Arts Wire CURRENT is a project of the New York Foundation for the Arts (NYFA) -- http://www.nyfa.org
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: Judy Malloy.
This week's Current is sponsored by OPERA America -- http://www.operaam.org
Both Sites to Include Exhibition Space for Multimedia Art
DIGITAL INDEPENDENCE 2001 - at Yerba Buena, SFMOMA
ENARRATIVE 2: - CREATING WEB EXPERIENCES - Boston
CONSTRUCTING CYBERCULTURE(S)/
CULTURAL DIVERSITY IN/AND CYBERSPACE - at Univ Maryland
ARTSCI2001 - at City Univ of New York
Relache: 21st CENTURY COMPOSERS SERIES - Philadelphia
TELEMATIC CONNECTIONS: THE VIRTUAL EMBRACE - at SFAI
GIA Web Site Features Links to Arts Grantmakers
The Smithsonian's Fellowships in Museum Practice
Current Calls
Arts Wire Current Enters its 10th Year
Joe Matuzak Consulting on Kuona Trust Website Site
and Other African Web Projects
New on ArtQuarry: Angel Station Corporation; Center for
Documentary Studies; (Mostly) Harmless Theatre Links;
Teatro de la Luna
Open Home: The Lower Manhattan Cultural Council
"Society at-large, be it national organizations, unions, federal
agencies, the media, etc. needs to focus on the life of an artist..." -
Aaron Flagg
"This transition represents the ongoing integration of Arts Wire's activities into the overall structure of NYFA, something we've been pursuing for the past several years. It simply makes more sense for Arts Wire to receive direction from within NYFA itself now that many other departments are pursuing areas that Arts Wire pioneered," notes Matuzak. "This also frees me up to pursue other projects in which I'm interested while allowing me to stay part of something that has been very important to me and to the field".
Matuzak adds that "It's been my privilege to work continuously with an amazing collection of talented people, and the thing I will miss particularly is the ongoing day-to-day contact with Beth Kanter, Judy Malloy, Doug Cohen, Ted Berger, and Penny Dannenberg, as well as others from NYFA and also Dan Martin and Jerry Coltin from Carnegie Mellon University's (CMU) Center for Arts Management and Technology. Obviously, I'm not dropping off the face of the earth, and I look forward to finding new ways to work with these and other friends in the future."
Arts Wire consultants, Beth Kanter, Judy Malloy and Doug Cohen will continue to provide valuable information and assistance to artists as NYFA moves on with the integration of Arts Wire into all of its programs. Judy, based in Northern California, continues as the Editor of Current and Jobs, as well as in assisting new members of Arts Wire. Beth, outside of Boston, continues to develop programs to educate artists and arts organizations in the planning for and uses of technology as a tool to carry out artistic missions. Beth also consults on technology issues with arts organizations on NYFA's behalf. Doug, in New York, maintains the Arts Wire server, on which so many artists and organizations have their emails and websites. (through a partnership with CMU where the server is housed) Doug also provides technical assistance to many Arts Wires users and NYFA. Nancy Clarke, Embury Arts Consulting, has been working with NYFA in the integration and long term planning processes.
I want to take this opportunity to thank the many of you who responded to our on-line survey this fall. We are using the information gathered from the survey, along with a lot of other research, to plan the enhancement of our technology related services for artists, and organizations that serve artists. We will announce the results in the summer of 2001.
In the meantime you will begin to see changes in format of the Arts Wire site, expanded information through the collaboration of Current, FYI, and the Visual Artists Information Hotline, and more services for our Arts Wire users.
Happy New Year and please keep in touch.
Penelope Dannenberg
Its six segments are "a series of moral claims on the public conscience....Each is intended to deepen our national conversation about the value of art and cultural heritage to our democracy," he stated. They are:
In his speech to the National Press club, Ivey also pointed out that in recent years, the Arts Endowment has made progress both in appropriations and in "recapturing the dialogue".
"Through a solid program, a clear, citizen-oriented message, and building upon the commitment of a supportive Clinton-Gore Administration, the NEA today offers a firm platform on which any future administration -- the Bush-Cheney Administration -- can build a strong commitment to America's cultural life," he stated.
He added that "...despite advances in both the level of funding and the quality of discourse, we're not yet where we should be. Some still oppose the agency's work, and an increase to a budget of $105 million is simply not enough."
Source:
Bill Ivey, Chairman, National Endowment for the Arts
"An American Cultural Bill of Rights"
speech to National Press Club, Washington, DC December 18, 2000
NATIONAL ENDOWMENT FOR THE ARTS WEB SITE --
http://www.arts.gov/endownews/news00/PressClubSpeech.html
In Las Vegas, construction began in September on a new Guggenheim exhibition space for the presentation of large-scale traveling exhibitions including multi-media, video, and high-technology based art. Situated within The Venetian Resort complex, the new 63,700-square-foot building, to be named the Guggenheim Las Vegas, is designed by Pritzker Prize-winning architect Rem Koolhaas. It is scheduled to open in Summer 2001.
New NYC Museum Will be Built "on connecting platforms resting on piers at water level"
The Guggenheim notes that Frank Gehry's design for the Guggenheim Museum Bilbao in Spain has been universally praised by critics and that in selecting Gehry to design the proposed museum, it has chosen an architect with whom it has had an enormously successful relationship. Although Gehry, who recently designed the Experience Music Project in Seattle, has won practically every award bestowed in the architectural profession, including the Pritzker Prize, the Praemium Imperiale Award, the AIA Gold Medal, and the National Medal of the Arts, he has not yet designed a major building for the New York metropolitan area.
"Hallmarks of Frank Gehry's work include a particular concern that people exist comfortably within the spaces he creates, and an insistence that his buildings address the context and culture of their sites," the Guggenheim states. "This aspect of Gehry's work makes him a particularly appropriate choice for a large-scale structure located on the waterfront in Lower Manhattan, where the context of the surrounding skyscrapers, the constraints of the river site, and the needs of the community create a unique and challenging environment."
The museum will be built "on connecting platforms resting on piers at water level," according to the Guggenheim. In order to preserve the openness of the platform, and to create a sense of space, light, and views from South Street through to the East River, most of the museum building will be raised above the platforms and will have large light and air wells.
"This design creates both a view corridor of the waterfront below the level of the FDR Drive, as well as a public waterfront promenade, sculpture garden, fountain, and an expansive public park on the platform, with access to the water for ferry service and possible other boating activities," the museum explains.
New York City designated The Solomon R. Guggenheim Foundation for the development of Piers 9, 11, 13, and 14 on the East River following a comprehensive review of submissions received pursuant to a Request for Proposals (RFP) issued by the NYC Economic Development Corporation.
The fundamental rationale for the building project centers on the permanent collection. A new Guggenheim Museum will take the pressure off the Frank Lloyd Wright building on Fifth Avenue, allowing more of the prewar permanent collection to be continuously on view in the original museum's 50,000 square feet of gallery space.
NYC Mayor Giuliani also announced that the City will make a capital contribution of $67.8 million toward the project. The museum estimates that the cost of the project will be $678 million. The capital campaign for the new museum will be formally launched in spring of 2001.
"Our expectation is to immediately begin the two-year design and development phase, which includes environmental reviews and obtaining various city, state, and federal approvals," said Thomas Krens, Director, The Solomon R. Guggenheim Foundation. "Once this process is complete, we anticipate the construction will be carried-out in three-to-four-years. We look forward to working closely with the community and government agencies."
According to the City's analysis of the new museum's economic impact, the project will attract 2 to 3 million visitors annually and create at least 2,550 new permanent jobs. It will generate $280 million in economic activity and $14 million annually in new City and State tax revenues.
Guggenheim Las Vegas -- "a scale, practicality and elasticity of space that is absolutely unique"
The new facility in Las Vegas is a free-standing building within The Venetian. According to the Museum, the exhibition space -- with a 70-foot ceiling which gives the main room a hangar-like feeling -- features a massive skylight, a functioning industrial crane, and additional lower level galleries. The floor of the ground level is flexible and may be opened to reveal a trench that drops down to lower-level galleries and spans the length of the exhibition space.
"The Guggenheim Las Vegas has been designed as an exhibition space, not as a museum with a permanent collection," said Krens. "Our challenge was to design a building that had the aesthetic and practical capability to do things that were not possible in any other museum or exhibition space in the world."
The Guggenheim Las Vegas will be able to accommodate exhibitions ranging from THE ART OF THE MOTORCYCLE to a retrospective of Richard Serra sculpture to comprehensive presentations of multi-media, video, and high-technology based art.
"The one quality that exhibitions of this kind require is a scale, practicality and elasticity of space that is absolutely unique, in fact impossible to find in any museum that I know of," Krens noted. "That was the challenge for Rem Koolhaas, and the result, in my opinion, is extraordinary."
Sources/resources:
GUGGENHEIM MUSEUM WEB SITE -- http://www.guggenheim.org
Visually connecting museum activities to the surrounding community by means of large windows, the glass, aluminum and textured concrete structure designed by architect Steven Holl supports the Museum's mission of providing opportunities not only to see art, but also to explore and make art.
Holl's design -- incorporating an elliptical Court of Light on the rooftop and a north courtyard wall which follows the curve of the 48th parallel and allows people to watch the sun trace the arc of the wall during the summer solstice -- also reflects the architect's interest in changes in the light throughout the day and the seasons.
According to the museum, the move to the three-story 36,000 square-foot building, on the corner of Bellevue Way and NE Sixth Street, gives the Museum a presence in downtown Bellevue's pedestrian corridor. It also allows the Museum to expand its visual arts exhibitions and educational programming.
The new museum has exhibition galleries which are wired in every possible way, giving the Museum the capacity to show art utilizing new and emerging technologies. It also has four classrooms for its Museum School, including a ceramic studio with two kilns and twelve potters wheels; an interactive Explore Gallery which reflects the Museums emphasis on experiential learning; an artist-in-residence program; an auditorium equipped with state-of-the-art audio/visual equipment and moveable seating; a multimedia library; and a Museum store and cafe.
It opens with exhibitions thematically linked to the design of the new building. LUMINOUS: LIGHT AS MATERIAL, MEDIUM AND METAPHOR is an international exhibition of media art, painting, design, photography, sculpture and site-specific art focusing on artists use of light. It includes works by Iole Alessandrini, James Carl, Dan Flavin, Bonnie Porter, Mark Tobey, Bill Viola and Dan Webb and runs through June 17, 2001.
Other exhibitions to open the new museum are work by Seattle-based artist Juan Alonso which he developed with the architecture of the new building in mind, and a project by the artists collective, bureau of inverse technology which is organized around video footage of the Bellevue area, gathered by the collective with a small remote control, military-surplus aircraft.
The museum's newly established Artist-in-Residence Program will engage visitors through collaborative creative projects, demonstrations, informal discussions, lectures, classes, workshops and community outreach activities. In keeping with the building's emphasis on perception and collaboration, the first artists to use the studio in the new building are a team led by Washington-based artist and educator Donald Fels. Fels is working with optic lens designer Ed Mannery, sound artists Robert Millis and Jeffrey Taylor, and performance theater artist Warner Blake on a project that responds to Steven Holl's design of the new Museum.
Sources/resources:
BELLEVUE ART MUSEUM --
http://www.bellevueart.org
tel: 425-519-0770
Fax: 425-637-1799
DIGITAL INDEPENDENCE 2001: INDEPENDENT MEDIAMAKERS CONFRONT THE DIGITAL TRANSFORMATION
"Is the digital media revolution opening-up new creative and financial opportunities for independent mediamakers? Will indies gain real independence through digital technologies?"
With curated screenings and a technology expo focusing exclusively on the impact of the digital media transformation on independent mediamakers, DIGITAL INDEPENDENCE 2001: INDEPENDENT MEDIAMAKERS CONFRONT THE DIGITAL TRANSFORMATION is a National Conference on the State of Independent Production and Distribution.
The event will bring together independent makers of film and television, web-casting and video games. Highlighting four principal themes -- legal/regulatory, technical, business and creative -- the conference will provide a setting for cross-fertilization, networking, education and informed debate as to the future of independent mediamaking.
Plenary Sessions include:
THE DIGITAL MEDIA CHALLENGE
Gigi Sohn, Ford Foundation
Warrington Hudlin, maker/dvRepublic
Jan Hauser, Sun Microsystems
Rob Nilsson, maker/"Chalk"
Mod: Denise Caruso, formerly NY TIMES
"Everything is going digital -- and independents are scrambling to adapt.
But just what is the transition in technology all about, really? And
where's the money? What are the tools? Some obstacles for independents
are the same ones we've always faced -- yet often disguised as "unique to
our time" -- but others really are new. Get the Big Picture and be ahead
of the curve."
NEW DIGITAL DISTRIBUTION OPTIONS
Lucy Mohl, Real Network
Robin Mudge, Pearson Broadband
Kim Spencer, WorldLink TV
Steve Welch, KQED
Pamela Arthur, Westport Media Res.
"The big guys maintain their market dominance through controlling
distribution and end-user reception. This panel will expose the pluses
and minuses of webcasting, digital broadcast satellite (DBS), digital
cable- casting, and handheld platforms -- and workable combinations --
for independent mediamakers."
INDEPENDENTS AROUND THE WORLD
Tikoy Aguiluz, Philippines film specialist
Roger Garcia, Chinese/Asian film specialist/"Hit Man"
German rep
David Wallace (UK)
"The digital revolution is global -- and we aren't alone. In fact, often
independents in Asia and Europe are way ahead of us in creating and
opening new production and distribution techniques. Here are snap-shot
profiles from around the world, from people who are on the front lines,
of brilliant alternatives you can use right here at home."
Breakout Sessions include "Intellectual Property in a Digital Age - An Oxymoron?"; "Personal Video & Public Access: The Future of Media Arts Centers"; "Making the Web Work: Promoting and Distributing Your Film Online"; "Streaming Video: An Alternative to TV?"; "1st Amendment Rights in a Digital Age -- What cannot be said in free, digital society?"
Presenters include conference organizer David Rosen; Brad deGraaf, computer animation; Jan Hauser, design engineer; Natalie Jeremijenko, technoartist; Michael Nash, Warner Music Group; Sally Fifer, Bay Area Video Coalition Claire Aguilar, Independent TeleVision Service (ITVS) Ken Jordan, Media Channel, Sonic Net and Charles Benton, Public Media.
Presented with the cooperation and support of: American Film Institute; American Museum of the Moving Image; Bay Area Video Coalition; California Arts Council; Directors Guild of America Film Arts Foundation; Ford Foundation; Independent Television Service Institute for Global Futures; Museum of Modern Art, New York City; National Alliance for Media Arts & Culture; Rockefeller Foundation; Society of Motion Picture & Television Engineers
For details including registration information, visit http://www.digitalindies.com
BOSTON, MA
ENARRATIVE 2: HYPERTEXT NARRATIVE FLASH TIME:
CREATING WEB EXPERIENCES WITH LASTING IMPACT
"The role of narrative in the Web experience is a pressing concern throughout the Web world, from entertainment to ecommerce. How can we manage the narrative experience in the presence of both interaction and animation?"
At ENARRATIVE 2, a small group of writers, designers, and theoreticians will look at these questions, while focusing on two core time-based concerns, equally important to ecommerce, Web marketing, electronic art, and education. They are: creating one intense moment of communication; and crafting an ongoing experience that engages the audience for days, weeks, or even years.
Participants include Mark Bernstein, Eastgate, hypertext publisher; designer of the new-technology Storyspace; Diane Greco, Eastgate author of CYBORG and hypertext editor; and Donna Leishman, Glasgow School of Art, author of LITTLE RED RIDINGHOOD, pursuing a Ph.D. in interactive storytelling
For details, visit http://www.eNarrative.org/
COLLEGE PARK, MD
CONSTRUCTING CYBERCULTURE(S) and
CULTURAL DIVERSITY IN/AND CYBERSPACE
Two University of Maryland Cyberculture Working Group conferences will address cyberculture this spring. They are:
Keynote Speakers will include Lisa Nakamura, author of RACE IN/FOR CYBERSPACE: IDENTITY TOURISM AND RACIAL PASSING ON THE INTERNET," and co-editor of RACE IN CYBERSPACE and David Silver, founder of the Resource Center for Cyberculture Studies.
for more information, visit http://www.otal.umd.edu/amst/cwg
Proposals for panels and papers dealing with cultural diversity in/and Cyberspace are sought for this interdisciplinary conference. Suggested or possible themes include the construction of race in Cyberspace: barriers non-dominant groups face in obtaining internet access: the construction of gendered, sexed, virtual bodies: teaching issues of diversity with Cyberspace in the classroom: and the study of online communities, particularly communities formulated around the articulation of difference.
for more information including details on submitting papers, visit http://www.otal.umd.edu/amst/cwg
NEW YORK CITY, NY
ARTSCI2001
"How can the facts of scientific research and the powerful metaphors of art combine to impact society at large? How are some artists and scientists are exploring the promise of art-sci collaborative projects?"
ARTSCI2001, the third international art-sci symposium produced by Art & Science Collaborations, Inc., (ASCI) is being organized in conjunction with the Science Research and the Continuing Education & Public Programs departments of the Graduate Center at City University of New York. It will include project presentations, breakout sessions, poster sessions, and associated exhibitions and performances.
An international event for those interested in the explosion of activities at the intersection of art, science, and technology, ArtSci2001 will not only provide a platform for sharing and learning among artists, scientists, writers, producers, and educators, but it will also serve as a showcase where potential funders and technology companies can find new talent and projects to support as well as venues for both prototyping and premiering public art-sci presentations. Seed money for this symposium has been received from the Rockefeller Foundation.
ArtSci2001 is seeking 20-minute presentations of collaborative projects involving both artist(s) and scientist(s). they welcome a wide-range of initiatives, including: performances, books, CD-ROMs, net.art projects, CAVE, audio, video, animations, research, inventions, plays, etc. They require that the work be rooted in an artist-scientist partnership. All presentations must have a strong visual component. The conference site is equipped with state-of-the-art audio/ video/Internet facilities.
DeadlMUSIC & NON LO SO, POLO
Amy Denio - 3 PIECES FOR RELACHE: DARLING PLEASE DON'T WAKE ME / HOPEFUL
ID /SPANISH OGLE - New Relache commission!
$10 General Admission / $5 Students, Seniors & Children under 12 Admission Friday includes entrance to ICA's exhibition featuring the works of Kristin Lucas, James Mills and Cornelia Parker. ICA is open until 8:00 PM. Come early and see the exhibitions!
Relache, the New Music Ensemble, was founded in 1977 by Joseph Showalter and Joseph Franklin as a performance group. Since that time, Relache has evolved into an organization embracing all facets of the creation and performance of works by living composers, placing special emphasis on technological innovation, improved artistic content on the Internet and the representation of underserved and minority communities. Thaddeus Squire has recently been appointed Executive Director.
For tickets and information call: 215-574-8246 or visit http://www.relache.org
SAN FRANCISCO, CA
TELEMATIC CONNECTIONS: THE VIRTUAL EMBRACE
"Since the middle of the 20th century, telematic systems have been connecting the world in an ever-tightening 'virtual embrace.' Rather than focusing on interactive artworks that react only with the local viewer, or online works that exist exclusively in cyberspace, TELEMATIC CONNECTIONS presents hybrid works that explore computer-mediated connections between distant parties, whether human to human, human to machine, machine to machine, or even human to nature. What the viewer/participant does in the installations, or via a terminal interface, has some effect on, or is affected by, someone or something located somewhere in physical space."
In addition to web-based work, the exhibition explores the idea of the network prior to the existence of the Web and includes a historic context for the exhibition's contemporary works via an "open source" timeline to which anyone can add pertinent events and commentary.
TELEMATIC CONNECTIONS is comprised of some forty works by twenty-five artists, and includes both "classic" and new installations and online projects, including:
Kit Galloway and Sherrie Rabinowitz, THE ELECTRONIC CAFE
Roy Ascott, LA PLISSURE DU TEXT
Paul Sermon, TELEMATIC VISION
and much more.
The exhibition is organized by Independent Curators International, New York -- http://www.ici-exhibitions.org -- and curated by Steve Dietz, Director of New Media Initiatives at the Walker Art Center, Minneapolis -- http://www.walkerart.org/gallery9/dietz/
SAN FRANCISCO ART INSTITUTE WEB SITE -- http://www.sfai.edu
Deadline: January 31, 2001 - GLIMMER TRAIN's Winter Very Short Fiction Award offers publication in Glimmer Train Stories and $1,200 to first place winners. Second and third place winners receive $500 and $300, respectively. Open to all writers. $10 entry fee per story. Word count must not exceed 2000. First page of story to include name, address, phone, and word count. Stories will not be returned, so no need for an SASE. Writers of winning story will be notified by May 1. Mail entries to: VSF Award, Glimmer Train Press, Inc., 710 SW Madison, #504, Portland OR 97205-2900; phone (503) 221-0836; or visit http://www.glimmertrain.com
Deadline: January 31, 2001 - THE XERIC FOUNDATION offers grants for Comic Book creators to assist with some of the cost of self-publishing. Artists must plan to create, publish, and sell their comic book independently of any publishing company. Grants must be used for the physical production and distribution of the book. Submitted projects should be complete or near completion. For information, contact: The Xeric Foundation, 351 Pleasant St., #214, Northampton, MA 01060; phone (413) 585-0671; or visit http://www.xericfoundation.com
Deadline: February 1, 2000 - THE ASIAN CULTURAL COUNCIL is a foundation supporting cultural exchange in the visual and performing arts between the United States and the countries of Asia. The major focus of the ACC's grant programs is on providing individual fellowship awards to artists, scholars, students, and specialists from Asia undertaking research, study, travel, and creative work in the United States. Some grants are also awarded to Americans engaged in similar activities in Asia and to arts organizations and educational institutions for specific projects of particular significance to Asian-American cultural exchange. Americans are eligible to apply to the ACC Residency Program, the Asian Art and Religion Fellowship Program, the Humanities Fellowship Program, and the Japan-United States Arts Program. For information, contact: Asian Cultural Council, 437 Madison Ave., 37th Fl., New York, NY 10022; phone (212) 812-4300; fax (212) 812-4299; email acc@accny.org or visit http://www.asianculturalcouncil.org
Grantmakers in the Arts (GIA) -- a nonprofit membership organization comprised of private foundations, family foundations, community foundations, corporate foundations, corporate giving programs, and nonprofit organizations that make arts grants -- features links to members web sites on its website at http://giarts.org
A good starting point for those seeking information on arts grantmakers, GIA's link page includes access to the Metropolitan Atlanta Arts Fund; Boston Foundation; CALARTS / Alpert Award in the Arts; Mary Flagler Cary Charitable Trust; The Cleveland Foundation; The Flinn Foundation; Arts Council of Fort Worth; The Walter and Elise Haas Fund; The Heinz Endowments;Arts Council of Greater Kalamazoo; Kentucky Foundation for Women; New York Regional Association of Grantmakers; among many others.
Visit http://giarts.org to use the list as well as to find out more about GIA.
THE SMITHSONIAN'S FELLOWSHIPS IN MUSEUM PRACTICE
"Access to new research and best practices is recognized as an important force in increasing workplace effectiveness and standards, yet often new scholarship is not widely available or presented in formats useful to the needs of decision-makers and practitioners in the field. To bridge the gap between theory and practice, decision-makers and practitioners need information delivered in ways that meet the demands of the contemporary workplace."
The Smithsonian's Fellowships in Museum Practice (FMP) program provides opportunities for scholars and practitioners to write manuscripts suitable for publication on issues of importance to the museum field. The purpose of the program is to make information on current issues and public policies generated from both scholarly sources and reflexive practice available more broadly and in more useful formats. The long-term goal of the program is to foster innovative scholarship and expand the availability of data that has the potential to contribute to improvements in museum operations.
One fellowship is awarded annually for a period of up to 6 months. An award consists of a stipend of $3,000 per month plus round-trip travel expenses between the recipient's home and Washington, D.C., and research expenses of $1,000 for manuscript preparation.
The program is open to recipients of master or doctorate degrees at least one year prior to appointment who would like to transform their thesis or dissertation into a publication, and to senior museum personnel and experts who have recently completed a major project or investigated an issue of concern and would like to share their findings and insights with the profession.
Proposals are due by February 15, 2001. Application details are available at http://museumstudies.si.edu/fmp.htm
Deadline: ongoing, short video, film and digital-media submissions of 15 minutes or less, MICROCINEMA, INC./BLACKCHAIR PRODUCTIONS
Deadline: ongoing, Independent film, video, animation, and digital content, M504 REELS AT THE PARK OVERLOOK, Ashbury Park, NJ
January 12, 13, 14 & 15, auditions for DON PASQUALE and LUCIA DI LAMMAMOOR, L'OPERA PICCOLA, Chicago
Deadline: January 15, 2001, music composition, COMMISSIONING MUSIC/USA, MEET THE COMPOSER
Deadline: January 20, 2001, photography - bikes and bicyclists, PHOTO-VELO, CBOP Photographic Imaging Centers and Trophy Bikes, Philadelphia, PA
Deadline: January 26, 2001, women nature photographers, 2001 NADINE BLACKLOCK WOMAN NATURE PHOTOGRAPHY FELLOWSHIP
Deadline: February 28, 2001, public art project to be featured June/July 2001 at Artists Space and throughout the Lower East Side and SoHo, ARTS BENEFIT ALL COALITION ALTERNATIVE, (ABACA) NY
Deadline: March 1, 2001, 20-minute presentations of art-sci collaborative projects, ARTSCI2001 Symposium - CATALYST FOR COLLABORATION, NY
Deadline: March 1, 2001, plays written by writers with disabilities on the topic of the disability experience, OTHER VOICES Chautauqua 2001, A CELEBRATION OF DISABILITY CULTURE AND COMMUNITY, Mark Taper Forum, Los Angeles, CA
Details about these and other opportunities are available on Arts Wire's Web Site at http://www.artswire.org/current/calls.html
To submit "calls" for either artists or organizations, send email to artswire@artswire.org
EXECUTIVE DIRECTOR, The Arts Council of the Essex Area (ACEA) (Montclair, NJ)
DEPARTMENT HEAD, University of Connecticut, Department of Art and Art History, (Storrs, CT)
DEPARTMENT CHAIR AND ANDREW W. MELLON CURATOR OF ARTS OF THE AMERICAS, Arts of the Americas, Brooklyn Museum of Art, (Brooklyn, NY)
ASSISTANT PROFESSOR OF ARTS ADMINISTRATION, Florida State University, School of Music, (Tallahassee, FL)
SENIOR DRAMATURG, Arena Stage, (Washington, DC)
MANAGING DIRECTOR, On the Boards, (Seattle, WA)
MANAGING DIRECTOR, Wild Space Dance Co, (Milwaukee, WI)
COORDINATOR OF EXHIBITIONS, The Morris Museum, (Morristown, NJ)
MANAGER, NO BORDERS PROGRAM, The Independent Feature Project, (New York City, NY)
BALLET MISTRESS/MASTER, North Carolina Dance Theatre, (Charlotte, NC)
ORCHESTRA/TOUR MANAGER, International Sejong Soloists, (New York City, NY)
COMPUTER SERVICES COORDINATOR, Department of Art, Western Michigan University, (Kalamazoo, MI)
SCHOOL PROGRAMS COORDINATOR, National Building Museum (NBM) (Washington, DC)
SCULPTURE TECHNICIAN, Maine College of Art, (Portland, ME)
PROGRAM COORDINATOR / GRANT WRITER, NC Dance Project, Inc., (Greensboro NC)
ASSISTANT TO THE DIRECTOR OF EDUCATION, Atlanta Symphony Orchestra, (Atlanta, GA)
PROFESSIONAL DEVELOPMENT COORDINATOR, Cultural Initiatives Silicon Valley (CISV), (San Jose, CA)
DEVELOPMENT DIRECTOR, Wheaton Village, (Millville, NJ)
SENIOR DEVELOPMENT ASSOCIATE, NPR, (Washington, DC)
ADMINISTRATION & TECHNOLOGY MANAGER, Creative Time, (New York City, NY)
WEB DESIGN INSTRUCTOR, (PT) Photo Works LLC (Baltimore, MD)
DIRECTOR OF MARKETING, University of Illinois at Springfield, Sangamon Auditorium, (Springfield, IL)
BOOKKEEPER, Studio in a School, (New York City, NY)
PROJECT MANAGER/ ADMINISTRATIVE AID, Hemispheric Institute of Performance and Politics, Department of Performance, Tisch School of the Arts, (New York City, NY)
SECOND ASSISTANT, Office of the Director, The Museum of Modern Art, (New York City, NY)
INTERNSHIPS, Jacob's Pillow Dance Festival, (Beckett, MA)
INTERNSHIPS, White Box, (New York City, NY)
Details about these and other jobs are available on Arts Wire's Web Site at http://www.artswire.org/current/jobs.html To submit jobs to ARTS WIRE CURRENT JOBS, send email to joblist@artswire.org
(note that because last week's calls and job listings weren't listed in last week's index issue of Current, they have been combined with this week's listings. Additionally, if you sent a listing while our server was undergoing its annual overhaul on Friday, December 29, and you don't see it here, we are sorry! Please resend it)
A growing list of links to job resources for artists and arts administrators is available on Arts Wire's Web Site at http://www.artswire.org/current/jobres.html
This year, 2001, ARTS WIRE CURRENT enters its 10th year.
A few others preceded us in this Internet environment, but other than FINE ART FORUM, (continuously online since 1987) Arts Wire Current has enjoyed an unprecedented "run" as a source of art and culture news on the Internet.
Over the years, we have sought to use this new medium to disseminate news on social, economic, philosophical, and political issues in the arts as well as jobs and opportunities and technology transfer for our community of artists, arts organizations, arts funders and to all those for whom the arts are at the core of society.
In an effort to provide intervals of rest in the stimulating but demanding production of a weekly, this year we will be producing 48 issues instead of 52 issues. Tentatively scheduled as weeks with no issue of Current are the second week in April, June, August, and October.
As always, we welcome news from our readers. Send it to Judy Malloy at email jmalloy@artswire.org
JOE MATUZAK CONSULTING ON KUONA TRUST WEBSITE SITE AND ON OTHER AFRICAN WEB PROJECTS
New York Foundation for the Arts/(NYFA) Arts Wire consultant Joe Matuzak returned in mid-December from his second trip to Kenya, where he spent time training staffers at the Kuona Trust in creating their own web site, which is currently in process at http://www.kuonatrust.org
Formally established in September 1995 in the grounds of the National Museum in Nairobi, the Kuona Trust develops opportunities for East African people to have meaningful contact with art, and works to integrate art into the local community through a combination of hands-on support for artists, public exhibitions and innovative public outreach programs.
"It was exciting and a privilege to work with such a dynamic and exciting group, and I learned a tremendous deal and hope I was of some small use to them in their move toward electronic communication," Matuzak says. "The challenges facing this group are tremendous, given the problems with infrastructure in Africa, but I'm convinced that their enthusiasm, inventiveness, and passion, combined with the newly strengthened telecom initiatives in Africa, will push them forward quickly."
Matuzak also trained an artist to act as a web trainer who would work throughout Africa, working with other members of the Triangle Workshops group. The Triangle Workshops are a loose consortium of international groups who organize two-week workshops for visual artists, who live and work together. Half of the artists are from the host country and half from elsewhere. Triangle groups currently are located in India, Trinidad, London, New York, and a number of places throughout Africa.
"I expect to spend a lot more time writing on technology issues, trying to finish a long overdue book on managing technology within nonprofit organizations, as well as working on my poetry a bit more," Matuzak notes. "Finally, my wife Josie and I are in the process of defining an ambitious project involving the arts, technology, education, and community histories."
Arts Wire's ARTQUARRY (formerly WEBBASE) is a searchable database of arts related websites available on Arts Wire's public home page at http://www.artswire.org/artquarry
Created as a public service to help the online arts community to keep abreast of arts sites and for arts websters to promote their new or renovated sites to an arts audience, ArtQuarry, (and WebBase before it) has served the web since 1996.
Artists and art organizations are invited to visit ArtQuarry both to search art sources and to add their sites. Among the recent entries are:
ANGEL STATION CORPORATION -- http://www.angelstation.com -- A web site for Angel Station Corporation's productions of A Sixty Movie(tm) concept. Based in Portland Oregon, they produce movies of a duration of 60 seconds or less in all categories. "The concept is tied to the notion of interstitial entertainment or entainment for those short on attention span for any reason."
CENTER FOR DOCUMENTARY STUDIES (CDS) -- http://cds.aas.duke.edu -- is an interdisciplinary educational organization affiliated with Duke University, is dedicated to advancing documentary work that combines experience and creativity with education and community life. Founded in 1989, CDS connects the arts and humanities to fieldwork, drawing upon photography, filmmaking, oral history, folklore, and writing as catalysts for education and change. CDS achieves this work through academic courses, research, oral history and other fieldwork, gallery and traveling exhibitions, annual awards, book publishing, community-based projects, and public events.
(MOSTLY) HARMLESS THEATRE LINKS -- http://www.mhtheatre.com/links.htm -- is a collection of online resources for theatre companies and artists, with a specific geographical emphasis on the metropolitan St. Louis area.
Founded in 1991, TEATRO DE LA LUNA -- http://teatrodelaluna.org -- promotes Hispanic culture and fosters cross cultural understanding between the Spanish and English-speaking communities in the Washington, DC area. "We carry out our mission by producing plays and a poetry marathon, by offering theater workshops for children and adults and by organizing an annual International Festival of Hispanic Theater, all of which create opportunities for community dialogue, participation and reflection." In residence at the Gunston Arts Center since inception, their theater has produced 31 plays, eight poetry marathons and three theater festivals, as well as theater workshops for children and adults. Other events have included video screenings, art exhibits, and staged readings. The goal of all these activities is to celebrate diverse cultural traditions from the Spanish-speaking world, while stimulating a dialogue among people of different backgrounds about what culture is and its significance in all our daily lives.
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 home page of THE LOWER MANHATTAN CULTURAL COUNCIL. (LMCC)
THE LOWER MANHATTAN CULTURAL COUNCIL -- http://www.artswire.org/downtown/index.htm -- provides vital support for individual artists and arts organizations through funding and services, and advances public appreciation of and participation in the cultural landscape of Manhattan through free arts events and information exchange.
"We are proud that our founding mission to foster a cultural community downtown has contributed to Lower Manhattan's renaissance. And while we remain devoted to our historic neighborhood, our programs now serve artists and the public throughout the borough of Manhattan and (digitally speaking) beyond," LMCC states. "Over the past two years, building on a quarter century of pioneering work, LMCC has taken on the vital role of an arts exchange with a portfolio of programs that include: Community Arts Funds; World Views and other Visual Arts Programs; Thundergulch, the new media arts initiative of the Lower Manhattan Cultural Council that seeks to provide new forms of interaction between artists, audiences, and emerging technologies; and Free-To-The-Public Performances and Exhibitions like Evening Stars and the Festival of Creative Communities.
Visit the site for detailed information about LMCC's `programs as well as for the premier issue of LMCC's THE LOW DOWN.
"Generally, artists do not think of themselves as entrepreneurs, which leaves their financial stability and artistic growth at the mercy of economic and aesthetic changes," commented composer, jazz and classical trumpeter Aaron Flagg in response to a question from Arts Wire about his thoughts after participating in a National Endowment for the Arts Colloquium on EXPLORE: ARTISTS IN AMERICAN LIFE - ARTISTS AND THEIR CAREERS.
"In order to develop a long term perspective, educational institutions must combine skill-based training in their chosen art form with skill- based in sustaining on artistic career long term. This includes a keen awareness as to the historical influences on an artist's career, and frank discussions as to current and future influences," said Flagg, who is the new director of the Music Advancement Program at the Juilliard School, a two-year Saturday music school for African American, Latino, and Native American students between 8 and 15 years old.
Flagg, who considered the colloquium at the NEA "a wonderful opportunity to learn a little about the career trajectory of other artists (i.e. film makers and visual artists) and meet many involved in trying to assist artists in their life's work," also believes that "society at-large, be it national organizations, unions, federal agencies, the media, etc. need to focus on the life of an artist, not merely subsist on the stereotypes."
"Their artistic accomplishments are of course paramount, but identifying the kinds of support they deemed most hopeful would illicit an intriguing aspect of history never discussed," he points out. "For example:
1. Who gave Louis Armstrong is first cornet (type of trumpet)?
a Jewish family.
2. Who taught Gerswhin spirituals which influences Porgy and Bess?
an African-American opera singer
3. How did Oscar Pettiford (Ellington's bassist) survive in between jazz
tours?
he was a barber."
Sources/resources:
"NEA Colloquium Addresses Funding for Individual Artists"
Arts Wire CURRENT --
http://www.artswire.org/current/2000/cur121900.html
December 19, 2000
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