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64 LOUISVILLE MAGAZINE 11.17 produce something like $407 billion toward the U.S. economy," Payne con- tinued. (It was actually $704 billion, in 2013, according to the National Endowment for the Arts.) "We are active," Payne said. "We will have jobs and we will engage with society in ways that are meaningful and important." Following the uplifting kickoff, another administrator stood up and bulldozed the students with things they should have on their to-do lists: remember to schedule classes on this date, and meet with advisors before this date, and the bursar is expecting tuition by this date. e crew then got on TARC buses and headed to the Speed Art Muse- um, where they spent the afternoon exploring. anks to an aggressive recruiting initiative, most students come from outside of Louisville in other parts of the state. "e students from these small towns in Kentucky, boy they are poetic beyond belief," Davenport says, calling it part of the "magic." He says that a lot of high schools have healthy art departments but aren't very sophis- ticated, "and maybe that's a good thing. At MICA, the kids I'm teaching are like, 'Are you the teacher? Tell me what you know,' like I'm trying to impress them or something. Here, they're just like baby birds wanting something to eat." Last winter a group of faculty took 19 students on a trip to New York to visit museums and soak up the culture. "Some students that come have never stepped into a museum," Fader says. Beginning in the '80s, Peter Morrin was director at the Speed Museum for 20 years, and then, until recently, he led U of L's Center for Arts and Cultural Partnerships. He says the city's arts show signs of strength. Many leading arts organi- zations have experienced turnover in leadership in recent years, bringing about new energy, as the leaders — such as the Louisville Ballet director Robert Curran, Louisville Orchestra director Teddy Abrams and Fund for the Arts president and CEO Christen Boone — view their roles as beyond the institutions themselves to serve the city and state. Morrin sees the Work from the 2017 senior thesis exhibition.