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"My hope is that by announcing now that I will step down at the end of this fiscal year, the new administration will be able to move efficiently to choose new leadership for the Arts Endowment," Ivey stated. "I will continue to work aggressively with this Congress to complete the budget appropriations process for Fiscal Year 2002 and to ensure that there is a smooth transition within the Office of Chairman."
Ivey, who was appointed by President Bill Clinton, was unanimously confirmed as NEA Chairman by the U.S. Senate in May 1998. He followed actress Jane Alexander as NEA Chair. He is the first NEA Chairman who has developed and run a nonprofit, the Country Music Foundation in Nashville, where he served as Director from 1971 to 1998.
As NEA Chairman, Ivey has been an effective advocate for federal arts funding. Over the course of 3 1/2 years, he met with more than 250 members of Congress to discuss the crucial role of federal arts support for the nation's artists, arts organizations and communities. He also traveled extensively, giving over 100 speeches and meeting with leaders and representatives of cultural, business, education and civic groups.
Last year, he shepherded a $7 million funding increase for the Arts Endowment through the Congressional appropriations process, and under his leadership, the Challenge America program was developed to support arts education, services for young people, cultural heritage preservation, community partnerships, and expanded access to the arts.
Bill Ivey advocated moving the arts closer to a pivotal, central position in our schools. In a Senate hearing on the reauthorization of the National Foundation on the Arts and Humanities Act of 1965, he described how speaking to older citizens across the country had affirmed his commitment to arts education. "These citizens are always saddened by the knowledge that their children, and their grandchildren, don't possess the same opportunities to study and participate in the arts in many of today's schools," he said.
Last week, as Ivey announced his resignation, the Arts Endowment announced $53,915,900 awarded through 832 grants in the second major funding round of Fiscal Year 2001 -- including 259 arts education grants totalling $5,893,000.
Although -- with the exception of continuing fellowships in literature, jazz, folk and traditional arts -- the direct funding for individual artists which the Republican Congress derailed in the nineties, has not been reinstated, Bill Ivey persuasively affirmed the Arts Endowment's commitment to finding strategies to directly support artists.
"It is very important to the health of the Endowment, and to the health of our society, to find the ways to again directly connect our federal investment in culture with the careers and lives of artists," he emphasized in a speech to the National Association of Artists Organizations Conference.
Beginning in October, Ivey, a folklorist and musician, teacher and writer, who holds degrees in history, folklore and ethnomusicology, plans to take some time to reflect on all he has learned as Chairman. "This will be my first real break from work in 30 years," he said. "I'm going to relax, begin several book projects and get ready to take on some new challenges right after the first of the year."
Sources/resources:
NATIONAL ENDOWMENT FOR THE ARTS WEBSITE -- http://www.arts.gov/endownews/news01/resign.html
Filed in 1998, the suit accused the chains of arranging deals with publishers and distributors that are unavailable to independent stores.
In the course of the trial, the ABA documented a myriad of unfair practices, including that both defendants negotiated secret, volume-based contacts with distributor Ingram Book Company; that Borders systematically receives carton quantity discounts on purchases that are not carton quantities; that both defendants receive substantial discounts for supposed shortages in shipments that are not documented and that B&N has admitted are not based on the rate of actual shortages; and that both defendants have received secret and unjustified stock offers, special "ramp-up" offers, incentive payments, cash discounts, returns privileges and co-op advertising allowances far in excess of defendants' costs.
However, the suit suffered a setback when U.S. District Judge William Orrick rejected the independent bookstores' claims for damages, saying that they had not provided sufficient evidence that they had been financially harmed by unfair chain competition.
In addition to reducing the financial risk for the chains, Orrick's ruling crucially affected the nature of the trial -- turning it from a jury trial to one heard only by the judge, Hut Landon, Executive Director of the Northern California Independent Booksellers Association, explained on BOOKWEB. "The ruling was unexpected and, in our attorneys' minds, legally incorrect," Landon emphasized.
More than 1,000 independent stores have gone belly up in the past six years, according to the WASHINGTON POST.
The amount of the settlement is less than the ABA's legal costs, and, according to the NEW YORK TIMES, the outcome was interpreted as a victory by representatives of B&N and Borders. In separate statements, both chains called the settlement a "vindication."
Landon emphasized that the lawsuit "accomplished one huge mission -- to bring to light some of the secret dealings that have helped the two chains increase their profit margin at the expense of others." The ABA has pledged to continue proactive advocacy efforts on behalf of independent booksellers.
"It's not just a fight for our survival," the Post quotes Washington DC independent bookstore owner Terri Merz as saying. "Really what this case is about is protecting diversity in publishing. That affects everybody and what kind of books will be available." The kinds of books which are at risk, she believes are literary fiction, poetry, serious history, serious biography, essays. "Books that will be around for a long time. But they have to have enough time to find their customers."
"There is a desperate need for all government departments to recognize that cultural market places are like no other....In a cultural market place, there has to be a measure beyond fiscal concern." -- Christopher Moore, Chair, The Writers' Union of Canada
In Canada, last week the Competition Bureau gave conditional approval to the proposed merger of Chapters, the dominant book retailer in Canada, with rival Indigo Books & Music. However, the Bureau also issued an order to resolve competition concerns raised by the proposed merger. The resultant mega-bookseller will be required to offer 23 stores for sale.
Additionally, Chapters, Indigo and publishers' associations have agreed to a Code of Conduct which sets minimum standards of trade between the merged company and publishers for a period of five years.
"There is a desperate need for all government departments to recognize that cultural market places are like no other....in a cultural market place, there has to be a measure beyond fiscal concern," Christopher Moore, Chair, The Writers' Union of Canada, had stated last year to the Standing Committee on Canadian Heritage on the State of the Book Industry.
Moore credited independent booksellers as a vital part in "a remarkable flowering of writing" in Canada. "Independent booksellers have been deeply committed to linking readers and writers, to discovering new voices, and to presenting a wide range of Canadian voices to their customers," he told the Committee. "...There is now substantial evidence that the big store goes hand in hand with the big publisher and the big author, until a diminishing number of superstar authors commands an ever larger share of book sales."
He observed that the "big box" retailer is here to stay and that it does have some advantages for readers-- bringing more people into bookstores, creating "a buzz of excitement about browsing and buying books". The chains can also benefit the fortunate few bestselling writers.
However, he also documented the costs to some Canadian writers of the discounts which mega-booksellers are able to secure from publishers -- telling the story of a Writers' Union member whose successful book, published by a small publisher, sold about 10,000 copies through the retail trade in Canada. She had anticipated a check for about $28,000. "...a small number by megastore bestseller standards, but a very satisfactory return by the standards of most Canadian writers." Instead, because many of her royalties were calculated not on the $25 retail price of the book but on deeply discounted megastore prices, when her statement and check arrived, her royalties totalled less than $14,000.
"If the openness and diversity of the book trade sinks into a world where there is only one bookstore and all bookstores look the same, we will lose an essential link in the process by which the unknown Canadian writer becomes the established Canadian writer and (perhaps) the internationally-known Canadian writer," Moore emphasized.
Sources/resources:
AMERICAN BOOKSELLERS ASSOCIATION BOOKWEB -- http://www.bookweb.org/aba/
David D. Kirkpatrick
"Small Bookshops End Fight, Dropping Suit Against Chains"
THE NEW YORK TIMES --
http://www.nytimes.com/2001/04/20/business/20BOOK.html
April 20, 2001
Linton Weeks
"David vs. Goliath in Bookstores' Lawsuit"
THE WASHINGTON POST --
http://washingtonpost.com/wp-dyn/articles/A9139-2001Mar28.html
March 29, 2001
COMPETITION BUREAU -- http://strategis.ic.gc.ca/SSG/ct01250e.html -- an independent law enforcement agency that is responsible for merger review and the lawful conduct of business in Canada, as defined by the Competition Act.
THE WRITERS' UNION OF CANADA -- http://www.writersunion.ca
Grants will be distributed through three of the Endowment's major Grants to Organizations' categories -- Access, Education and Heritage/Preservation -- as well as through Arts on Radio and Television, Leadership Initiatives, and Partnership Agreements.
The Arts Endowment's FY 2001 budget appropriation is $104.8 million, an increase of nearly $7 million over last year's budget and the agency's first increase since 1992. Of the $104.8 million, $86.2 million is designated for grantmaking.
$4,313,500 WILL BE DISTRIBUTED TO 237 ACCESS GRANTS which help people connect to the arts in various ways, overcoming geographic, educational or economic constraints. Grants will also assist individuals with disabilities and older adults. These projects will reach more than 3,500 communities with over 10,700 performances, 2,300 artists' residencies and 450 exhibitions.
A few of the many projects supported in this round of Access grants are listed below. For a complete list, visit http://www.arts.gov/learn/01grants/Access.html
259 EDUCATION GRANTS TOTALLING $5,893,000 will support the arts as an integral part of education both in and outside the classroom. The involvement of artists and, whenever possible, direct contact with artistic works are important elements of these projects. Twenty thousand artists,50,000 teachers and over a million students are expected to be involved.
A few of the many projects supported by Education grants are listed below. For a complete list, visit http://www.arts.gov/learn/01grants/Education.html
179 HERITAGE/PRESERVATION GRANTS TOTALLING $3,525,500 help conserve significant art works and honor, assist and increase the visibility of art and artists. Projects serve new immigrant and established ethnic communities as well as the general public through a wide variety of disciplines and traditions.Through these projects, approximately 8,000 works of art will be conserved, preserved, archived or digitized and 50 recordings and 20 publications will be made available.
A few of the many Heritage/Preservation grants are listed below. For a complete listing, visit http://www.arts.gov/learn/01grants/HP.html
IN THE ARTS ON RADIO AND TELEVISION, $3 million will be awarded for the development, production and distribution of arts programs for radio and television broadcast. Through the 42 funded projects, the Endowment will support 92 hours of television programming reaching over 200 million viewers and 1,900 hours of radio programming during the year reaching over 10 million listeners per week. A few of the projects awarded grants in this category are listed below.
For a complete list, visit http://www.arts.gov/learn/01grants/ARTV.html
THE ENDOWMENT AWARDED $1.3 MILLION FOR LEADERSHIP INITIATIVES. The funds include support for significant national projects in dance, folk arts, visual arts, jazz and accessibility.
Among others, the National Performance Network (New Orleans, LA) received funding to support the second year of the National Arts Administration Mentorship Program, a program to explore leadership development through mentorship.
The NEA/Doris Duke Charitable Foundation JazzNet Initiative received funding to support the continuation of JazzNet, a jointly funded initiative with the Doris Duke Charitable Foundation designed to strengthen the field of jazz by providing the country's leading jazz presenters with multiyear artistic and administrative resources to increase commissioning, residencies, and educational and community-based programming. Programs funded under this initiative include Artists Collective; (Hartford, CT) Contemporary Arts Center; (New Orleans, LA) Flynn Theatre; (Burlington, VT) Manchester Craftsmen's Guild; (Pittsburgh, PA) and Newark Public Radio/WBGO. (Newark, NJ)
For a complete list, visit http://www.arts.gov/learn/01grants/Leadership2.html
IN ADDITION, THE ENDOWMENT AWARDED $35,873,900, OR NEARLY 42% OF ITS GRANTMAKING BUDGET, IN PARTNERSHIP AGREEMENTS to state and regional arts agencies across the country. This total includes $2 million distributed to those agencies as part of Challenge America, a major new program designed to strengthen communities through the arts.
For complete details, visit http://www.arts.gov/learn/01grants/Partnerships.html
Within the categories detailed above, multi-state projects -- those that reach audiences beyond the home state of the grantee through such activities as touring and broadcast -- constitute $12,184,200 in grant funds. All grants to organizations must be matched at least dollar for dollar.
For complete information, visit the NATIONAL ENDOWMENT FOR THE ARTS WEBSITE at http://www.arts.gov
PARTICIPATE 2001
"The arts play a critical role in developing communities that are vibrant, inclusive, and economically prosperous. During pARTicipate 2001, attendees will come together and learn from each other in the creation of personal and collective strategies for advancing the impact of the arts on livable communities."
pARTicipate, is the first joint convention of Americans for the Arts and the National Assembly of State Arts Agencies -- the nation's largest gathering of arts leaders on the local state and national level who represent $2 billion dollars in public funds for the arts.
Beginning with a welcome from New York State Council on the Arts Chairman Richard J. Schwartz, and an address by NY Governor George E. Pataki, the Conference will feature
Three preconferences on public art, board and staff leadership, and united arts funds will precede the convention.
The early bird deadline for registration is May 15. For more information, visit http://www.participate2001.org
NEW YORK CITY, NY
COMPEL + PROVOKE: PUBLIC ART 2001
Organized by the Public Art Network, (PAN) a program of Americans for the Arts, the PARTICIPATE 2001 Preconference COMPEL + PROVOKE: PUBLIC ART 2001 will offer opportunities to exchange ideas, share new approaches and engage in critical dialogue on public art.
Participants will explore new neighborhoods, experience public art and meet artists in their studios. Study sessions and panels will be designed to reach out to established and emerging professionals.
Highlights include a keynote address by artist Mierle Laderman Ukeles, the Year Review session featuring new and innovative public art nationwide presented by Jack Becker and Harriet Senie, and a reception at the International Center for Photography.
For more information, visit: http://www.participate2001.org/innerpages/preconferences/public_art.html-
Other preconferences are BOARD, STAFF, AND BEYOND: ARTS LEADERSHIP IN THE CHANGING COMMUNITY and RAISING MONEY IN CHANGING TIMES THE 2001 UNITED ARTS FUNDS PRECONFERENCE. For details, visit http://www.participate2001.org
MALAFEMMINA A CELEBRATION OF THE CINEMA OF ITALIAN AMERICAN WOMEN
Offering the public an unprecedented opportunity to experience and explore the work of Italian American women in film and video, whether as directors, writers, actors, documentarians, activists, or scholars. Malafemmina opens at 6:00 PM on May 16 with a screening of the pioneering film FATSO (1980) by actress Ann Bancroft. The Celebration will also feature video and performance by Penny Arcade; a roundtable on representations of Italian American women in Hollywood and independent films; the premiere of Christine Noschese's feature film JUNE ROSES; a presentation of the films of Rachel Amodeo; a screening of Tina DiFeliciantonio and Jane Wagner's award-winning documentary GIRLS LIKE US; and a closing tribute to film director Nancy Savoca, whose first feature, TRUE LOVE, won the Grand Jury Prize at the Sundance Film Festival.
Malafemmina is co-sponsored by The Collective of Italian American Women (CIAW) and Casa Italiana Zerilli-Marimo at New York University, in association with New York Women in Film & Television, The Center for Media,Culture, and History at New York University, and The Center for the Study of Gender and Sexuality at New York University.
"Malafemmina will showcase a wide variety of filmmakers whose work characteristically contains a politicized sense of history, culture, and ethnicity," says festival curator, filmmaker Kym Ragusa. "We are interested in the multiple ways in which Italian American identity manifests itself, and how it is related in a larger sense to questions of gender, race, class, migration, and nation." The festival will feature the work of Italian women who live and work in the U.S., Canadian and Argentinean women of Italian descent, and women of Italian American and African American descent. "We wish to increase the visibility of Italian American women media artists, to facilitate contacts between the artists and their audiences, and to provide a space for artists to connect with each other," Ragusa states.
among many events are:
FRIDAY, MAY 18
2:00 PM
SICILIANS IN EXILE MEMORY, MYTH, AND HISTORY IN THE WORK OF
SICILIAN(AND) SICILIAN AMERICAN FILMMAKERS; screenings and
discussion with Luisa Pretolani, Rose Spinelli, Gia Amella, Renata
Gangemi, Mariarosy Calleri
7:00 PM
New York Premiere of JUNE ROSES, a film that follows an Italian
American family in Brooklyn over several decades. Screening and
discussion with filmmaker Christine Noschese; presented by
Jennifer Guglielmo.
SATURDAY, MAY 19
11:00 AM
MAKING POLITICS FEMINIST FILM & VIDEO OF THE 1970'S; screening and
discussion with Cara De Vito and Christine Noschese; moderated by
Gloria Jean Mascirotti.
2:00 PM
RE-PRESENTING ITALIAN AMERICAN WOMEN GENDER POLITICS IN HOLLYWOOD
AND INDEPENDENT FILM A Panel Discussion co-sponsored by New York
Women in Film & Television. Participants include Helen DeMichiel,
Francesca Rizzo, Michela Chirichiello, Sandra Vannucchi, and Nancy
Caronia. Moderated by Maria Laurino.
Plus a Closing Night Tribute -- a screening and discussion with Nancy Savoca; presented by Edvige Giunta at 7:00 PM on Sunday, May 20.
All events are free and open to the public. For more information, contact Frank Calabrese at 212-998-8739
DALLAS, TX
Austin theater company Viva La Vulva
BITCH STOLE MY RUBY RED SLIPPERS!
"BITCH STOLE... takes a five-woman cast down the infamous yellow brick road in search of the basic needs for success brains, a heart, courage and a record deal. From Britney Spears to Baby Spice, today's most popular icons and archetypes surround Dorothy on her journey. This production uses subversion and biting humor to contemporize a classic American myth and addresses the conflict between desire and expectation faced by modern women."
Viva La Vulva began in 1996 as a Southwestern University student's senior thesis. Since then, the company has produced eight original works and has appeared around Austin at such events as the Mind Over Money Theatrical Festival (MOMFest) and International Women's Day festivities.
Tickets are $12 for the general public and $10 for MAC members
and students. For more information, visit
http://www.the-mac.org
Deadline: July 15, 2001 - LEGIBLE is seeking manuscripts of fiction or poetry for publication in book, chapbook, or anthology form. Quality of writing is the only criterion. Send your best work: vivid, penetrating, uniquely of your making. This is a new venture. There is no guarantee of reward beyond publication and copies. However, if no book, chapbook, or anthology can be gleaned from all submissions, the $10 reading fee will be refunded. For information, visit http://www.geocities.com/legible5roses or email legible5roses@yahoo.com
Ongoing: THE NEW YORK-ISRAEL CULTURAL COOPERATION COMMISSION is a joint venture of the State of New York, Governor George E. Pataki, and the State of Israel. Its mission is to increase cultural exchange between Israel and the State of New York. The Commission encourages and supports both independent projects and programs that meet its mission objectives, and projects and programs developed by or in collaboration with the Commission. Artistic disciplines include, but are not limited to, the performing arts, media arts, visual arts, and literature. Organizations in all artistic disciplines may also apply for funding to support residencies of New York State artists in Israel or of Israeli artists in New York State. For information, contact: New York-Israel Cultural Cooperation Commission, 155 Avenue of the Americas, New York, NY 10013; phone (212) 366-6900 ext. 436.
Ongoing: THE TOUR PLANNING PROGRAM OF THE MID ATLANTIC ARTS FOUNDATION is designed to support planning for touring projects in the mid-Atlantic region. Funds are to be used to support a planning process that will enable an artist/company and presenters to build a tour with creative opportunities for the artist to interact with audiences. The Tour Planning Program does not support tours of performing artists. Applications are accepted from consortia only,comprised of an artist/company and at least three presenting organizations based in the nine states and jurisdictions served by the Mid Atlantic Arts Foundation. For information, contact: The Mid Atlantic Arts Foundation, 22 Light Street, Suite 300, Baltimore, MD 21202; phone (410) 539-6656 ext. 100; or visit http://www.midatlanticarts.org
The primary purpose of the Robeson Fund is to support independent media productions that are not only compelling politically and artistically, but which must also be used as tools for progressive social change activism and organizing.
"How you plan to distribute your film, video or radio production is as important as the integrity of the project itself," the program states. Media artists who are women, gay men and lesbians, disabled or from communities of color or who have little recourse to other funding sources due to the controversial nature of their projects are particularly encouraged to apply. Although the maximum grant amount is $15,000, most grants range from $3,000-6,000.
Deadline: May 15, 2001
For details, visit http://www.fex.org/robeson/
Administered by the Westchester Arts Council and funded by Philip Morris Companies Inc., The Westchester Prize for New Works is designed to encourage the creation of new work for premiere in Westchester County. Emerging artists and cultural institutions in Westchester County are encouraged to collaborate in the process of developing and submitting a proposal for the premiere presentation of a new work in Westchester.
Each year, winner(s) of the prize will be honored at a special presentation ceremony and share prize money of up to $50,000.
Eligibility: Not-for profit cultural organizations located in Westchester County working in collaboration with an artist or artists who have demonstrated a record of achievement. Preference will be given to artist(s) who have lived, worked been educated, or are currently residing in Westchester County.
Complete applications must be postmarked by June 29, 2001. For a brochure and complete description of eligibility, call 914-428-4220.
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 For Events May-December, 2001, artists open studio events- California, inclusion in CALIFORNIA ARTS COUNCIL AND THE CALIFORNIA ASSEMBLY OF LOCAL AGENCIES ARTS GUIDE
Deadline: May 18, 2001, public art projects- Park Furnishings (benches, drinking fountains, bike racks, etc.) and Site-Specific Work, THE PUBLIC ART COMMITTEE FOR THE NORTH SHORE RIVERFRONT PARK, PITTSBURGH, PA
Deadline: May 31, 2001, proposals from artists for new work responding to new site, AS IS EXHIBITION AT THE SCULPTURECENTER'S NEW LONG ISLAND CITY BUILDING
Deadline: May 31, 2001, The Redemption Mandala - A collection of visual art pieces from the four UN regions of the world, Africa, the Middle East and Asia, the Americas and Europe, THE REDEMPTION PROJECT, UNITED NATIONS WORLD CONFERENCE AGAINST RACISM, XENOPHOBIA, DISCRIMINATION AND RELATED INTOLERANCE, DURBAN, SOUTH AFRICA
Deadline: June 1, 2001, artwork, prose, poetry for Alternative Report, THE IMMIGRANT RIGHTS WORKING GROUP, WORLD CONFERENCE AGAINST RACISM, XENOPHOBIA, AND RELATED INTOLERANCE, DURBAN, SOUTH AFRICA
for event to be held June 14-16, 2001, online art - interactive erotica, games, and KiSS dolls, SNOW BLOSSOM HOUSE, SONAR ELECTRONIC SOUND AND MULTIMEDIA FESTIVAL IN BARCELONA, SPAIN
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
EXECUTIVE DIRECTOR, The Whistler House Museum of Art, (Lowell, MA)
EXECUTIVE DIRECTOR, The Smithtown Township Arts Council, (New York)
TENURE TRACK FACULTY, Art & Design Education, Pratt Institute, (Brooklyn, NY)
PERFORMING ARTISTS, artsACCESS ARTS IN EDUCATION PROGRAM 2001-2002, The Choral Arts Society of Washington, (Washington, DC)
CULTURAL AFFAIRS DIRECTOR, City of Savannah, (Savannah, GA)
DIRECTOR OF EDUCATION, The Museum of Contemporary Art, (Los Angeles, CA)
CHIEF CURATOR, TACOMA ART MUSEUM, Tacoma Art Museum, (Tacoma, WA)
ASSOCIATE CURATOR, Tacoma Art Museum, (Tacoma, WA)
EDUCATION ASSISTANT, The Tacoma Art Museum, (Tacoma, WA)
ASSOCIATE DIRECTOR OF DEVELOPMENT, Tacoma Art Museum, (Tacoma, WA)
CURATOR OF EXHIBITIONS AND PUBLIC PROGRAMS, Alice Austen House Museum, (Staten Island, NY)
CARETAKER, Alice Austen House Museum, (Staten Island, NY)
ADMINISTRATIVE ASSISTANT, Alice Austen House Museum, (Staten Island, NY)
HEAD OF DANCE DEPARTMENT, (Ballet school), (Juneau, Alaska)
ART GALLERY POSITION (parttime), (New York City, NY)
PROGRAM COORDINATOR, Craft Emergency Relief Fund, (Montpelier, VT)
WEB ASSOCIATE, The Academy of American Poets, (New York City, NY)
ASSOCIATE EDITOR, NewMusicBox, (New York City, NY)
PRODUCTION COORDINATOR, NewMusicBox, (New York City, NY)
DESIGNER FOR PRINT & WEB, Andante Corporation, (New York City, NY)
STAGE MANAGER, Breckenridge Music Festival, (Breckenridge, CO)
CONTROLLER, The Asian Art Museum, (San Francisco, CA)
DIRECTOR OF MARKETING & COMMUNICATIONS, The Asian Art Museum of San Francisco, (San Francisco, CA)
CONTROLLER, McCarter Theatre, (Princeton, NJ)
BUSINESS OFFICE ASSISTANT, McCarter Theatre, (Princeton, NJ)
DIRECTOR OF MARKETING, American Repertory Ballet, (New Brunswick, NJ)
DIRECTOR OF DEVELOPMENT, American Repertory Ballet, (New Brunswick NJ)
DIRECTOR OF MARKETING AND DEVELOPMENT, Mashantucket Pequot Museum and Research Center, (Southeastern Connecticut)
PUBLICIST, (performing arts pr office), (New York City, NY)
PROMOTIONAL AND DEVELOPMENT MANAGER, Tennessee Technological University, Appalachian Center for Crafts, (Smithville, TN)
(DEVELOPMENT SUPPORT), (education/community) (New York City, NY)
EDUCATION ASSISTANT, Morris Museum of Art, (Augusta, GA)
VOCAL DEPARTMENT ASSISTANT, IMG, (New York City, NY)
GRANT WRITER/FUND RAISER, Artspace, Inc., (Prescott, AZ)
ACCOUNTING COORDINATOR, The Richmond Art Center, (Richmond, CA)
ASSISTANT TO THE EXECUTIVE DIRECTOR/ADMINISTRATIVE ASSISTANT, The Choral Arts Society of Washington, (Washington, DC)
MUSIC LIBRARY ASSISTANT/RECEPTIONIST, Milken Archive of American Jewish Music, (New York City, NY)
ARTS EDUCATION PROGRAM MANAGER, Los Angeles County Arts Commission, (Los Angeles, CA)
ARTS PROGRAM ASSISTANT, City of Sacramento, (Sacramento, CA)
SUMMER INTERN, The National Coalition Against Censorship, (New York City, NY)
INTERNSHIP, M.C. Records, (New York City, NY)
ARTS ADMINISTRATION INTERNSHIP, The Choral Arts Society of Washington, (Washington, DC)
MARKETING INTERN, New York City Opera, (New York City, NY)
CASTLETON, VT
July 9-12, 2001
Castleton State College
VERMONT ARTS AND TECHNOLOGY SUMMER INSTITUTE
Begun under the WEB Project, the VT MIDI/ARTT continues to organize the residential VT ARTS AND TECHNOLOGY SUMMER INSTITUTE -- an opportunity for k-12 music and art teachers to gather in order to explore and consider the use of new technologies in their classrooms, including online mentoring. Among the workshops offered this year are
The fee for this residential institute is $550.00. Three hours of graduate credits are offered through the University of Vermont for an additional cost of $350.00 for Vermont residents and $675.00 for those coming from out-of-state. Each day, three meals will be provided by Castleton State College in the cafeteria. The registration fee covers all meals and a shared double room for the 4-day session. A limited number of single rooms are available for an additional $60.00.
Registration and complete course list are available at - http://www.vermontartscouncil.org/vtmap/si2001/info.html
GLEN WILD, NY
THE OLD SCHOOL FOR SOCIAL SCULPTURE - SUMMER SESSIONS 2001
The Old School for Social Sculpture, a conceptually based Art school and summer residence program geared towards artists and serious students 18 to 35 years old, is located 80 miles NW of Manhattan in New York's Catskill Mountains, in the hamlet of Glen Wild. It offers residents a ten day session with an acclaimed faculty who will provide a challenging and unique approach to workshops and seminars held in a one room schoolhouse and surrounding grounds. In a unique social and educational environment, activities or "classes" join the students with contemporary working and exhibiting artists for lectures, presentations, luncheons, critiques, seminars and workshops in a variety of settings.
Among other visiting artist faculty and special guests, the Summer Session 2001 faculty includes: MEL CHIN (multi-media, installation) PAUL PFEIFER (video) KIKI SMITH (sculpture) LINDA MONTANO (performance) CARLO McCORMICK (culture, criticism) Within the ten day sessions, students will have the opportunity to interact with each faculty member and periodically present work.
The emphasis of The Old School is on the "idea" and subsequent strategies employed to communicate ideas, rather than the art product, so no traditional studio space will be provided. "This should not be misconstrued as discouraging residents from making art during their stay," the program states; "rather we encourage that the approach in the art making process reflect the spirit of the institution."
Students will not only have access to the faculty, but will be able to swim, boat and fish in the neighboring rivers and lakes; and generally enjoy New York's Catskill Mountains.
Tuition is $1,500 per ten day session. All meals and camping facilities are provided. The application deadline is May 15.
For details, visit http://www.osss.org
For more information contact Director Mike Osterhout
mikeosterhout@apexmail.com
The Old School, P.O. Box 671, Glen Wild, NY 12738
BLOOMINGTON, INDIANA
DOCUMENTING LOCAL CULTURE - AN INTRODUCTORY SUMMER FIELD SCHOOL ON "DISABILITY AND COMMUNITY"
"Are you interested in learning how to document the cultural resources of your community or region through the use of photography, sound recordings, ethnographic fieldwork and other methods? preserve documentary materials for future generations? build community through the creation of exhibitions, publications and other examinations and celebrations of local culture?"
The intensive three-week field school DOCUMENTING LOCAL CULTURE, sponsored by the Indiana University Folklore Institute, The Indiana; Institute on Disability and Community; and the American Folklife Center (Library of Congress) is an immersion experience. It offers hands-on training in professional techniques for cultural documentation, including archiving, interviewing, still photography, ethnographic writing, project planning, research ethics, computer applications, and the development of community-building participation programs. Trainers are experienced specialists, who will provide lectures, workshops, discussions, curriculum materials, and supervised fieldwork experiences.
Field school participants will work closely with local residents with and without disabilities to document the history and experience of disability in the community. Their gathered materials will be later used to launch a local MUSEUM OF THE PERSON, which will uses the web to present life stories of those whose voices often are submerged in official history and community planning.
The field school is designed for adults who have a strong interest in cultural documentation, but little or no previous training or experience in this area. Preference will be given to persons who are in a position to utilize newly learned skills upon returning to their home communities. School teachers, museum curators, local historians, leaders of cultural groups and foundations, librarians, community organizers and activists, and undergraduate and graduate students are invited to apply. Persons with disabilities, professionals in the field of disabilities, and members of minority groups are especially urged to apply. Indiana residents will be given preference, but residents of other states are welcome to apply.
Only a few slots remain, so those interested should apply immediately.
Registration fee for the field school is $750 for the entire three-week package. The package includes most meals, instruction, equipment, and all course materials. A non-refundable deposit of $375 will be required upon acceptance; the balance will be due by May 11. Fee scholarships will be granted according to need and available funds. Participants requiring housing will make independent arrangements with Indiana University Residence Halls. Field documentation will focus on Bloomington and nearby communities.
Details are available at http://www.indiana.edu/~tradarts/fieldschool.html
Or for more information, contact one of the co-directors: _Dr. Inta Carpenter, Director Special Projects, Indiana University, Department of Folklore and Ethnomusicology Email:carpente@indiana.edu _Dr. Philip B. Stafford, Director , Center on Aging and Community Email: staffor@indiana.edu _Dr. David A. Taylor, American Folklife Center, Library of Congress Email: dtay@loc.gov
SEDONA, AZ
SEDONA ART TOURS
In red rock country, Sedona Art Tours. brings a slice of Sedona art life to the visitor. Each art tour takes participants into the studio of three Sedona artists.
"Off the beaten path, many world class artists work in Sedona, but may not show their work in galleries here. Sedona Art Tours offers a unique opportunity to meet with the artist, learn first hand of their challenges and inspirations, and gain a greater understanding of the artist's work. Learn about the lost wax process with a bronze sculptor, explore Oak Creek Canyon's early origins with a southwest artist and woodsman, try your hand on a Swedish loom with a local weaver, delight in the surrealism and wood sculpting of a contemporary artist, watch manzanita and juniper transform into works of art , and enjoy the traditional landscapes of the southwest."
Guide Tara Golden looks forward to sharing the hidden corners of Sedona's art world with visitors and to meeting people from around the world. A tour guide for many years, she also loves to share stories of Sedona's early history.
Morning and afternoon tours are offered. Advance reservations are recommended. For additional information visit http://www.sedonaarttours.com or call 520-203-4156.
CATALINA ISLAND, CA
CATALINA SUMMER ARTS CAMP
At White's Landing on Catalina Island, Catalina Summer Arts Camp features programs in music, dance, visual arts and theater for students entering 5th through 10th grades.
Cost per child is $425 for eight days and seven nights including transportation. Some scholarships are available to non-profit organizations who work with low income children, as well as volunteer and employment opportunities. The registration deadline is May 15, 2001.
For more information call the Catalina Island Performing Arts
Foundation at 310-510-7469, or Email:
arts@cipaf.org
website:
http://www.cipaf.org/camp.html
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