ST. PAUL, Minn. – Every U.S. state has its share of invasive species, and in Minnesota, reed canary grass is one of them. But creative people know the common invader can also be turned into something artistic and practical.

Artist and Assistant Professor of Printmaking at Minnesota State University Moorhead Anna Haglin was part of the West-Central Minnesota Paper Plains project over the summer. She took her mobile studio to several locations, using reed canary grass to teach people how to make paper.

Haglin says kids were eager to take the paper they'd embedded with native prairie seeds home to plant in their backyard.

"I like to describe it as a magic trick,” laughs Haglin. “You take invasive grass and you're sort-of turning it into 'good' grass, so it's sort-of all about the conversation that then happened around that."

Haglin says Minnesota artists are fortunate, since the state has one of highest per-capita legislative appropriations to state art agencies in the country, spending $7.26 compared to $0.17 in neighboring Wisconsin.

Haglin says she can't remember a time she wasn't aware of climate change and its environmental effects, causing reed canary grass to spread. In the art world, her work is known as 'social practice,' because it focuses on the interaction between the audience, social systems, and the artist.

"An issue that I care about doesn't have to be something that I am shocking people with, or scolding them,” says Haglin. “We can all work towards a positive solution. Something that everyone enjoys."

The paper project is funded through a grant from the Fergus Falls-based West Central Initiative and Springboard for the Arts, an economic and community development organization.


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A new report quantifies the contribution of Wyoming's arts and culture sector to the state's economy and shows it is significant.

Wyoming in 2022 performed well in arts and culture compared to its neighboring states by the percentage of workers the sector employs, more than 4%, with a median salary of nearly $46,000 per year. The new analysis from the University of Wyoming showed the value added to the state by industry. Arts and culture added more than $1.3 billion in 2022, which was $350 million more than the agriculture, forestry, fishing and hunting sectors.

Andrew Schneider, executive director of the Wyoming Arts Alliance, said it puts the effect of the arts on the state's economy in perspective.

"It's just as true to say that 'Wyoming is an arts and culture state,' as it is to say 'Wyoming is an agriculture state,'" Schneider explained. "Those two things are not in competition. "

Instead, Schneider pointed different industries in the state support each other. National models of similar data tend to overlook rural states' creative vitality, he noted, and he hopes this report will make way for Wyomingites to identify with the arts.

The report analyzes 2022 numbers by county and across the state, and the report's authors plan to analyze 2023 data when it becomes available. Schneider added will allow arts leaders at all levels to see how data is trending.

"We really wanted to be able to provide every county with a snapshot of what their creative economy looks like," emphasized. "And to facilitate a conversation with key arts and culture and community leaders around what their future looks like."

The counties with the highest percentage of arts- and culture-related employment in 2022 were Sheridan at 9.6%, followed by Teton, Johnson and Park.

By Ilana Newman for The Daily Yonder.
Broadcast version by Eric Galatas for Colorado News Connection for the Public News Service/Daily Yonder Collaboration

Before Madeleine Ahlborn bought a church, the most expensive thing she owned was a 2002 Toyota 4Runner with 340,000 miles on it. Now, Ahlborn is the founder of The Church Project, a community art center in Monte Vista, Colorado, housed in an old Baptist church, with no relation to the religion.

An artist herself, Ahlborn was looking for a new studio in Monte Vista (population 4,247) when the owner of her old studio space offered up another building he owned - a church down the street. Ahlborn made "a handshake deal" to rent a room upstairs. A few months later, he asked her if she wanted to buy the building.

"We were just trying to build this community of creatives," Ahlborn said. The church building allowed her to do just that - and more. Currently, the space holds exhibitions, open studio time, workshops, and performances, with plans for much more. Ahlborn wants it to be an "intergenerational space", for families and community members, not just professional artists. On Sundays, the church is open for "Sunday School" - free art workshops or open creative time.

Surrounded by 14,000 foot mountains and holding the headwaters of the Rio Grande River, the 8,000 square mile San Luis Valley is a high-elevation desert landscape. The region grows the most potatoes in the state of Colorado and has a long history of agriculture. Tourism and outdoor recreation are growing industries in the area.

After moving to the San Luis Valley, Ahlborn wasn't sure how to be a professional artist in a rural community. She also saw so many people in her community making art on the side, without really referring to themselves as "artists". She wanted to make sure there was a space for all of these artists to gather and create.

"There are so many ways to be an artist and you can be a great artist anywhere. You don't have to be in a big city," Ahlborn told the Daily Yonder.

Arts and culture accounted for 3.7% of Colorado's GDP in 2022, providing more than 100,000 jobs across the state. South Central Colorado, including the six counties that make up the San Luis Valley and six additional surrounding counties, had 14% growth in employment in creative industries between 2010 and 2019.

In 2022, Monte Vista received a Recreation Economies for Rural Communities (RERC) grant, a program in collaboration with EPA's Office of Community Revitalization, the USDA Forest Service, the Northern Border Regional Commission, the Appalachian Regional Commission, and the Denali Commission. RERC supports rural communities with planning to grow their recreation economy, revitalize main streets, and increase equitable access to the outdoors.

Some of the goals that the city of Monte Vista and San Luis Valley Great Outdoors (SLV GO!), the partners for the grant, have are to revitalize their main street and grow small businesses, as well as improve access to the outdoors for residents. Ahlborn, who also works with SLV GO!, realized that the Church Project fits perfectly into these broader goals for Monte Vista.

A future goal for the Church Project is to provide funding for the Rural Journalism Institute of the San Luis Valley, a project Ahlborn is a part of in collaboration with the founders of the Alamosa Citizen, Chris Lopez and MaryAnne Talbott. The Church Project currently hosts a podcast recording studio for the Alamosa Citizen and the Rural Journalism Institute to help dismantle transportation barriers between Monte Vista and the city of Alamosa, 17 miles away.

Ahlborn sees art as vital in rural communities to provide belonging and create connections. "Art is kind of this catalyst to bring people together, whether you call yourself an artist or not," she said.

Ahlborn sees the Church Project as a third space, separate from work and home, free for people to find community and have a place to go. She wants everyone to feel at home at the Church Project, whether or not they identify as an artist.

"Monte Vista generally has been seen as a drive through town. There weren't a lot of places to stop," Ahlborn said. But she sees this changing, with her work with the Church Project, as well as the work being done by the city through the RERC grant.


Ilana Newman wrote this article for The Daily Yonder.


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By Cinnamon Janzer for Arts Midwest.
Broadcast version by Chrystal Blair for Michigan News Connection reporting for the Arts Midwest-Public News Service Collaboration

Drive through nearly any part of the Great Plains and you’d be hard pressed to not come across incarnations of the enduring symbol of the U.S. Midwest—barns. Even though a wooden structure painted red and dotted with white trim may be the classic image that comes to mind when we think of barns, they come in a range of styles from bank barns with axes parallel to a hill to round barns with domed roofs. 

Despite different designs, one thing that all barns have in common is the special place they hold in the lives of the community members where they exist. Barns have historically offered a unique reciprocal way for rural community members to come together and enjoy the pride and satisfaction that comes from the shared accomplishment of raising a barn—an act that, for centuries, was unable to be done alone.

“It took a large group of people to work together in harmony to get the frames up. It was a strong community effort, like a lot of other things that happened in rural areas like husking bees and quilting and sewing bees,” says Steve Stier, an educator and historic preservation specialist who focuses on traditional barns through his work with the Michigan Barn Preservation Network. Because barns were needed by nearly everyone, it was known that by participating, you were sure to have the support you needed when the day inevitably came that you’d be the one requiring community labor. 

Today, Stier sees the process of raising a barn as an increasingly rare way for a community to come together. “It brings this joy that people have when they work together, shoulder to shoulder, accomplishing a significant piece of work like raising a [barn] frame. People are just ecstatic about the way they feel about it.” 

Stier notes that quite a bit of creativity, craftsmanship, and problem solving go into building a barn and its rehabilitation.

While modern machinery has removed much of the need for a community approach to barn raising, organizations like Stier’s are keeping the art alive and bringing people together through workshops, field programs, awards, and grants. At the Barn School, classes often include assessing the condition and stability of a barn; and learning about barn architecture, construction, maintenance and repair approaches. They also provide a handy Barn School 101 booklet, barn condition check sheet, and a resource document. This is a significant offering as we see barns and unused agricultural structures being reimagined as new community gathering spaces from hosting events to artist residencies across the country.

From the National Barn Alliance and the Center for Rural Affairs to Friends of Minnesota Barns and Iowa Barn Foundation, there is a significant national and Midwestern movement to preserve America’s historic barns and rural heritage. There are active initiatives to document barn structures and historic farms in almost all 50 states through state historical preservation offices. 

And these barn preservation efforts are being made with good reason — “They’ve become the icon of the rural landscape,” Stier says.


Cinnamon Janzer wrote this story for Arts Midwest.


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