Minnesota’s arts groups fight to keep their edge after funding cuts

This has been a tough year for Minnesota’s arts community.

Just as theaters, orchestras and museums were getting their groove back after being knocked sideways by COVID-19, the National Endowment for the Arts delivered a gut-punch: a sudden cut of approved grants to arts organizations across the nation, including $882,500 allotted to 35 groups in Minnesota.

That shock came amid continued decreases in corporate funding, struggles to fill seats, and the shuttering of companies such as the Old Log Theatre, HUGE Improv Theater and the James Sewell Ballet. The Cowles Center, Minnesota Dance Theatre and Park Square Theatre also went dark for a time to regroup.

These hurdles threaten the rich cultural life that Minnesotans are accustomed to having. Funding cuts usually mean leaning into safe programming and fewer experimental or ambitious projects coming from arts organizations.

There are also potential economic impacts. Arts and culture directly and indirectly added $14.8 billion to the state’s economy in 2023, or 3.1% of its gross domestic product, according to the NEA, including $7.7 billion in wages to 93,918 workers.

But Minnesota arts leaders are adapting and looking to the future with guarded optimism; it’s because they’re also leaning into the past that makes the North Star State stand out.

“We’re in a defining moment,” said Chris Harrington, president and CEO of the multidisciplinary Ordway Center. “I’m not minimizing how hard it is by saying we will come through it,” he said.

That tradition goes back to the earliest days of statehood. Lumber baron T.B. Walker founded his namesake museum, Walker Art Center, just 21 years after Minnesota became a state in 1858. That kick-started a steady march of arts flagships, including the Minneapolis Institute of Art (1883), the Minnesota Orchestra and, nearly a century later, the Guthrie Theater (1963), a catalyst for America’s regional theater movement.

Minnesota was second in the nation to create a statewide arts agency (1903). It was the first state to approve a Clean Water, Land and Legacy Amendment with 56% of the vote in 2008. The Legacy Fund has invested hundreds of millions of dollars in the arts since 2010.

The state’s artistic institutions have survived wars, depression, recession and a pandemic, gaining and losing in the process. Now they face rapid changes in technology, demographics and how people consume art.

“COVID definitely changed viewing habits, and people can entertain themselves with a huge variety of choices at home,” said Mia director Katie Luber. “It’s up to us to attract them with the strength of our programming, whether it’s an exhibition or a fan night or movie night on Thursdays.”

Perhaps one of the biggest fears for both patrons and artists is that these institutions will become less ambitious or daring. Coming out of COVID, many programmed solo shows or works with small casts to conserve resources.

But the Walker, which has built its reputation on avant-garde works that converge at the intersections of art, music, dance and theater, has been selling out shows in its 385-seat McGuire Theater.

“If anything, we’re sharpening our edge,” said Walker senior curator Philip Bither, who programs multiple international acts.

Still, he is apprehensive about the half-dozen international acts in next year’s lineup. Getting visas has become cumbersome and more expensive with no guarantee that the groups the Walker has contracted for shows will not be turned back at airports.

“We’re committed to the exchange of artists and ideas,” Bither said.

Beyond programming, arts groups are paying attention to patrons’ in-person experiences.

For its recent production of “Cabaret,” the Guthrie had a show-themed Kit Kat Bar as well as makeup stations. Over at the Children’s Theatre, there were added enrichment activities for patrons attending “Frozen.”

“We’re providing a creative and welcoming environment that people can’t experience if they stay home in their pajamas,” said Brent Assink, the orchestra’s interim president who formerly led the St. Paul Chamber Orchestra.

Funding challenges have pushed organizations to be more responsive to community needs, said several arts leaders. The current challenges offer opportunities for organizations and artists to grow and show their dynamism.

“Minnesota has built an artistic goldmine,” said Maija Garcia, who in July became director of the Capri Theater after moving from New York seven years ago to work at the Guthrie.

She said she wants to add to that luster with a raft of sustainable initiatives, including training programs for artisans such as costume-, wig- and set-makers.

Alejandra Peña Gutiérrez, director of the Weisman Art Museum, said dancers, musicians and painters of the world should be supported.

“Artists are resilient, which is not an invitation to neglect or abuse them,” Peña Gutiérrez said. “They will find a way to continue doing great work and we have to find a way to be equally great partners.”

This spring and summer have brought positive glimmers. The lights are back on at Park Square, which is celebrating its 50th year with an ambitious season, and are coming up soon at the Cowles Center. Minnesota Dance Theatre has had a resurrection and a new building.

At Mia, “Giants,” the exhibit of works from the collection of singer Alicia Keys and husband Swizz Beatz, drew more than 57,000 patrons in five months.

“We live by our mission and are trying to find those things that are going to resonate with our communities,” Luber said. “That’s how we’re sharpening our edge.”

Several theater shows have recently been extended, including “Fun Home” at Theater Latte Da and “Frozen” at CTC, which smashed box office records with 62,000 patrons.

And “Cabaret,” which ran for nearly 10 weeks, turned into a juggernaut at the Guthrie, playing to 96% of capacity, or a stadium-sized 75,763 tickets.

There has even been a mini-building boom. The Playwrights’ Center has moved to a new $18.5 million home in St. Paul. And Pillsbury House Theatre has completed its $5.5 million expansion into the Pillsbury Creative Commons, a training space and radio studio.

The Ordway’s Harrington added that this is a moment for fortitude, especially for arts leaders. Nodding to the state’s agricultural roots, he evoked the image of cattle facing bad weather.