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"Patriotism and respect are earned through the substance and values of a nation, not by its physical symbols," said Marvin Johnson, a Legislative Counsel for the American Civil Liberties Union. (ACLU) "By making the American flag untouchable, Congress would be sending the message that approval of our nation is an obligation not a choice."
The amendment could criminalize the work of artists, such as Faith Ringgold and Jasper Johns, who use the flag as iconography in their work -- or Native American artist Steven Leyba, whose mixed media WOUNDED KNEE DECOMPOSITION I commemorating the 1890 massacre in South Dakota includes two mutilated American flags, or Dread Scott, in whose WHAT IS THE PROPER WAY TO DISPLAY THE US FLAG? an American flag laid out on the floor. In this work, one comment book is placed above the flag, (so that visitors walk on it in order to write in the book) while another comment book is placed nearby for those who wish to respond without treading on the flag.
Other artists who have used the flag in their work include Keith Haring; (AMERICAN FLAG) David Hammons; (AFRICAN AMERICAN FLAG) Malaika Favorite; (THE FLAG NEEDS A WASHING) and Dana Chandler in whose 4(00) MORE YEARS the American flag represents jail bars for African Americans.
But, Representative Steve Chabot, (R-OH) who is chairman of the Subcommittee of the Constitution, said the amendment offers a legitimate restriction on speech. According to the FREEDOM FORUM, Chabot compared it to laws against slander, perjury and obscenity. Physical acts against the flag, he claimed, stand outside the forum of legitimate speech.
The amendment has been introduced in various forms over the last 12 years. In 2000, the House approved a flag "desecration" amendment by a 305-124 vote. However, it was narrowly defeated in the Senate. Senators Robert Byrd (D-WV) and Richard Bryan (D-NV) switched their positions to join 35 of their colleagues in defeating the amendment which fell four votes shy of the two-thirds majority needed. The amendment was also opposed by retired Gen. Colin Powell, former Chairman of the Joint Chief of Staff (now Secretary of State under the Bush administration) and former Senator John Glenn.
The flag amendment went to markup last week in the Constitution Subcommittee of the House Judiciary Committee. The House is expected to pass it. However, the Freedom Forum observes that as a result of changes in the Senate caused by Senator James Jeffords' (I-VT) move from Republican to Independent, it is possible that the amendment will not make it past the Senate Judiciary Committee.
If passed by Congress, the amendment would need the approval of three-fourths of the state legislatures before it could be added to the Constitution. However, 49 legislatures have already passed nonbinding resolutions calling on Congress to approve such an amendment.
"If the amendment is not meaningless, it's sinister. Its aim is not defense but attack - an attack on freedom of political argument. Now there's a desecration for you." -- Horace Freeland Judson, THE NEW YORK TIMES
Pointing out that "art, in its best form, introduces ideas and visions that inspire us as individuals and communities, presenting new ways of viewing and thinking that often challenge the status quo," the National Campaign for Freedom of Expression (NCFE) has emphasized that the flag amendment could severely damage the role that the arts play in enhancing our constitutional democracy.
"The flag is a revered symbol of freedom," the NCFE states. "However, if enacted, the flag amendment "would deny many the freedom of artistic expression and greatly diminish the freedom the flag symbolizes. The amendment would remove a fundamental right from the Bill of Rights for the first time in our nations history and undermine the First Amendments protection of peaceful political dissent....Neither the nation nor our flag is so fragile that it needs constitutional protection as the expenses of our cherished liberties."
Noting that "First Amendment experts regard flag desecration as a form of political expression that should be protected, and the U.S. Supreme Court has agreed," the Freedom Forum observes that "If the Constitution were amended to permit laws against flag burning and other kinds of desecration, it would be the first time the First Amendment had been changed since it was adopted in 1791.
In THE NEW YORK TIMES, in response to a previous version of the flag amendment, Horace Freeland Judson wrote: "The draft amendment cannot define the flag, and it ignores the question of intent. If the amendment is not meaningless, it's sinister. Its aim is not defense but attack - an attack on freedom of political argument. Now there's a desecration for you."
Sources/resources:
"House Subcommittee Approves Flag Amendment;
ACLU Says Patriotism Can Not Be Forced"
AMERICAN CIVIL LIBERTIES UNION --
http://www.aclu.org/news/2001/n052401a.html
May 24, 2001
ACLU history of the flag amendment web site --
http://www.aclu.org/congress/flag.html
Phillip Taylor
"House subcommittee waves through flag amendment"
http://www.freedomforum.org/templates/document.asp?documentID=14005-
May 25, 2001
FREE EXPRESSION NETWORK -- http://www.freeexpression.org/
"Constitutional Amendment to Ban Flag Desecration Defeated"
Arts Wire CURRENT --
http://www.artswire.org/current/2000/cur040400.html
April 4, 2000
Horace Freeland Judson
"Waiving Our Freedom"
THE NEW YORK TIMES --
http://www.nytimes.com
June 16, 1997
The resolution -- which is available on the NCAC website at http://www.ncac.org -- states:
"Whereas, Freedom in the creation and presentation of works in the visual and performing arts serves the public and the community by strengthening the imaginative exploration and expression of diverse ideas and values; and
"Whereas, Public funding of the arts encourages artistic creativity and expression while providing the public with diverse opportunities to enrich their lives, for healthy public discourse and learning; and
"Whereas, The various types of artistic expression reflect the rich, pluralistic fabric of ideas, beliefs and experiences that mark American society in general and New York City life in particular; and
"Whereas, This diversity in artistic expression sometimes challenges and, perhaps, even offends the sensibilities of certain groups or individuals; and
"Whereas, Public funding of artistic expression does not constitute government endorsement of the views or attitudes expressed in or conveyed by specific works of art; and
"Whereas, The First Amendment to the United States Constitution protects speech and expression from infringement by government action without regard to the content of such speech or expression; and
"Whereas, The use of government funding to impose subjective standards of decency, ideology or any person or group's religious beliefs is contrary to the protections guaranteed by the First Amendment to the United States Constitution and to the public interest; now, therefore, be it
"Resolved, That the Council of the City of New York recognizes that freedom in the creation and presentation of works in the visual and performing arts serves the public interest and calling upon all New Yorkers to oppose the use of government funding to impose subjective standards of decency, ideology or any person or group's religious beliefs."
The resolution is currently in the Culture Committee and is expected to be submitted to the entire Council soon.
Sources/resources
NATIONAL COALITION AGAINST CENSORSHIP (NCAC) WEBSITE -- http://www.ncac.org
"Giuliani Announces 'Decency' Commission Appointments;
'Even acting as an advisory group, the committee could
potentially have a chilling effect on the arts in New York
City,' Coalition Responds"
Arts Wire CURRENT --
http://www.artswire.org/current/2001/cur041701.html
April 17, 2001
Their attorney, John R. Price, has sent Purdue University President Martin Jischke a draft of a proposed lawsuit, saying that they will file it on July 5 unless performances of the play, scheduled for August 10-11, are canceled, according to the FREEDOM FORUM. (Associated Press report)
Describing the play as "a full-blown, unmitigated attack on orthodox theology of Christianity," Price said, according to the Freedom Forum, that "The government should not be in the business of promoting this sort of a scurrilous, negative attack on religious beliefs." He contends that allowing the play to be performed at a state-supported university violates the First Amendment's provisions for separation of church and state.
However, the Freedom Forum reports that Joseph Bennett, Purdue's vice president for university relations, said the school does not plan to stop the play.
"This is an issue of academic freedom. The university would not take action to prevent it," The Freedom Forum quotes Bennett as saying. "One of the fundamental things that a university does is permit and create an environment for the debate of ideas."
The play was targeted by the Catholic League for Religious and Civil Rights and others when it opened in 1998 at Manhattan Theatre Club (MTC) in NYC. MTC described the work in this way: "From modern day Corpus Christi, Texas, to ancient Jerusalem, McNally traces the path of a young gay man named Joshua on his spiritual journey. In this New York Premiere, McNally presents his own unique view of 'the greatest story ever told'".
In the Fort Wayne News Sentinel, columnist Nancy Nall writes:
"I just put down 'Corpus Christi,' the text, and as frequently happens in cases like this, I simply do not understand what the fuss is all about. Yes, it is deliberately provocative. Yes, it is explicitly blasphemous, at least to what we've come to call mainline Christianity, at least to its most vocal faction. Yes, it's an overtly gay fantasia, a poke in the eye with a sharp stick, a Molotov cocktail thrown straight into the ranks of fundamentalist Christians. Whoever claims otherwise isn't paying attention."
She continues: "But here's the miracle of art: At the same time, it still manages to be very moving. I opened this book expecting to be underwhelmed. I closed it not overwhelmed, but, whelmed, I guess. It was better than I thought it would be. And if I had to choose between Larry Life, [chairman and artistic director of the university's theater department who is a Roman Catholic] who called it 'Christ-affirming,' and its critics, who called it . . . well, 'porno-sacrilege' is my favorite phrase from the letters to the editor column, I stand with Larry. Who knew?"
Sources/resources:
Associated Press
"Group threatens to sue over Indiana colleges plans to stage
gay-Christ play"
THE FREEDOM FORUM --
http://www.freedomforum.org/templates/document.asp?documentID=14082-
June 6, 2001
Nancy Nall
"Playwright's prologue: protests, lawsuit . . ."
FORT WAYNE NEWS SENTINEL --
http://home.fortwayne.com/ns/features/life/nall.htm
June 8, 2001
"CORPUS CHRISTI First Preview Opens at MTC Despite Protest"
Arts Wire CURRENT --
http://www.artswire.org/current/1998/cur092998.html
September 29, 1998
The work is considered "offensive" by some members of the Catholic community who asked that it be removed from the exhibition.
OUR LADY, a digital photograph depicting the Virgin of Guadalupe, features two of the artist's friends: performance artist Raquel Salinas as a contemporary Virgen dressed in roses and cultural activist Raquel Gutierrez as a nude butterfly angel, Alma Lopez explains on her website at http://www.almalopez.net
"Even if I look really hard at 'Our Lady' and the works of many Chicana artists, I don't see what is so offensive," she writes. "I see beautiful bodies that are gifts from our creator. Maybe because my mother breast-fed me as a baby, I see breasts as nurturing. Maybe because I love women, I see beauty and strength. I also see the true representation of Mary. Mary was an awesome woman and mother with a difficult task. She had a child that was not her husband's, she kept her son safe from a murderous king, she suffered her son's struggles and death, and most of all she raised her son to have love and compassion for everyone, including female prostitutes. I think Mary was a lot like some of our mothers."
In its response, the Committee acknowledged "the depth of feeling and emotion behind recent objections, coupled with the fact that members of these communities believe the exhibition or images within the exhibition are disrespectful." The Committee recognized the right of members of the community to disagree with the Museum of International Folk Art's presentation, but it noted, among other points that "The Museum of International Folk Art selected the works in the Cyber Arte exhibition in the spirit of free exchange of ideas and mutual respect for various points of view. Under their agreement with the Museum of International Folk Art, the artists selected for inclusion in the exhibition have rights under the First Amendment to have their works displayed free of censorship or other interference."
The Committee concluded: "Based on its findings and overall analysis, the Committee on Sensitive Materials recommends that all the artwork in the Cyber Arte exhibition remain on public view for the duration of the exhibition."
Sources/resources: ALMA LOPEZ HOME PAGE -- http://www.almalopez.net
The exhibition CYBER ARTE: WHERE TRADITION MEETS TECHNOLOGY features computer-inspired work by contemporary Hispana/Chicana/Latina artists, who combine elements traditionally defined as "folk" with current computer technology to "create a new aesthetic". It is at the Museum of International Folk Art through October 28 and also includes work by Elena Baca, Marion Martinez, and Teresa Archuleta Sagel.
"OUR LADY by Alma Lopez Triggers Controversy in Santa Fe"
Arts Wire CURRENT --
http://www.artswire.org/current/2001/cur041701.html
April 17, 2001
UNIVERSITY OF MISSISSIPPI CIVIL RIGHTS COMMEMORATION
INITIATIVE BEGINS NATIONAL SEARCH FOR ARTIST
The University of Mississippi's (UM) Civil
Rights Commemoration Initiative -- a group of UM students, former
students, faculty and staff -- has begun a national search for an
artist to create a permanent civil rights memorial on the
UM-Oxford campus.
"The artwork will highlight both the conflicts and achievements that characterize the state's unique heritage," said John T. Edge, initiative member and staff member of UM's Center for the Study of Southern Culture. "It will recognize the centrality of Mississippi's role in the national struggle for human rights, with particular attention to the issue of equal access to educational opportunity."
"Civil rights history and black history are such a pivotal part of Mississippi, and they should be honored on the Oxford campus because it is the state's flagship institution," said Markeeva Morgan of Coldwater, student initiative member and former vice president of UM's Black Student Union.
Although there is a Confederate soldier monument on the Ole Miss campus, there is currently no permanent civil rights monument in Mississippi.
The idea for a civil rights memorial began more than five years ago in a graduate Southern folklore class. Students decided that the campus needed a symbol that reflected positive effects of the civil rights movement and the struggle for equal access to education. The initiative was formed, then worked with UM administrators, who committed space for the project and gave fund-raising advice.
"Much of the history of the United States has been played out on The University of Mississippi campus," said Chancellor Robert Khayat. "During the latter half of the 20th century, the civil rights movement was at the center of the national discussion of important social, political, cultural and economic issues. The unique history of Ole Miss, with respect to the civil rights initiatives in higher education, makes it most appropriate for permanent recognition of those activities."
The proposed completion date for the memorial, which will be located on the plaza between the Lyceum and the John D. Williams Library, is September 2002 -- to coincide with the 40th anniversary of integration on the UM-Oxford campus.
The deadline for art submissions is August 10, 2001. A five-member panel of visual arts professionals, knowledgeable in contemporary and public art, will select five finalists, who will travel to Oxford to present models of their work. A winner is to be announced in December. Upon its completion, the artwork is to be donated to the university by the initiative.
During the submissions process, initiative members plan to launch a new fund-raising effort involving UM students, faculty and staff. So far, the group has raised $125,000, including a recent $75,000 grant from the Mississippi Department of Archives and History's African-American Heritage Grant program. The proposed budget for the project is $150,000.
Sources/resources:
For further information, contact Vanessa Bliss at 662-915-5993,
email memorial@olemiss.edu
The CIVIL RIGHTS MEMORIAL WEB SITE will be available soon at
http://www.olemiss.edu/depts/south/memorial
Details of the competition are also available on the Arts Wire CURRENT "Calls" page at http://www.artswire.org/current/calls.html
Information about JAMES MEREDITH, the first African American to attend the university of Mississippi is available on THE MISSISSIPPI WRITERS PAGE -- http://www.olemiss.edu/depts/english/ms-writers/dir/meredith_james/
The International Society for Education through Art (InSEA) will hold its 31st World Congress in New York City, August 19 - August 24, 2002.
The main theme of the Congress, INTERNATIONAL CONVERSATIONS THROUGH ART, acknowledges the mission of InSEA: to represent art educators throughout the world. Giving voice to nations' visions of art education as a way to help explore cultural identity, these conversations will explore a variety of themes in art education which highlight regional characteristics and offer the opportunity for dialogue across boundaries. A exhibition program will focus on ARTS IN NEW YORK CITY SCHOOLS: NEW INITIATIVES and ART TEACHES.
Proposals for papers and workshops to be presented at the 31st InSEA World Congress are invited from InSEA members. The deadline is August 31, 2001.
For complete details, (including InSea membership information) visit the Teachers College Columbia University InSEA CONGRESS WEBSITE at http://www.tc.edu/insea
FEMINIST LITERACIES: RESISTING DISCIPLINES
Millikin University and the THIRD BIENNIAL INTERNATIONAL FEMINISM(S) AND RHETORIC(S) CONFERENCE -- to be held in Decatur, Illinois, October 18-20, 2001 -- are calling for papers on the conference theme: FEMINIST LITERACIES: RESISTING DISCIPLINES.
The conference will emphasize the ways that feminist literacies challenge the traditional boundaries within and across disciplines. They invite proposals that explore the ways that feminist approaches challenge traditional notions of academia, knowledge, discourse, methods of application, perspectives and relationships across the disciplines.
Currently the list of featured speakers includes Susan Jarratt; Krista Ratcliffe; Lisa Ede; Cheryl Glenn; as well as photographer Judy Natal; anthropologist Susan Applegate Krouse; political scientist Michelle Deardorff; performer Denise Myers; and, from the field of adult literacy, Beatrice Quarslie Smith. Persons from all disciplines are encouraged to participate. Proposals are due by July 15, 2001. Send three copies of a 250-word abstract, including name, address, phone, and e-mail to:
Dr. Nancy C. DeJoy, Chair
Bonnie J. Gunzenhauser, Assistant Chair
Feminism(s) and Rhetoric(s) Conference
Department of English
Millikin University
1184 W. Main St.
Decatur, IL 62522
For more information, contact:
Conference Chair Nancy C. DeJoy at
ndejoy@mail.millikin.edu
or
Conference Coordinator Chris Hornbacker at
chornbacker@mail.millikin.edu
web site: http://academic.mu.edu/cwshrc/conferences.htm
ART AT THE EDGE OF THE LAW
"The conception of this exhibition grew out of a perception that artists in the recent past, instead of simply striking out at convention, have developed strategies that are much more sophisticated and insidious towards the law than that of their predecessors. Echoing the techniques that government, business, and the media use for promoting their agendas, these artists are acutely aware of manipulating the law as subject as opposed to simply challenging it for shock value. They instigate, in effect, a cat-and-mouse game, with the law acknowledging the perceived threat that such works make, but often choosing not to prosecute because of the ambiguity of the law (and the fact that a jury can usually tell the difference between art and real crime). Alternatively, prosecution is pursued in a spirit closer to art than jurisprudence. A case in point is the work of Michael Hernandez de Luna and Michael Thompson who together represent a kind of renegade Citizen's Stamp Advisory Committee (the group of prominent citizens appointed by the Postal Service to select the subjects depicted on stamps). Instead of prosecution by the Chicago Postal Inspection Department, Hernandez de Luna's alternative stamps-as-art are now simply delivered 'postage due.'" -- Richard Klein, "Breaking and Entering"
Organized by the Aldrich Museum of Contemporary Art's Assistant Director, Richard Klein, and the Museum's Associate Curator, Jessica Hough, ART AT THE EDGE OF THE LAW, explores a terrain of art that probes, or in some cases actually transgresses, the law. "The artists proposed for this project have been drawn to the edge of the law by its inherent paradoxes, coupled with art's role as a tool for cultural interrogation," the Museum states. "Each work in this exhibition incorporates complex legal content that raises issues about not only our system of values, but also art's function in helping to define a truly free society."
The exhibition includes work by artists such as Janice Kerbel who for almost two years planned to rob a London bank but instead of committing armed robbery produced an exhibition of the plan which she subsequently published it in book form; and Stephen Tourlentes, many of whose photographs documenting all of the prisons in the U.S. where the death sects on public health? ....The entire creation of the Southern moonshine and bootlegger culture was a reaction to government control and taxation on the production of distilled spirits. Can Hatfield sell his 'product' as art - not as a controlled substance - thereby escaping government regulation and the patchwork of laws that dictate when and where alcohol can be sold? Would a gallery dealing in the artist's whisky have to acquire a liquor license to sell it?...."
Also included in the exhibition are Janine Antoni, Barton Lidice Benes, J.S.G. Boggs, Bureau of Inverse Technology, Tom Friedman, Gregory Green, The Institute for Applied Autonomy, Mark Lombardi, Bradley McCallum, Howard Meyer, Negativland, Michael Oatman, Dennis Oppenheim, Richard Prince, Tom Sachs, Jacqueline Tarry, Fred Tomaselli, and ubermorgen.
CLOSING ARGUMENTS, a public event in the form of a mock trial -- featuring attorney and poet Lawrence Russ -- will be presented in conjunction with the exhibition. The audience will hear closing arguments in favor of and against the legality of works presented in the project. Closing Arguments will take place at The Aldrich Museum on Sunday, June 24, 2001. Reservations are recommended.
The Aldrich Museum can be contacted at 203-438-4519 Web site: http://www.aldrichart.org
DR. ART ON MUSEUM CURATING: AN INTERVIEW WITH MARYSOL NIEVES, SENIOR CURATOR, THE BRONX MUSEUM OF THE ARTS
The Visual Artist Information Hotline and FYI, NYFA's quarterly journal of practical information for artists and arts professionals, teamed up at the beginning of 1999 to begin a new column for visual artists called ASK DR. ART. The column addresses the commonly asked questions and issues raised by visual artists who have called the Hotline.
In the current article, published in the Spring 2001 issue of FYI, Matthew Deleget, Visual Artist Information Hotline, interviews Marysol Nieves, Senior Curator, The Bronx Museum of the Arts. In this informative interview, a series of questions and answers provide information about the curatorial process -- from becoming a curator, to collaborating with other curators, to the role of funding in the process, to details of the selection process.
For instance, in response to Matthew Deleget's question: "What mistakes do artists make when contacting you? What should artists avoid doing?" Marysol Nieves responds:
"Oftentimes the biggest mistake artists make is not doing their homework. Not really knowing much about the exhibition program or making assumptions about the exhibitions because of something they have heard or perhaps based on one exhibition they may have seen. This is why I really think it's important to get to know an institution over a period of time. Come to openings, attend public programs and events, and talk to other artists who have exhibited at the museum."
The interview also addresses what an artist should expect after submitting a portfolio, the acceptance/rejection process, the museum's continuing relationship with exhibited artists, and much more.
The complete article as well as other articles from the series -- such as "Paying to Exhibit Your Work"; "Dealing with Rejection" and "Contracts with Galleries and Collectors" is available in PDF form at http://www.nyfa.org/vaih/vaih_dr_art.htm
Ask Dr. Art is also available in the FYI archives linked at http://www.nyfa.org/fyi
Operating throughout the United States, including Puerto Rico, the Virgin Islands, the Mariana Islands and American Samoa, the Visual Artist Information Hotline is a free information service for individual artists working in all visual arts media (painting, sculpture, photography, film, video, drawing, printmaking, crafts, etc). The Hotline empowers visual artists by providing them with complete information about resources to facilitate their work. For more information, visit http://www.nyfa.org/vaih
Bill Ivey, Chairman of the National Endowment for the Arts (NEA) has announced that $1,735,000 will be awarded in 196 grants through the Challenge America program. Organizations in all 50 states, the Virgin Islands and the District of Columbia will receive grants for projects featuring artist residencies in schools and civic or community organizations that offer young people safe environments in which to explore their expressive capacities.
The announcement of the Positive Alternatives for Youth grants marks the launch of the first "fast-track" or quick turnaround grants under Challenge America. Congress appropriated $7 million in Fiscal Year 2001 for Challenge America, a program that uses the unique power of the arts to strengthen America's communities, large and small -- demonstrating the vital role the arts play in preserving the nation's cultural heritage and celebrating community spirit.
"Research has shown that engaging young people in art and artmaking encourages positive behaviors such as cooperation and trust. We are very pleased that through Challenge America, the Endowment will assist youth in developing their creativity in ways that enhance their lives and strengthen their communities," Ivey said.
Funded projects serve young people primarily in grades six through 12. The young participants live in communities ranging from rural, isolated towns that lack job opportunities, art and social service resources to low-income urban neighborhoods where crime and violence are everyday threats. In some cases, the young people are coping with physical or emotional challenges; have been involved with the juvenile justice system; are coping with limited English language proficiency; or have struggled with academic demands or social situations.
Partnerships are a key element of Challenge America: Positive Alternatives for Youth projects. Community organizations including school districts and healthcare, youth service and social service providers are partnering with arts organizations working in a variety of disciplines such as media, music, literature, folk and traditional arts, dance, opera and theater.
Among the many projects supported are:
CENTER FOR THE ARTS AT ITHACA, (Ithaca, NY) $10,000 to support a partnership between the Hangar Theatre and the Austin MacCormick Secure Center, a long-term juvenile detention facility. The project will include artist-led activities by staff of the Hangar Theatre for a six-month artistic residency workshop. Through exposure to writing and theater arts, residents will have the opportunity to perform an original work demonstrating their creative expression and mutual collaboration.
MOVING COMPANY DANCE CENTER, (Keene, NH) $10,000 to support a partnership project with Keene Institute of Music and Related Arts; ACTING OUT (a drama center of the Monadnock Family Services) Savings Bank of Walpole; Monadnock Developmental Services; and the City of Keene Youth Services Division, for CREATIVE ARTS AT KEENE, a summer arts program of intensive multidisciplinary workshops for youth ages 9-15 living in rural southwestern New Hampshire. During a five-week summer program, a team of professional artists will provide classes in creative writing, music, dance, drama and visual arts.
THE NAVAJO ARTS AND HUMANITIES COUNCIL, (Lukachukai, AZ) $10,000 to support a partnership with the Tsaile Public School and the Dine College Music Club to bring professional Navajo authors and singer-songwriters together with Native youth from the rural Tsaile area on the Navajo Nation. Due to its isolation from any metropolitan area, children from Tsaile have little access to the performing arts and experience high levels of poverty and unemployment.
BLUE MOUNTAIN ART ALLIANCE, (Walla Walla, WA) $5,000 to support a partnership with the Walla Walla Community, the City of Walla Walla, the Walla Walla Community Center for Youth, and the Walla Walla Community Network to support arts education programming at the Community Center for Youth, providing after-school and weekend activities for students in this rural community in southeast Washington. Participants will have an opportunity to improve their art skills with artists selected by Blue Mountain Arts Alliance while having positive interactions with their peers.
For complete information, visit: http://www.arts.gov/endownews/news01/ChallengePR1.html
Note that the Challenge America deadlines have passed for this year. Visit the NEA WEBSITE at http://www.arts.gov for continually updated information about application guidelines, deadlines, how to apply, etc.
EXPERIMENTAL TELEVISION CENTER'S MEDIA ARTS TECHNICAL ASSISTANCE FUND
The next deadline for the Experimental Television Center's Media Arts Technical Assistance Fund is July 1, 2001. The program is designed to help non-profit media arts programs in New York State stabilize, strengthen or restructure their media arts organizational capacity, services and activities. The Fund provides up to $2,000 per project. For applications and information visit the web at http://www.experimentaltvcenter.org or telephone 607 687-4341.
During the month of March, (next period March 1 - 31, 2002) the Jentel Artist Residency Program, located 20 miles from Sheridan, Wyoming, offers a place to peacefully work and achieve personal artistic goals.
"The Jentel Artist Residency Program lies in the Lower Piney Creek Valley with spectacular views over scoria topped hills to the majestic Big Horn Mountains. The fertile valley grows abundant hay for cattle. Few houses or signs of human existence dot the two mile stretch of Piney Creek that flows through the property. Catch and release fishing is monitored closely to preserve the abundance of trout for future generations to enjoy. Many reservoirs provide oases for cattle, wildlife, and humans...." the program states.
Communal spaces are designated for research, recreation, food preparation, and dining. Each artist and writer is offered a private comfortably furnished accommodation and a light airy work space. Each resident receives a stipend to defray living expenses during the program. Residents may choose privacy during their stay or enjoy interaction with peers and the community.
Any artist or writer (not currently a student) over 25 residing in the United States is eligible. U.S. citizenship is not a requirement.
The application deadline is September 1 each year for a month long residency the following March. For application materials, send a request and a self addressed label and 55 postage (or adequate foreign postage voucher to cover 2 ounces) to: Admissions Committee, Jentel Artist Residency Program, 11 Lower Piney Creek Road, Banner, WY 82832
For more information, visit http://www.jentelarts.org/html/aboutmain.html
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
Deadline: June 15, 2001, short videos, PALM BEACH INSTITUTE OF CONTEMPORARY ART
Deadline: June 20, 2001, works of media created by artists of Asian descendent or works with strong Asian influence, ANNUAL EXHIBITION, ASIAN AMERICAN ARTS CENTRE
Deadline: July 11, 2001, nine new public art commissions and one early integration/design team project, COLORADO COUNCIL ON THE ARTS
Deadline: July 15, 2001, US media artists working with analog and digital imaging, THE EXPERIMENTAL TELEVISION CENTER'S RESIDENCY PROGRAM
Deadline: July 15, 2001, installations examining the contemporary garment industry in historical perspective, storefront windows - THE LOWER EAST SIDE TENEMENT MUSEUM
Deadline: July 31, 2001, chamber music involving electronics (tape, live-electronics or interactive technologies) and various instruments, ICHAMBER, ARIZONA STATE UNIVERSITY'S INSTITUTE FOR STUDIES IN THE ARTS
Deadline: August 10, 2001, public artwork commemorating the Civil Rights Movement, UNIVERSITY OF MISSISSIPPI'S CIVIL RIGHTS COMMEMORATION
Deadline: Ongoing, work in all media, COUNTING COUP ARTISTS REFLECT ON THE ELECTION AND BUSH AGENDA, COLAB TRAVELING EXHIBITION
June 10, 2001 Among current listings are: INSTRUCTIONAL TECHNICIAN, Tech-Art and Technology; ARCHIVES PROJECT ASSISTANT, Ryerson and Burnham Libraries; ASSISTANT DIRECTOR, Communications Department: Museum Education; ASSISTANT TO THE EXECUTIVE DIRECTOR, Publications; NETWORK ADMINISTRATOR (Internet) and READER SERVICES LIBRARIAN, Flaxman Library.
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; DEVELOPMENT DIRECTOR, Dairy Center for the Arts, (Boulder, CO)
EXECUTIVE DIRECTOR, The Northwest Indiana Symphony Orchestra,
COMPANY MANAGER, Ballet Memphis, (Cordova, TN)
ARTISTIC DIRECTOR/PRINCIPAL INSTRUCTOR, Central West Ballet, (Modesto, CA)
GALLERY MANAGER; EDUCATION COORDINATOR; MANAGER OF ANNUAL GIVING, The Institute of Contemporary Art, (Boston, MA)
EDITOR OF THE NEWSLETTER/ PRESS OFFICER, French Embassy Cultural Services, (New York City, NY)
ASSOCIATE EDITOR, PUBLICATIONS, American Symphony Orchestra League, (New York City, NY)
TECHNICAL DIRECTOR, Highways Performance Space, (Santa Monica, CA)
COMMUNITY EDUCATION COORDINATOR, TRUCE, (New York City, NY)
PUBLIC INFORMATION OFFICER, (part time), The Virginia Commission for the Arts,(Richmond, VA)
ASSISTANT OPERATIONS MANAGER, Yale School of Drama/Yale Repertory Theatre, (New Haven, CT)
ASSISTANT STAGE MANAGER, Colorado Ballet, (Denver, Co)
TECHNICAL ASSISTANT, Technical Production Department, San Francisco Opera, (San Francisco, CA)
GLASSBLOWER, Henry Ford Museum & Greenfield Village, (Dearborn, MI)
RESIDENT MUSICIANS (2), Community MusicWorks, (Providence, RI)
PRE-SCHOOL DANCE TEACHERS, PIANO TEACHERS, VOICE TEACHERS, GUITAR AND VIOLIN TEACHERS, (academy) (North Wales, PA)
DANCE TEACHERS, (part time), Pennsylvania Performing Arts Academy, (Philadelphia, PA)
MUSEUM STORE MANAGER, Whitney Museum of American Art, (New York City, NY)
PROJECT MANAGER, AMS Planning & Research Corp, (Southport, CT)
CONTROLLER, McCarter Theatre, (Princeton, NJ)
CONTROLLER, TITAS, (Dallas, TX)
PRODUCTION COORDINATOR, Production Department, Brooklyn Academy of Music, (Brooklyn, NY)
FISCAL COORDINATOR, Brooklyn Academy of Music, (Brooklyn, NY)
VICE PRESIDENT OF DEVELOPMENT, The Detroit Institute of Arts, (Detroit, MI)
DEVELOPMENT ASSOCIATE, Vineyard Theatre, (New York city, NY)
DEVELOPMENT ASSOCIATE, ArtsConnection, (New York City, NY)
DEVELOPMENT ASSISTANT, The Bard Graduate Center for Studies in the Decorative Arts, Design, and Culture, (New York City, NY)
ASSOCIATE DIRECTOR OF MARKETING, American Symphony Orchestra, (New York City, NY)
EDUCATION OUTREACH, (ASSISTANT) The 92nd Street Y ,(New York City, NY)
MARKETING ASSISTANT, Symphony Space, (New York, NY)
ASSISTANT TO THE PRESIDENT, The Alliance for the Arts, (New York City, NY)
PROGRAM ASSISTANT, Palo Alto Art Center Children's Art Programs, (Palo Alto, CA)
ARCHIVIST, (New York City, NY)
RECEPTIONIST/GALLERY ASSISTANT, (gallery) (New York City, NY)
CITY CENTER CITYTIX ASSISTANT MANAGER, City Center, (New York City, NY)
ACCOUNTING ASSOCIATE, Lower Manhattan Cultural Council, (New York City, NY)
OFFICE ASSISTANT, Parnassus Productions, (New York City, NY)
PUBLIC RELATIONS/PUBLICATIONS INTERNSHIP, New York Philharmonic, (New York City, NY)
INTERNS, American Friends of the British Museum,(New York City, NY)
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
ARTERY: ROBERT GIARD PHOTO GALLERY
"Robert Giard has been photographing gay writers for more than 15 years. Many of them have died of AIDS-related causes," ARTERY, THE AIDS ARTS FORUM -- http://www.artistswithaids.org -- notes to introduce a gallery of Giard's photos in the Spring Literary Special.
The gallery's simple but elegant web setting retains the impact of Giard's black and white photographs.
The interface is a right hand frame of smaller images, In the center frame, the enlarged image selected by the viewer is presented. Portraits include Steve Abbott; (WRECKED HEARTS) Allen Barnett; (THE BODY AND ITS DANGERS AND OTHER STORIES) Michael Grumley; (LIFE DRAWING) Robert Ferro; (THE FAMILY OF MAX DESIR, SECOND SON) John Fox; (THE BOYS ON THE ROCK) George Whitmore; (THE CONFESSIONS OF DANNY SLOCUM, NEBRASKA) Assotto Saint; (POEMS BY ASSOTTO SAINT, SPELLS OF A VOODOO DOLL: THE POEMS, FICTION, ESSAYS AND PLAYS OF ASSOTTO SAINT) among others.
Sources/resources
"Robert Giard Photo Gallery"
ARTERY --
http://www.artistswithaids.org/artery/centerpieces/giard_index.html-
Artery, The AIDS - Arts Forum is an Initiative of the Estate
Project for Artists with AIDS
The Spring Literary Special also features excerpts from
LOSS WITHIN LOSS, the Estate Project/University of Wisconsin's
anthology of 21 writers on artists lost to AIDS, including the
introduction, "The American Sublime: Living and Dying As an
Artist" by Edmund White.
"G.L. Mitchell talks with photographer Robert Giard about his new
book, Particular Voices: Portraits of Gay and Lesbian Writers"
QUEER ARTS RESOURCE --
http://www.queer-arts.org/index.html
In response to a question about what led him to
launch the Particular Voices" project, Giard told G.L. Mitchell:
"In June of 1985 I was in New York City for the Lesbian and Gay
Pride March. After the march the people I was with suggested we go
to the Public Theater and get tickets for The Normal Heart by
Larry Kramer, a play about gay men and AIDS. We saw it that
evening. The combination of marching that day and seeing this
strong piece of theater stirred something in me
and eventually led to my wanting to do something with my
photography that was more directly related to my being gay."
On May 28, 2001, a three judge panel in France issued a preliminary ruling dismissing all the lawsuits against the Leonardo art organization filed by Transasia and Leonardo Finance.
"Since Leonardo Finance and Transasia groups and the Leonardo arts organisation have totally distinct and non competing activities and services- there is no trademark infringement even though both parties use a common communication medium- the internet," The judges stated. "In addition none of the services or products offered via each parties web sites are similar or competing, and hence there is no trademark infringement."
No costs were awarded. Both parties have a month to respond.
"This is a major result for us and, unless the party suing us chooses to appeal, promises to bring to an end a two year nightmare that has cost the organization a huge amount of effort and finances. We take this opportunity to thank all those in the community who helped mobilize energy and resources to allow us to fight this absurd lawsuit," said Leonardo Executive Editor, Roger Malina.
Since 1967, the Leonardo Association has worked to forge an international community of artists, scientists and students. Among other activities, with the International Society for the Arts, Sciences and Technology, (ISAST) it publishes LEONARDO, the Journal of the International Society for Arts, Sciences and Technology.
Transasia Corporation and Leonardo Finance -- a group of research and development financial consultants which had only recently registered the names Leonardo, Leonardo Finance, Leonardo Partners, Leonardo Invest and Leonardo Experts in France -- had sued Leonardo for a million dollars in damages and interest on the grounds of trademark infringement. Transasia argued that a search engine request using the keyword "Leonardo" brought up not only the Transasia's sites but also the Web sites affiliated with the Leonardo arts organization.
"Forbidding someone to use a particular keyword means facilitating access to some sites and obstructing access to others. This is inequitable and contrary to the spirit of democracy that characterizes the Net," The Leonardo Association noted.
Sources/resources:
LEONARDO WEB SITE -- http://mitpress.mit.edu/e-journals/Leonardo/
"Transasia Steps Up Attack on Leonardo"
Arts Wire CURRENT --
http://www.artswire.org/current/2000/cur022200.html
February 22, 2000
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