Arts Wire CURRENT is a project of Arts Wire, a national computer-based network serving the arts community. Arts Wire CURRENT features news updates on social, economic, philosophical, and political issues affecting the arts and culture. Your contributions are invited. Contact Judy Malloy, editor.
To encourage the exchange of arts information and perspectives, Arts Wire CURRENT contents are not copyrighted unless specifically stated. We ask that you cite Arts Wire CURRENT as well as Arts Wire's url (http://www.artswire.org) when reprinting material. In addition, Arts Wire is very interested in documenting the use of material from Arts Wire CURRENT in other newsletters, publications and on online networks. Please send a copy to: Joe Matuzak, Arts Wire Director.
THE NEW YORK TIMES reports that Judge Lucy Billings of Criminal Court noted that the United States Court of Appeals for the Second Circuit ruled that for legal purposes, art should be considered a form of speech and afforded the same First Amendment protections as speech and writing.
According to the Times, she also quoted a 1982 New York City Council law that said "It is consistent with the principles of free speech and freedom of the press to eliminate as many restrictions on the vending of written matter as is consistent with the public health, safety and welfare."
"This is a great victory for the City's artists, for all of its people and for First Amendment rights," said Robert Lederman President of A.R.T.I.S.T. and the main plaintiff in the Federal suit.
Since March 1, 1998, according to A.R.T.I.S.T., the Parks Department has attempted to force street artists to obtain a permit before selling art in front of the Metropolitan Museum of Art despite the Federal Appeals Court ruling that said artists were fully protected by the First Amendment, that they were to be treated exactly like book vendors, and that a permit or license requirement was unconstitutional.
A.R.T.I.S.T. reports that there have been more than 35 artist arrests and hundreds of summonses issued by Parks Police since March 1st. While none of the arrested artists had as yet been found guilty in any of these cases, this was the first time a judge dismissed cases based on the permit system being unconstitutional.
According to the Times, Diana Heller, one of the defense attorneys in the case, believes that because the judge affirmed the concept that city laws passed by the City Council are superior to administrative regulations made under the authority of the Mayor, the ruling could have important ramifications for the city.
"It is a very fundamental concept here, who can make law," the Times quotes Heller as saying. "You have a balance of power; the Mayor can't just do what he wants."
Sources/resources:
John Sullivan
"Charges Are Dropped in Sale of Art in Parks in New York"
THE NEW YORK TIMES --
http://www.nytimes.com>
August 18, 1998
More info on the street artist and vendor issues are available at http://www.openair.org/alerts/artist/nyc.html or contact: Robert Lederman, president of A.R.T.I.S.T. at tel: 718-369-2111 Email: ARTISTpres@aol.com
The Esperanza Center reports that in response to the announcement of the litigation involving the City's arts funding process, City Attorney Frank Garza stated to FOX 29 News: "This [City] Council, if the suit is filed, will have no choice but to really not fund them, because our current contracts say that if an entity sues the city then you lose funding, because we're not going to fund someone to sue us."
According to the Esperanza Center, the lawsuit seeks "to ensure fairness and respect for all people and to protect the fundamental principles of diversity, democracy, and justice." It calls for the City Council to: restore funding for the arts groups; remove prejudice and favoritism from public funding in the future; comply with the Texas Open Meetings Act; and respect the principles of free speech.
"Respeto es basico -- basic to family, community, and democracy," says Graciela Sanchez, executive director of the Esperanza Center.
"This means we must have respect for other people, for different points of view, and even respect for those who we don't agree with."
In September, 1997, after a public lobbying campaign by right-wing pressure groups, the San Antonio City Council in closed backroom meetings eliminated all public arts funding for the Esperanza, the Media Project, and VAN.
The Esperanza Center reports that during the arts funding process, they and the other two organizations received high rankings and positive comments from citizen-review panels as well as from the Cultural Arts Board appointed by City Council. "The arts organizations were targeted for defunding by conservative groups because of the Esperanza's activities and programs related to cultural diversity, human rights, environmental justice, and reproductive freedom," they state.
"City government cannot allow prejudice or favoritism to drive public policy," Amy Kastely, attorney for the arts groups said. "The city should support cultural expression for all parts of San Antonio, just as it should provide fire stations, transportation, sidewalks, clean air, and education for all and not just for some."
In response to Attorney Frank Garza's statement that the city would not fund someone who sues them," Esperanza Center Executive Director Sanchez stated, "Mr. Garza is mistaken in thinking City money would be used to sue the City. Public arts funding has always been used by the Esperanza to support specific artistic events and programs. We never have and never will use this kind of funding for litigation, construction, or other activities not included in our city-approved contracts."
The Esperanza Center also points out that the law is clear that the City may not retaliate against or punish a group or an individual for exercising their constitutional rights, including the right to seek redress in the courts for constitutional violations.
"I am troubled by the city's careless disregard for constitutional rights. Seeking assistance from the courts in no way disqualifies us from continuing to be involved in public life," said Attorney Amy Kastely.
For recommended actions contact: the Esperanza Center at tel: 210-228-0201 fax 210-228-0000 web site: http://esperanzacenter.org
The Times reports that the Writers Guild of America sued the city last September saying that the permit system it had imposed was unconstitutional. The system recalled the "tyrannical and repressive system used by the former Soviet Union and other countries to regulate writers, " the Times quotes the Writers Guild as saying.
Despite the victory, the Writers Guild is concerned about similar measures in other Southern California cities, according to the Times. Burbank is considering a similar permit, and both Santa Monica and Long Beach have ordinances requiring writers who work at home to get permits and pay fees. Beverly Hills not only requires writers and artists to get a permit, but also requires renters to get written permission from their landlord before engaging in creative acts such as writing or painting on the premises.
The Times reports that the Writers Guild has asked Beverly Hills to rescind these requirements, and is expecting final approval of a bill in the California Legislature that would prohibit requiring permits for artists and writers working out of their homes.
Source:
David Cay Johnson
"Los Angeles Lifts Tax on Home Artists"
THE NEW YORK TIMES --
http://www.nytimes.com
August 6, 1998
Although TITANIC was the last film shown at the Majestic, the Dispatch quotes the director of the theater, Gilda Lynch as saying that she wasn't thinking of the sinking ship symbolism. "I felt the Majestic deserved something of that quality to be the last movie shown here," the Dispatch quotes her as saying.
The theater has been operated by a nonprofit group for the last eight years. According to the Dispatch, the group raised and spent an estimated $800,000 to improve the theater, including installing all new seats on the main floor and replacing balcony seats with replicas of the original wood and wrought iron seats. But that group can no longer afford to subsidize its weekend shows, forcing the board of trustees to make up the difference from reserves.
The Dispatch notes that not only was the Majestic the only downtown theater, it was also the cheapest at $2.50 per ticket "At that price, it takes close to a full house to cover costs, and filling 530 seats isn't that easy," the Dispatch states.
"We have worked hard to maintain the theater and keep it in operation for people to enjoy,'' Lynch said, according to the Dispatch. "I hope they will reciprocate by coming to our aid.'
Built by a local Masonic group in 1853, the Majestic has been host to Buffalo Bill Cody, Julia Marlowe, Laurel and Hardy, Milton Berle, Sophie Tucker, the Glenn Miller Orchestra and The Platters. It was even used as a temporary morgue in 1918 when a flu epidemic killed more than 1,000 in one month at nearby Camp Sherman.
Source:
Bob Dreitzler
"Historic theater's screen going dark;
The Majestic Theater in Chillicothe will show its last film
Sunday"
THE COLUMBUS DISPATCH -
http://www.dispatch.com/panarchive/1998-5-27/news/majesnws.html
June 27, 1998
BRAVO
Friday, September 4:
Eastern 7:30 PM
Central 6:30, Mountain 5:30
Pacific 4:30
THE NEA TAPES TO BE PRESENTED ON SPLIT SCREEN
The NEA TAPES, a documentary film, will be presented as part of SPLIT SCREEN, a series about independent filmmaking produced and directed by John Pierson and broadcast on The Independent Channel and Bravo. This will be the first major national introduction to the nea tapes a work in progress conceived in January 1995 by producers/directors Paul Lamarre and Melissa Wolf.
The nea tapes documents the controversy and debate surrounding government funding of the arts. Presented through interviews with concerned artists, scholars, critics, historians and lay persons, the nea tapes gives significance to the voice of artists in light of repeated attempts to eliminate the National Endowment for the Arts. (NEA) The work asks the question: what is the cost to our civil society and free speech if the NEA is eliminated?
Split Screen introduces the nea tapes with a short sample of the larger project including testimony from: Noam Chomsky Professor of Linguistics and Philosophy at MIT; J.B.Allen, Cowboy/Poet, Whiteface Texas; Kathy Wallace Member of California Indian Basketweavers Association; and Thomas P. Johnson Director, The Old Creamery Theatre Company, in Amana, Iowa.
The nea tapes is a conversation about funding for the arts through a spectrum of voices interviewed across the country. "What is encountered after three and a half years of intense research and interviews on this subject is dramatically like the film Rashomon," they state. "Many of the participants have experienced the same event from very different perspectives. The nea tapes undertakes to present the truth through portraying distinct individual conditions. This documentary serves as a viable alternative voice to the extensive media coverage the opponents of federal arts funding have received."
The nea tapes is under the 501(c)(3) fiscal sponsorship of the New York Foundation for the Arts and has been awarded a grant from the Soros Documentary Fund.
Contact: Melissa Wolf tel/fax: 212-529-0487 email: eidia@interport.net
ARTISTS OF A DIFFERENT CALIBER
The 28 artists featured in ARTISTS OF A DIFFERENT CALIBER at the Target Gallery have made art works that utilize guns from the Pittsburgh Goods for Guns Anti-Violence Coalition firearms buy-back -- a program that buys handguns back for $50 from anyone willing to turn in their gun for $50 with questions asked, according to a review in the WASHINGTON POST.
"Nobody realizes how many guns are out there on the street, but this was a real wake-up call," the Post quotes metalsmith Boris Bally as saying. Bally organized the show via a national call after being contacted by Pittsburgh Goods for Guns.
Works in the show include Linda Hesh's gun necklace that spells out "P-O-W" and Eric Margry's SURGEON GENERAL'S WARNING, which, according to the Post "features a gun in a glass box that has a hammer attached by a chain. The box is labeled, 'To prevent emergency, do not break glass.'"
The Target Gallery can be contacted at tel 703-549-6877.
Source:
Nicole Lewis
"Guns at Target Gallery"
(main header: "Ron Wray, Onward and Upward to Rockville Arts
Place")
WASHINGTON POST --
http://www.washingtonpost.com
August 20, 1998
The report also profiles Ron Wray, Rockville Arts Place's new
executive director.
PHILADELPHIA, PA
Part of the FRINGE FESTIVAL, Sept 9 -19
(also open on first Friday, Sept. 4)
The Clay Studio
CLAY ON THE FRINGE: CERAMIC INSTALLATION, curated by Matthew Courtney, is part of the Visual Fringe component of the 2nd annual PHILADELPHIA FRINGE FESTIVAL. Sixteen artists will be presenting ceramic based installations in the unrenovated, unoccupied second and third floors of the building immediately adjacent to the Clay Studio. The Studio intends to renovate and expand into this building over the next two years.
"This is a unique opportunity to use raw unrenovated space to present an unprecedented group of ceramic installations," the Clay Studio states. "The installations will demonstrate the versatility of ceramics as a medium for sculpture as well as its ability to present a variety of content." Participating artists are David Alban, Steven Bradford, Betsy Brandt, Linda Casbon, Matthew Courtney, Candy Depew, Antonio Fink, Leroy Johnson, Heesung Lee, Brian Mc Cutcheon, Don Nakamura, Hide Sadahara, Kazuaki Sugi, Megan Sweeny, Matthew Wilt and Keaton Wynn.
The Clay Studio's website is located at http://www.libertynet.org/~claystdo
NORTH ADAMS AND WILLIAMSTOWN, MA
thru October 20
EARMARKS
Seven works of sound art are being installed in North Adams and Williamstown, Massachusetts, this summer as part of EARMARKS, an exhibition organized by the Massachusetts Museum of Contemporary Art. (MASS MoCA) The exhibition -- two works at MASS MoCA, four at other North Adams locations and one at the Clark Art Institute in Williamstown -- can be "heard" through October 20.
"In a world that places priority on the visual, I find the power of sound to be especially profound," said Joseph Thompson, Director, MASS MoCA. (officially due to open in an historic 27 building mill complex in May 1999) "As individual works, these seven installations tell us something new about places and times we thought we understood, but perhaps did not. As an exhibition, the works encourage exploration of geographic and social spaces that might otherwise go unnoticed.....The exhibition also gives MASS MoCA the opportunity to engage audiences even while the Museum is under construction."
Works include Bruce Odland and Sam Auinger's HARMONIC BRIDGE at the Route 2 underpass; BUILDING 12 by Ron Kuivila which relies on electronic elements to move and make sound, recalling the site's former life as the Sprague Electric Company; and German artist Christina Kubisch's CLOCKTOWER PROJECT which uses sound to revive and transform a century-old clocktower in MASS MoCA's entry courtyard.
Part of Kubish's project involved repairing and restarting The clock and its bells, which until the mid-1980's when the factory closed, tolled every fifteen minutes, marking the beginning and passing of the workday for thousands of workers at the site that will be MASS MoCA's future home.
A map locating each of the seven works in EarMarks is available at local businesses and tourist sites throughout northern Berkshire County beginning July 3. The map describes each installation and includes a brief biography of each artist.
For more information, contact MASS MoCA's publicity Department at 413-664-4481
Survivors Art Foundation, Inc., (SAF) an arts organization for trauma survivors has been established on the East End of Long Island. Launched in Westhampton by a group of artists and professional women, this not-for-profit corporation is currently conducting a nationwide search for visual, literary and performing artists who are utilizing art, in any form, as a tool for recovering from a traumatic experience.
"Dedicated to encourage healing through the arts, Survivors Art Foundation is ....committed to empowering visual and performing artists with collective creativity and effective expressive outlets, via education, web gallery, outreach programs, and activism," they state. "Our goals are to promote the healing and well-being of trauma survivors and to advance public awareness, thereby enabling the amelioration and prevention of the causes of trauma."
They are intentionally using a very broad definition of the word survivor to include any man, woman or child suffering from PTSD (Post Traumatic Stress Disorder) or any trauma related disorder as a result of some life-altering event or circumstance, explained visual artist Candyce Brokaw, who has spent the last year spearheading the group and was recently named Executive Director.
Practicing artists and those interested in learning are invited to join the Foundation. All media are to be represented, including painting, sculpture, literature, photography, film/video, crafts, theater, music, dance and mixed media. Membership is free.
The Foundations primary goal is to raise funds to enable survivors to practice their craft. Its first project is to mount a web. SAF will also launch regional multi-media exhibitions of members artwork that will tour the country. The first show, BIRTH, is being proposed for a March 1999 date to celebrate Womens History Month at the Southampton Cultural and Civic Center.
SUBMISSION GUIDELINES: send slides, manuscripts, audio/visual tapes or .JPG format digital disc for inclusion on the web gallery. Please do not send originals. They regret that submissions cannot be returned, but they will be filed in their active archives. Send materials to: Candyce Brokaw, Executive Director, Survivors Art Foundation, P.O. Box 383, Westhampton, NY 11977 email: safe@survivorsartfoundation.org web site: http://www.survivorsartfoundation.org
Excerpted from: GNARLYBONE NEWS, August 19, 1998 GnaryBone News is compiled by Cheryl Marie Wade who can be reached at GnarlyBone@aol.com
THE LITERARY NETWORK NEWS
Published every two months, THE LITERARY NETWORK NEWS, Canada's on-line international literary markets newsletter, is a comprehensive, up-to-date market listings for poetry and fiction.
It includes up to date announcements for: Awards and Contest Winners, Calls for Submissions, Contests and Awards, Editing Services and Instruction, Freelancers, Literary Readings, Book Launches and Performances, New Books, On the Web, Workshops, Seminars, Schools, Conferences, Writers' Groups, Writers' Resources, Writers' Retreats and much more.
Delivered by email, The Literary Network News is edited by Canadian poet and fiction writer, Ted Plantos "because he's looking for places to publish too." Contact Plantos at tplantos@idirect.com for subscription information.
To submit calls to ARTS WIRE CURRENT, send email to artswire@artswire.org
ORCHESTRA MANAGEMENT FELLOWSHIP PROGRAM
Each year, the American Symphony Orchestra League's Orchestra Management Fellowship Program (OMFP) provides an intensive training program for up to eight highly qualified individuals seeking careers as orchestra managers. Each Fellow participates in residencies with three orchestras, as well as in an introduction to the for-profit music industry, the League's annual National Conference and training seminars, and mentoring sessions with top managers. Fellows gain experience in all aspects of orchestra management under the direct supervision of executive directors from America's leading orchestras.
Music and business graduates, performing musicians, business professionals, and arts volunteers have all established rewarding careers managing orchestras through this year-long, on-the-job Fellowship program. Ideal candidates must have demonstrated musical knowledge, leadership and management skills, proven organizational and communication skills, maturity, confidence, and the ability to work independently as well as with diverse groups. Applicants should have experience working or volunteering with the management of an arts organization. Graduates of the program currently hold chief executive officer and senior staff positions at orchestras around the country.
The program year commences August, 1999; the application deadline is November 6, 1998. For further information or an application, please write: Orchestra Management Fellowship Program, American Symphony Orchestra League, 1156 15th Street, N.W., Suite 800, Washington, DC 20005; or email your full mailing address to omfp@symphony.org or visit the League's website at http://www.symphony.org Or to receive an application by fax, please call 1-888-3-League and request document #5801. Or call 202-776-0212. Equal Opportunity Employer.
SELECTED MONEY LISTINGS
Following is a small sample from the searchable database of current funding opportunities for artists and arts groups available in Arts Wire's MONEY conference to Arts Wire subscribers. To add your listings to MONEY send email to fyi@artswire.org Please mention Arts Wire when you apply. MONEY is compiled by Joseph Hannan and Shu-Mei Chan.
Sept 1: JONATHAN LARSON PERFORMING ARTS FOUNDATION - awards grants to composers, lyricists, librettists, creative artists and non-profit producing companies in the musical theater field. Merit, need and commitment to a performing arts career will be assessed. Applicants may apply for either project or general support. For information and application, contact: Nancy Kassak Diekmann, Executive Director, Jonathan Larson Performing Arts Foundation Inc., P.O. Box 672, Prince St. Station, New York , NY 10012. (212) 529-0814. Fax: (212) 253-7604.
Sept 11: CMA/ASCAP AWARDS FOR ADVENTUROUS PROGRAMMING - offers two cash prizes in each of the five categories to chamber ensembles, presenters and festivals who demonstrate adventurous programming of contemporary music written after 1970. Applicants must be Organization members of Chamber Music America. Submit four copies of a one-page cover letter and of 1997-98 and/or Summer 1998 programs. Materials must be received by 9/11. For complete guidelines, contact: Victoria Roth, or Deirdre Newbold, Chamber Music America, 305 Seventh Ave., 5th fl., New York, NY 10001-6008. E-mail: vroth@chamber-music.org or dnewbold@chamber-music.org
Sept 15: KATE TUFTS DISCOVERY AWARDS - offers $5,000 to an emerging, published poet whose work displays extraordinary promise. Published writers, their publishers, agents and friends may submit book-length works either published or completed in 1998. For more information, send SASE to: Claremont Graduate University, Kingsley Tufts and Kate Tufts Poetry Awards Program, 740 North College Ave., Claremont, CA 91711-6165. (909) 621-8974.
Sept 15: MACDOWELL COLONY - offers up to 8 week residencies, board and studio space from January to April to writers, composers, visual artists, photographers, printmakers, filmmakers, architects, and interdisciplinary artists. Contribution is encouraged but the ability to pay has no influence on acceptance. For information, visit http://www.macdowellcolony.org or contact: The Admissions Coordinator, Macdowell Colony, 100 High St., Peterborough, NH 03458-2485. (603) 924-3886. Fax: (602) 924-9142.
The findings of a survey of art schools that address real-life issues are included in the newly revised and updated 4th edition of HOW TO SURVIVE & PROSPER AS AN ARTIST. SELLING YOURSELF WITHOUT SELLING YOUR SOUL by Caroll Michels. (Owl Books, Henry Holt & Company, New York, 1997)
In preparation for the new edition, Michels asked 156 schools in the United States with four-year fine art programs whether or not they offered courses on professional business practices and career planning which were specifically geared for fine-art students.
Out of the 41 respondents, 16 required students to take a career development course as a prerequisite to graduation. Another 16 schools offered professional practice courses as electives. Five schools offered non credit seminars or workshops for fine art students.
"Although many more art schools are acknowledging the importance of preparing students for real life," writes Michels, "schools that offer career planning courses are still in the minority."
In this fourth revised edition HOW TO SURVIVE & PROSPER AS AN ARTIST. Michels also addresses career blocks, including stereotypical images of artists, low income expectations, insufficient training of artists, and issues related to validation and insecurity.
Other chapters provide advice on artist-gallery relations, marketing, public relations, applying for grants, pricing work, and presentation tools as well as the issues of dealing with rejection as well as success. A comprehensive and completely revised Appendix of Resources is also included.
Contact Caroll Michells at Email: Carrollmich@aol.com
EXECUTIVE DIRECTOR, The Newark Arts Council, Newark, NJ
PUBLIC RELATIONS OFFICER, Museum of Contemporary Art, San Diego, CA
DIRECTOR OF DEVELOPMENT, The Ackland Art MusB>
Arts Wire is pleased to announce the addition of an Excite search engine for Arts Wire CURRENT. Located at http://www.artswire.org/current/T-Currentquery.html the engine allows anyone interested in arts news to find information in the Current archives as far back as 1995.
"We hope that visitors will find this new edition to our site useful -- whether they are looking for cultural trusts, arts and education stories, opportunities for artists or art funding battles!" says Arts Wire Director Joe Matuzak.
"It's a long-overdue initial version that we intend to continue developing," Matuzak added.
Arts Wire's website at http://www.artswire.org is a central place to visit the cyberhomes of the diverse artists and art organizations who are Arts Wire members. This week CURRENT invites readers to visit the homes page of Lowell Boileau's THE FABULOUS RUINS OF DETROIT.
"Now, as for centuries, tourists behold those ruins with awe and wonder," begins Lowell Boileau's THE FABULOUS RUINS OF DETROIT at http://bhere.com/ruins/home.htm
"Yet today, a vast and history laden ruin site passes unnoticed; even despised, into oblivion. Come, travel with me, as I guide you on a tour through the fabulous and vanishing ruins of my beloved Detroit."
Boileau, who looked at Detroit with new eyes after he returned from a two and a half year sojourn in Africa, the Middle East and Europe , uses photographs and words to convey his vision of the city's "ruins" -- from the former Ford Model T plant in Highland Park, Michigan, to the J.L. Hudson Department Store in downtown Detroit that "once anchored a mighty commercial district", to the "Mighty icons of the power and wealth of Detroit in the twenties, the Book Tower and the grand Cadillac Hotel."
"Put aside their negative image, so sensationalized by a self flagellating media, and view them, for a moment, as you might one of the celebrated ruins of the world," he writes. "Then you may come to understand why I call them The Fabulous Ruins of Detroit."
PETERBOROUGH, NH -- At a ceremony honoring this year's Macdowell medal winner, architect I.M Pei, Robert MacNeil, Chairman of the MacDowell Board, noted that for the first time the medal would be awarded to an architect, "in fact to one of the great architects of our time."
"Calling Mr. Pei one of the great architects of our time sounds as though we're holding him responsible for designing the times we live in," MacNeil continued. "But I'm sure he would never have created values so upside down, or perspectives so crazy, or a sense of what is important so out of proportion, as we see today, when the president's alleged sex life is the biggest story in the land with lurid published details even children can't escape, and yet Congress is still worried that artists will corrupt us, or offend the nation's sensibilities.
MacNeil's words, delivered before a large crowd, were enthusiastically received. They nearly "brought down the house or more accurately the tent," said Peterborough resident Barbara Powers, former Managing Editor of the Cambridge, Somerville and Watertown (Massachusetts) newspapers.
The Edward MacDowell Medal is presented annually to honor a creative artist who has made an outstanding contribution to the arts. The MacDowell Colony, located on the 450 acres of woodlands and fields that MacDowell, a composer and his wife Marian Nevins MacDowell, a pianist bought in Peterborough, NH in 1896, offers residencies to visual artists, writers, composers, artists working in new genres, storytellers, radio artists, architects and other artists.
The inclusion of architecture with painting, sculpture, writing and music among the creative arts at MacDowell was part of the Colony's original charter in 1907, and in 1989 the Colony reinforced its welcome to architects for residencies at MacDowell with an outreach campaign.
I. M. Pei, born in Canton China, has designed buildings all over the world including the East Building of the National Gallery of Art in Washington; the Grand Louvre in Paris; the Four Seasons Hotel; in midtown Manhattan; and MIT'S Weisner, Landau and Dreyfus buildings.
"By honoring me, you are honoring my profession," THE KEENE SENTINEL quotes Pei as saying.
Sources/resources:
"I.M. Pei, First Architect to be Named Medalist"
THE MACDOWELL COLONY NEWS
Spring 1998
The MacDowell Colony can be contacted at 603-924-3886
Gary Dennis
"Pei:the architect as artist"
THE KEENE SENTINEL
August 17, 1998
Alliance of Artists Communities
ARTISTS COMMUNITIES, a Directory of Residencies in the United
States Offering Time and Space for Creativity
NY, Allworth Press, 1996
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