as essentially a means of reinforcing with Federal grants local, regional and state initiatives." To the extent that the Endowment is at the present time a policy-making/grant-making agency, it is unable to move into operational and management fields. Despite these reservations, the Endowment's commitment to this important issue has not diminished nor has the interest of the public as proven by the thousands of inquiries we have received over the last several years. Thus we would welcome the opportunity to work with the Committee in developing an appropriate role for the Endowment, and at the same time, develop a program which would accomplish the intentions of H.R. 1118. Representative BRADEMAS. Next, if we can try to have one more witness before we recess. We may have to hear the States arts council people after lunch, I regret that, but this is one of the difficulties with the question of time. I would like to call on Mr. Hastings, deputy assistant secretary for legislation, Department of Health, Education, and Welfare. Mr. Hastings, congratulations on your new appointment. We are glad to see you and Dr. Harold Arberg, director of the arts and humanities staff, Office of Education, Department of Health, Education, and Welfare. STATEMENT OF RICHARD A. HASTINGS, DEPUTY ASSISTANT SECRETARY FOR LEGISLATION (EDUCATION), DEPARTMENT OF HEALTH, EDUCATION, AND WELFARE, ACCOMPANIED BY HAROLD W. ARBERG, DIRECTOR OF THE ARTS AND HUMANITIES STAFF, OFFICE OF EDUCATION, DEPARTMENT OF HEALTH, EDUCATION, AND WELFARE Mr. HASTINGS. Thank you very much, Mr. Chairman. I have been in this business since 1969, and I discovered it is a lot easier to write these statements for people than it is to give them. I have a very brief statement on behalf of Secretary Mathews. Mr. Chairman and members of the subcommittees: I am pleased to be with you this morning to discuss part A of title II of H.R. 7216, as well as a similar provision contained in S. 1800. Title II(A) would create within the Department of Health, Education, and Welfare a new organizational unit to be known as the Institute for the Improvement of Museum Services, consisting of the National Museum Services Board, as well as a Director of the Institute. This institute would be authorized to make grants to museums to increase and improve museum services, including such activities as the construction and installation of displays, staff training and administrative costs, development of traveling exhibits, and other purposes. First, let me begin by stressing the interest which this administration, as well as its predecessors, has shown for the enhancement of this Nation's cultural life. As you well know, the budget for the National Foundation for the Arts and Humanities has increased from about $18 million in fiscal year 1970 to $190 million requested for the current fiscal year. I dare say that most of us sitting in the room this morning have enjoyed the fine use of those funds by the National Foundation on the Arts and the Humanities over the last 6 years. I must report, however, that we in the administration do not believe that this is an appropriate time to consider a new program for what is essentially general institutional assistance to museums. As you know, the President announced earlier this year that he would not be proposing any funding requests for new programs. In a time of hard decisions about Federal spending priorities, we believe that the Nation cannot afford a program such as that proposed in the measures before you. Support for museums has traditionally been provided by State and local governments, as well as by contributions from private firms and individuals. We believe that these should continue to be the primary sources of funds for the operation and maintenance of museums. Additional Federal support, however, can be and has been provided by funds made available to State and local governments under general revenue sharing, as well as by funds provided from both the Arts and Humanities Endowments. As Chairman Hanks noted today, and as Chairman Berman will testify tomorrow before this joint hearing, both of their organizations have provided funds which go directly to the types of activities described within these bills. For example, the grant program for museums conservation and renovation discussed by Nancy Hanks quite clearly provides some of the support envisioned under H.R. 7216, and the Humanities Endowment has provided exhibition assistance to museums for the exhibit of Chinese archeological artifacts, the tapestry masterpieces exhibition at the Metropolitan, and the exhibition of impressionist paintings from the Soviet Union, as well as for many smaller regional and community exhibits presented by museums around the country. To the extent that museums do serve as an adjunct to our educational system in this country, we certainly encourage State and local school systems to work cooperatively with museums in their communities and to rely on those resources to the maximum extent feasible through cooperative arrangements. |