As part of ACA’s own reflection on our history and evolution over the past few decades, we remain inspired by our members. In this column, we will speak to members about their experiences with ACA and with the residency field. For this issue, we talk with Ruth Adams, Executive Director of Art Omi.
ACA: What was the field like when you first joined? How did ACA help connect or shape it?
Ruth Adams: When I started at Ucross about 33 years ago, there were maybe 30 residencies in the United States, and now that number is at least ten times that! Back then residencies were predominately white led serving white artists, and most were based on the silent retreat model—for so many people residencies were out of reach.
Over the years, ACA has invited in and supported so many new residencies—even the definition of residency has been exploded open to mean everything from a reclusive rural experience to orgs doing dynamic work in their communities, and so much more. The field is so diverse, so rich with amazing creative leaders serving an exponentially widened constituency of artists. I love how the definition of what a residency has completely broken wide open!
ACA: You’ve witnessed a long arc of ACA’s history. What stands out to you as a defining moment or shift?
RA: Oh my goodness, ACA has grown so much, and the residency field along with it. The shift that created great change was when Lisa came in as the new Executive Director in 2016—Lisa’s commitment to addressing systemic racism, issues of access and inequity, was the beginning of change for the entire field for residencies in this country. Lisa was so brave, took meaningful risks, and all by simply saying out loud (again and again) what so many knew but just didn't talk about—I’ll never forget her first conference when she told her own story from the stage. I was floored! Lisa’s focus for ACA changed how I directed Art Omi, and it’s no exaggeration to say she changed the arts in this country as well.
ACA: Do you remember moments in the past—like during the 1990s Culture Wars—when funding or political pressures reshaped the work of residencies? What lessons from that time still resonate?
RA: I worked for the CAC in Cincinnati in 1989 and helped hang the Mapplethorpe exhibit, watched the director be arrested for obscenity (of course it was as much about racism as homophobia) and subsequently witnessed the devastating NEA reductions.
What stays with me is how those punitive measures affected artists individually, how fear weighed on people, and how the change in the funding landscape inhibited the decisions artists made. There were so many artist run spaces back then, real community among artists grounded in a brick and mortar space that offered some relief—I miss that.
The NEA funding was greatly reduced 30 years ago, and it’s happening again. What we know now is that politicians didn’t choose to repair and increase arts funding over the decades in between—once it’s lost it's almost impossible to get it back. The wealthiest nation in the world shouldn’t have to choose between funding for the environment or the arts; food/housing/medical care or the arts—it’s heartbreaking.
ACA: What advocacy conversations or decisions felt urgent then? How do they compare to what’s at stake now?
RA: What’s at stake now is massive and unprecedented, everything is at risk— it felt urgent back then to speak out and stand up for our values as an art community, and it feels even more urgent now. But we don’t need to choose between issues because all our liberties are at stake now, and they are all intertwined. Access to the basic necessities of life, the arts, the environment and the right to move freely are not separable.
ACA: Art Omi has always found ways to adapt while staying artist-centered. How are you responding to today’s challenges—whether around funding, international exchange, or cultural polarization?
RA: It’s a difficult time to invite artists to come to the U.S.; having to advise artists not to come to Art Omi is tough but it’s simply unsafe for some to travel now. Funding is a challenge, especially when artists need more financial help. We’re holding many conversations with artists as they grapple with the decision to attend a residency or not. We offer deferments in hope that things will improve in a few years, which is a really complete unknown.
ACA: What kinds of support models or institutional shifts are you seeing emerge in response to the current climate?
RA: It drives me crazy that I don’t have an answer for this one! It probably means that I’m not getting out enough! I can say that what I wish for is for orgs to meet more often, to support new underfunded projects however they can, to share experiences and ideas more. This is no time to be siloed!
ACA: How do you stay grounded in mission while responding to political or economic precarity?
RA: Carrying out Art Omi's mission confirms our values, and being in community with people from around the world reaffirms us that the mission is more important than ever. Recognizing the teamwork it takes to do this is always grounding as well.
I’m reminded that when we load a room with people from outside our culture and belief system, there’s a tipping point where they’ll feel enough empowerment by numbers to open up, to share reflections about our culture and theirs. That’s where the opportunity to learn about ourselves lies—that’s what’s been special about Art Omi’s international focus—and we don’t want to lose that. With less international artists able to attend, it’s up to staff to help support and empower what’s lately become a minority in our cohort make-up.
ACA: What advice would you give to new leaders entering the field today?
RA: Remember that we’re in the service industry—we invite these people in to stay with us, to trust us, to give of themselves; in return they deserve to be treated as special, valued guests. The crucial flip side is to always hold yourself and others accountable, to support clearly stated boundaries and conduct codes.
Be prepared to get scrappy, to do the washing up as much as the shinier leader duties, and do so with the same gusto alongside your staff. Get out and visit other programs if you can—Zoom with others at least.
I’ve grown to lead from my personal experience, rather than living in hesitancy and doubt about what leadership means—it really matters to lead with kindness, curiosity and authenticity.
I get back so much more than I give; I can’t imagine a better field to be in.
ACA: Are you planning to come to the conference? If so, what are you most excited for?
RA: I am! I’m excited to be with people in the field, and to hear in person about how they and their programs are doing, how they’re navigating these times. Just excited to be in community with others.
Ruth Adams is Executive Director of Art Omi in Ghent, NY, where she provides leadership for the multi-faceted contemporary arts center's 120-acre Sculpture and Architecture Park and Gallery, international artist residencies, arts events, and education programming. Together with a Board of Trustees and Program Advisory Boards, totaling 90 people from the arts and business communities, Adams is dedicated to Art Omi’s vitality and sustainability, with a current focus on reputation building, destination creation, exemplary visitor services, internationalism, equity, inclusivity, and programming excellence.
We’d love to hear from you. Send your questions or reflections to ebasada@artistcommunities.org for a chance to be featured in an upcoming issue.