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,
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Contact Judy Malloy, editor.
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"From music and dance to painting and sculpting, the arts allow us to explore new worlds and to view life from another perspective. They also encourage individuals to sharpen their skills and abilities and to nurture their imagination and intellect. As a Nation, we must continue to recognize the importance of the arts in building strong and vibrant communities."
Commending the arts administrators and other arts supporters at pARTicipate 2001 "for encouraging the performance and exhibition of the best of America's creative spirit," Bush also said:
"I particularly applaud your involvement in quality projects that introduce children to the arts. Your efforts challenge them to develop their unique talents in preparation for tomorrow's opportunities and contribute to the continued advancement of our cultural heritage and traditions."
Over 1,500 leaders of the nation's federal, state and local arts agencies came together at pARTicipate 2001 to discuss strategies for advancing the impact of the arts on livable communities. The conference is documented with text reports; RealAudio keynote speeches; a photo gallery; and interactive forums on a PARTICIPATE LIVE! web site at http://www.participate2001.org/
Sources/resources:
NATIONAL ENDOWMENT FOR THE ARTS -- http://www.arts.gov
PARTICIPATE LIVE! -- http://www.participate2001.org/
AMERICANS FOR THE ARTS -- http://www.artsusa.org
NATIONAL ASSEMBLY OF STATE ARTS AGENCIES -- http://www.nasaa-arts.org
In the July 17, 2001 issue, Arts Wire CURRENT issued a general call for grass roots suggestions from the arts community. Some artists and arts administrators from across the nation were also contacted by email.
"The NEA -- and all Americans -- need a chair who could provide out of the box thinking, rather than someone to tinker with the workings of an already devastated and underfunded agency," observed Robert Atkins, editor of ARTERY The AIDS-Arts Forum.
"What I really wish is that Bill Ivey was staying, from his speeches and the agency's support of initiatives related to artists with disabilities and older Americans. I am sorry about his departure," commented Olivia Raynor, Director, of the National Arts & Disabilities Center at the University of California in Los Angeles.
Noting that Ivey, with his background of being involved with several facets of the arts, serves as a great model for the next NEA chair, Bob Morrison, CEO of the VH1 Save The Music Foundation, suggested that the next NEA chair should have a diverse background in the arts, with some business experience as well.
"Someone with arts community /field experience; somebody with advocacy expertise and who knows their way around Washington; someone who knows the foundation/corporate communities; someone who can build on Bill Ivey's success in quieting attacks on the NEA; someone with vision and practical experience in building a true national grassroots arts community that can be marshalled to act in increasing funding to a meaningful level," California Arts Council Director Barry Hessenius recommended.
He or she should be open to aesthetic innovation -- with "a flexible and fair attitude toward all aspects of contemporary art," including art which integrates technology and/or science, said multimedia artist Sonya Rapoport.
Martha Wilson, artist and Founding Director of Franklin Furnace Archive in New York City, thinks an artist should be strongly considered for the next NEA chair.
In addition to the small business skills and community skills most artists develop, she pointed out that artists "understand that the controversy that sometimes accompanies the risk-taking involved in artmaking is not an embarrassment to our nation, but the proud result of life in a diverse, democratic society."
But artist Roz Grosky thinks a non-artist should head the NEA, and she emphasized that the agency should be run in a business like fashion. She also believes that there should be reforms in the grants awarding process -- noting for instance that the "number of repeat recipients of grants is both unhealthy and unfair for the art community as a whole."
"The problem with appointing someone from industry to be Chair of the NEA, is that it is unlikely they could be current with the most current trajectories of art thinking, especially about form and function in art," responded environmental artist Aviva Rahmani.
"Bill Cosby. He's smart, savvy, well connected and it's time for an African-American," suggested Atlanta resident E.L. Woodward.
All the responses which contained a specific nomination are listed below in alphabetical order. They do not purport to be from a cross section of the arts community but rather are grass roots suggestions from those who took the time to respond.
"I would like to see an artist considered as the next Chair of the NEA. Artists must be creators, publicists, real estate attorneys, contractors, parents, community activists -- plus usually hold down another job that pays for their time to create. Some, like Chuck Close, additionally must learn all about the health insurance system and have an acute awareness of the occupational hazards of being an artist. In fact, I would propose Chuck Close as the next Chair of the NEA. Artists do not get the respect they deserve for being this country's most important product. Artists understand that the controversy that sometimes accompanies the risk-taking involved in artmaking is not an embarrassment to our nation, but the proud result of life in a diverse, democratic society." - from: MARTHA WILSON, artist and Founding Director of Franklin Furnace Archive, Inc., a museum of temporal art which "went virtual" on its 20th anniversary, and now presents live art on the Internet.
"He's smart, savvy, well connected and it's time for an African-American. I live in Atlanta, GA where Mr. Cosby and his wife have contributed significantly to African-American Educational Institutions." -- from: E.L. WOODWARD
I would support Bill Cosby for this nomination. He has a doctorate in education and is a statesman-like figure in the arts. Don't let anybody get away with saying that entertainers aren't artists, btw. Sustained creativity over decades such as his couldn't help but be a significant contribution. from: RICHARD BEAR is the editor of CULTUREWORK, a periodical advisory from the Institute for Community Arts Studies at the University of Oregon.
"I would nominate Happy Fernandez, the President of Moore College of Art and Design in Philadelphia, for chair of the NEA.
She took over as President three years ago and, in a short time, has made some big changes under very difficult financial and political circumstances. Her background is not specifically in art she comes from an education background, (I think she has her doctorate in it from Temple University) and spent two terms as a representative on the Philadelphia City Council. She ran for the Democratic nomination for mayor three years ago, but lost. The Board of Moore recruited her to be the new President.
She is a great leader, outspoken, a good fundraiser, has learned quickly about contemporary art and, importantly, can deal with difficult politics. She is a good public speaker and garners quite a bit of broadcast time on local radio. I think she would be a great advocate for the arts." - from: VIRGINIA MAKSYMOWICZ, Sculptor and Professor, Philadelphia, PA
"I think Peter Hero would be an excellent choice.
Desired qualities in new NEA Chair: Someone with arts community / field experience; somebody with advocacy expertise and who knows their way around Washington; someone who knows the foundation/corporate communities; someone who can build on Bill Ivey's success in quieting attacks on the NEA; someone with vision and practical experience in building a true national grassroots arts community that can be marshalled to act in increasing funding to a meaningful level. (i.e., $250 million)
Other suggestions - All three candidates possess the above skills. Bob Lynch, President Americans for the Arts; Harold Williams, President Emeritus J. Paul Getty Trust; Dennis Collins, retiring President James Irvine Foundation" - from: BARRY HESSENIUS, Director, California Arts Council
"The NEA director should be a person who has maintained for a reasonable duration close ties to the arts. He or she must have a liberal, open mind to aesthetic innovation and a flexible and fair attitude toward all aspects of contemporary art, including the technological and scientific areas.
I would like to suggest Roger Malina for the position as chief of the NEA because of his executive ability and his extensive knowledge of all art activities here and abroad. Dr. Malina is Executive Editor of LEONARDO, Journal of the International Society for the Arts, Sciences and Technology. He holds positions as astronomer at the Center for Extreme Ultraviolet Astrophysics, University of California, Berkeley, and Director of the Laboratoire d'Astronomie Spatiale, Marseille, France. Dr. Malina is a prolific author on art and technological issues." - from: SONYA RAPOPORT, a multimedia artist since the mid 1970's following an established career of traditional art practice, is on the Community Advisory Board of the Berkeley Art Museum, University of California, and serves on the Governing Board of Directors of Leonardo/ISAST
The NEA--and all Americans--need a chair who could provide out of the box thinking, rather than someone to tinker with the workings of an already devastated and underfunded agency. Former Congresswoman (and current Cleveland mayoral candidate) Mary Rose Oakar is the sort of person who fits the bill A decade ago she advocated the creation of a cabinet-level Secretary of the Arts. Unfortunately she pleaded guilty to campaign finance violations in 1993, but her willingness to elevate the discussion about arts funding is precisely what's required at a moment when small and mid-size arts organizations, not to mention individual artists, seem like an endangered species." - from: ROBERT ATKINS, former art/politics columnist for the VILLAGE VOICE and currently editor of ARTERY THE AIDS-ARTS FORUM and media arts editor of THE MEDIA CHANNEL
"The arts in this country are in a crisis because they are underfunded in comparison to other western nations and there is a general aura of paranoia over censorship and political pressure. It is crucial that the new Chair be sensitive to these problems and in a position to encourage viable options. The problem with appointing someone from industry to be Chair of the NEA, is that it is unlikely they could be current with the most current trajectories of art thinking, especially about form and function in art. Secondly there is always the question of trust, in this important role of cultural leadership, when the recent history of industry and conservative thinking are aligned towards calculating profit margins and exclusionary policies. By definition, art is rarely a profiteering enterprise. To judge it on that basis (ie., how many paying audience members will it attract) is a diservice. Ecological art is a good example of where these questions might arise. To begin from an exclusionary premise with art is most likely to end in excluding the best art, as the most interesting art generally emerges from the edges of cultural perception.
In judging Ecological Art the conceptual and activist premises need to be considered as much as the artifactual trail. Often these are large, expensive and lengthy projects that take many years to realize. There has to be a tolerance for cross disciplinary materials and presentations, documentation that spans a longer period and an appreciation for the ultimate scientific and environmentally restorative value.
With those ideas in mind, from the list provided [the names detailed by the WASHINGTON POST] I would select Nancy Risque Rohrbach, departing Director of the National Museum of Women in the Arts. I suggest her because women's art has traditionally been more process driven and connected to communities and her previous function would sensitize her to an inclusive policy." - from: AVIVA RAHMANI, (New York City, NY; Maine) an artist grounded in painting, performance & environmental art who has taught, written and exhibited extensively. She has been artist-in-resident-at-large at the Wells National Estuarine Research Reserve and continues to work collaboratively with scientists both individually and in groups.
"I would strongly nominate Annie Sprinkle for NEA head. Annie is a very talented and caring individual with evident skills in satisfying many different constituencies. She has a bright and cheerful attitude and a holistic approach to all that she does. I think she would certainly get the attention of our congressmen and would be able to explain in detail the arts to our president, I'm sure he is familiar with her work from his days as the partymeister at Yale" -- from: MARK RUSSELL, Executive Director of Performance Space 122, NYC
"I would like to express my excitement about Bill Strickland's candidacy for the NEA directorship. I have heard Bill talk twice at Michigan's annual fall conferences and he is a wonderful candidate for the arts. not knowing as much about the others but Knowing what Bill has done in his community by encouraging the arts, I know he is 'one of us!'" - from: PAMELA TERBUSH, President, Michigan Art Education Association
"In my opinion , Bill Ivey serves as a great model for the next NEA chair. Bill's background in being involved with several facets of the arts (music industry, museums, folk, and a little TV) served him well as he worked to balance the artistic and political issues the agency faced. Any candidate diverse background in the arts, with some business experience as well, would be equipped to manage the NEA in this new era.... Any votes for Harold Williams? - from: BOB MORRISON, C.E.O. of the VH1 Save The Music Foundation and is a recipient of both an EMMY and Peabody Award for his advocacy efforts on behalf of music and arts education.
Sources/resources:
Jacqueline Trescott
"Arts Group Thinks Business for NEA"
WASHINGTON POST -
http://www.washingtonpost.com/wp-dyn/articles/A55533-2001Jul12.html-
July 13, 2001
AMERICAN ARTS ALLIANCE (AAA) -- http://www.americanartsalliance.org
"Handicapping the Race for Chairman of the National Endowment for
the Arts"
THE IDLER --
http://www.the-idler.com/Idler/vIIIn144.html
July 23, 2001
"NEA Chairman Bill Ivey Resigns Effective September 30"
Arts Wire CURRENT --
http://www.artswire.org/current/2001/cur050101.html
May 1, 2001
The National Endowment for the Arts (NEA) initiated its Artists in American Life colloquia last fall -- with sessions on Artists and Society and Artists and Their Careers. In May 2001, two more sessions were held: Artists Making Work and Artists Finding an Audience. Documentation of the May sessions has now been added to the NEA website at http://www.arts.gov/explore/Colloquia2/contents.html
In the documentation, NEA Chairman Bill Ivey, who chaired both sessions, explains that they have two basic purposes. They are designed to explore contemporary issues in art and art making and in art and artists in society. They also are intended to help inform the Arts Endowment,so that it can more strategically use its limited resources to help effectively help artists.
Ivey also observes that a persuasive case about the positive role of artists in society and the benefits of the NEA involvement will have to be made if the agency is to reclaim its ability to work directly with individual artists.
Information about participants and a brief summary of the issues raised is listed below. For complete information, visit http://www.arts.gov/explore/Colloquia2/contents.html
ARTISTS MAKING WORK
Participants:
As a closing question, Ivey asked: "What would you most like to do if presented with a substantial sum of money?" The responses, as documented by the NEA, were:
Christopher Wheeldon: leave the city, hire dancers, and choreograph without the pressure of having to produce and present work
Louis Massiah: leverage other funding to explore ways that local and regional stations could commission more work and develop a regular stream of regional programming
Mary Bracken Phillips: devote all her time to writing a piece of her own preference which she could take into workshop development
William E. Bolcom: work to reinvent and reinvigorate the audience by getting people out from behind televisions and computers and to live performances. He would take special steps to bring children and youth to performances and would provide ticket relief for everyone.
Ernesto Pujol: remain an independent artist. He would use the funds for materials, life insurance, etc. and not feel pressured to take a teaching position.
ARTISTS FINDING AN AUDIENCE
Panelists
The session addressed questions including distribution of literary work; the theater/arts audiences, the audience for video work; a neighborhood arts network; poet as recording artist; the relevance of the federal support system; the role of nonprofit and for profit sectors in distributing art; the impact of new technology.
In the discussion of the impact of new technologies, as documented by the NEA:
Kate Horsfield noted that with the decline in the number of screening opportunities, Video Data Bank is pursuing electronic outlets and currently is working on streaming video for the Internet. This will change the whole artist/audience relationship, she stated, as there will no longer be a gatekeeper such as PBS. The new technology will allow for greater and more immediate response than previously possible. A concern is that video artists receive appropriate compensation for work shown on the Internet.
John O'Brien said that he considers the Internet to be a treasure chest for non-profit organizations. The now available wealth of web resources help inform people and may interest them in following the work of a particular artist or artists.
Howard Shalwitz remarked that the Internet is proving to be a valuable marketing tool for the theater.
For Sekou Sundiata, the new technology provides the opportunity to produce his own work and to sell it over the Internet -- fundamentally changing the whole business structure. Not only is his ability to sell his CDs is no longer tied directly to his ability to tour and perform, but also he retains ownership and control of the master.
(Note that as in the other NEA colloquia no artists, writers, or performing artists for whom the Internet or digital technology is the medium -- as opposed to a distribution method -- were included in the discussion. - JM)
Sources/resources:
NATIONAL ENDOWMENT FOR THE ARTS WEBSITE -- http://www.arts.gov
PAINTING & POLITICS
"Desperate for peace after two major world conflicts and a forty -year cold war, some artists painted images of the struggles they saw at both the local and international level. Others observed the crises of their times such as homelessness, poverty, incarceration in a growing prison society and political justice, and used iconographic images to make statements, erase borders and establish international networks of support." -- James Prigoff, Curator, PAINTING & POLITICS
SPARC (The Social & Public Art Resource Center) continues its 25th year with Painting & Politics, an international mural exhibition which "highlights the work of political artists worldwide in their embrace of a Museum of the Streets" and is curated by author, art historian, photographer and SPARC Board Member James Prigoff.
Among the works included (with commentary from James Prigoff) are:
CHILDHOOD IS WITHOUT PREJUDICE - William Walker - 1977 -
Chicago
"On the abutment of a tunnel under the train track at 55th Street
on the Southside of Chicago, Walker painted his signature faces of
four children-- black, brown, yellow and white. These interlocking
faces speak volumes to the issues of racism and prejudice.
Children are born as warm and loving creatures, only to be molded
by the attitudes and influences of their surroundings. Most of
Walker's murals were not sponsored and actually paid for by the
artist. His many murals on the Southside of Chicago are truly art
treasures of the city."
MALCOLM X - E Z One - 1995 - 110th Street near 5th Avenue -New
York City
"E Z One was a local spray can artist who lived in the
neighborhood just north of Central Park. Many of the buildings
were boarded up creating fine canvases for local street artists.
Some of the "pieces" gained considerable respect and remained up
for extended periods of time. This artistic rendering of Malcolm X
speaks volumes in the local neighborhood for it was not too far
from here that he was assassinated while speaking at the Audubon
Ballroom in Harlem. The U.S. has an unenviable record of
leadership assassination with the untimely deaths of the Kennedys,
Martin Luther King Jr. and Malcolm X. In a way, the iconographic
image of both Malcolm X and Che Guevara along with Emiliano
Zapata, Pancho Villa and more recently Sub-Commandante Marcos
immediately conjure up a sense of struggling against an entrenched
system and supporting the rights of the people."
VIETNAM - Daniel Galvez - 1989 - Pittsfield, Massachusetts
"The U.S. alleged, 'war to stop the spread of communism' in Viet
Nam was a tragic event for all sides. With over 50,000 U.S.
deaths, the heavy bombing and military tactics left 2 million
Vietnamese dead and another 2 million wounded, plus a legacy of
Agent Orange illness. Painted in a quiet town in the Berkshires,
these images warn future generations of the terrible costs, both
human and financial, of pursuing a role of super-power
domination."
TO CAUSE TO REMEMBER - Johanna Poethig - 1992 - Welsh Street off
of 5th - San Francisco, California
"The mural is on a homeless shelter. The artist has taken the
Statue of Liberty and painted her on her side as though she was
tired and lying on the street. The torch of Liberty has been
separated and appears at the very top of the building. The Emma
Lazarus quote 'Give me your tired, your poor..' is a reminder of
the agony of the poor and the responsibility of the society to
take care of the less fortunate."
Plus work by Diego Rivera, Eva Cockroft and A. Moctezuma, Michael Rios, Earth Crew, Hector Ponce, Siddha Sila, Family Ethiopia, Gerald Kelly, Manuel Garcia, Greenwich Mural Workshop, Brian Barnes - Dale McCrea, Vic Clemente, Presco Tabios, Esteban Villa, Brett Cook/Dizney with Wade, Chris Pope, (aka Freedom) Brigada Ramona Parra, Anna & Ray Walker, Mike Jones, Rayder the guidance of Mobius Artists Group member, Margaret B. Tittemore, a band of ten Teen Docents from the Fuller Museum of Art (FMA) in Brockton have created THIS IS A TEST, a multimedia installation which conveys their thoughts and feelings regarding MCAS, the much debated state assessment test and the predominant role it now plays in their education.
The idea for the project, which was recently exhibited at the FMA, was generated in group discussions among the teens during their after-school Teen Docent program at the FMA. The program employs girls from Brockton High School as gallery interpreters and mentors for elementary school age girls. It guides the teens on how to use contemporary artworks on exhibit at the FMA as springboards for discussing social and political issues such as teen pregnancy, life-long goals, and peer pressure. After viewing an installation by Tittemore and other artists exhibiting at the FMA, the teens decided that they wanted to create their own work in reaction to MCAS and its effect on the psyche of the average high school student in Massachusetts.
In the resulting installation, both a teenage girl's bedroom and her brain are represented. In the bedroom, MCAS statistics are layered on personal items, and furniture is plastered with articles and editorials debating MCAS. The brain will be a separate component of the installation. It will have the feel of a meditation room, enclosed in mylar with a bright light that shines into it. Approximately every 4 minutes a recorded voice of one of the girls will break the silence of this space -- speaking of her hopes and fears as she approaches the test.
Visitors will have the opportunity to explore both the internal and external worlds of the average teenager and how the heavily weighted test affects her world.
Mobius notes that the issue is of particular importance to Brockton teens. According to the BOSTON GLOBE's ranking of Massachusetts school districts, Brockton ranked #201 out of 208 districts. Of the 10th grade Brockton students who took the test, 35% failed English, 70% failed Math, and 52% failed Science/Technology. By 2003, students in Massachusetts who do not pass the MCAS will not receive high school diplomas. In Brockton, that could mean 40% of its seniors -- a devastating prospect for a city already battling crime and poverty. Aware of these sobering statistics, the FMA's Teen Docents question through their art what the future holds for them and other Brockton students who potentially won't make the cut.
Margaret B. Tittemore, who has been a Mobius Artist Group member since 1992, has collaborated with artists in the Touchable Stories Group -- doing installations about the neighborhoods of Allston, Cambridge and Upham's Corner. Tittemore recently did a performance at Bridgewater State College, as part of her solo exhibit, CROSSING BORDERS. She is the Teen Docent Coordinator at the Fuller Museum of Art and a Visiting Lecturer at Bridgewater State College.
Mobius was recently granted a Boston's "Best Performance Art" award for 2001 by The Improper Bostonian: "For more than 21 years, Mobius has been the city's premiere venue for experimental art, programming a 42-week roller-coaster ride of events that range from consciousness-raising to the downright bizarre. The annual ArtRages fundraiser is one of the funkiest and most fun happenings in town, and the group's commitment to the Fort Point artists' community is one of the few things standing between it and the developers' wrecking ball. Our hats are off to them."
The exhibit and reception are free and open to the public; for
more information, visit
http://www.mobius.org
tel: 617-542-7416
Deadline: September 30, 2001 - THE NATIONAL SCULPTURE SOCIETY supports figurative and realist sculptors through its Alex J. Ettl Grant. The Ettl Grant is an unrestricted prize of $4,500 and is awarded annually to a figurative or realist sculptor who has demonstrated a commitment to sculpting and outstanding ability in his or her life's work. The National Sculpture Society's mission is to further the evolving tradition of figurative sculpture in America. For more information, contact: The National Sculpture Society, Ettl Grant, 237 Park Ave., New York, NY 10017; or visit http://www.sculpturereview.com/index-nss.html
Deadline: October 1, 2001 - THE SAM AND ADELE GOLDEN FOUNDATION FOR THE ARTS is a private foundation whose primary purpose is to fund individual artists working in paint who demonstrate exceptional creative ability. The Foundation is currently accepting applications from professional artists 21 years or older. To receive an application, phone or fax the office at 607- 847-8158 or email goldenfoundation@ascent.net
Deadline: October 1, 2001 - THE AARON SISKIND FOUNDATION offers fellowships of up to $5,000 to support ongoing work in photography and related media. Grant recipients and award amounts will be determined by a review panel on the basis of accomplishment to date and the promise of future achievement in the medium in its widest sense. There are no restrictions on the subject matter or processes of past or projected work. Students are ineligible. For more information, contact: Aaron Siskind Foundation, School for Visual Arts, MFA Photography, 214 East 21st St., New York, NY 10010; phone 212-677-8310; or visit http://www.aaronsiskind.org
Deadline: October 1, 2001 - THE RICHARD FLORSHEIM ART FUND supports American artists whose public recognition may have declined, but who continue to be productive in their art work. The fund assists American artists over the age of 60 in three ways: partial funding of exhibitions; participation in exhibition catalog; and assisting in the purchase of works by museums, universities, and other non-profits that collect and display American art. Grants range from $1,000 to $20,000. Institutions and individual artists may apply for funding. For more information, contact: Richard Florsheim Art Fund, 4202 East Fowler Ave., USF 30637, Tampa, FL 33620; or fax 813-909-9031.
The arts are a powerful catalyst in several areas of state economic and community development, according to a new report by the National Governors Association Center for Best Practices. The non-profit arts industry has a direct impact on the states -- generating $36 billion in business and supporting 1.3 million full-time jobs, the report, THE ROLE OF THE ARTS IN ECONOMIC DEVELOPMENT, found.
For instance, in Virginia, the arts generated $849 million in revenue for businesses, provided 18,850 full-and part-time jobs, and produced $307 million in value-added income for Virginia's workforce and entrepreneurs. In Louisiana total spending of $188 million by non-profit arts organizations has provided nearly 2,500 full-time jobs and produced $4.8 million in state and local government revenues. In Michigan, every dollar invested in the state's Council for Arts and Cultural Affairs results in $10 of in-state direct spending. And Oregon is home to 441 non-profit arts and cultural institutions which injected $100.2 million of direct spending in the state's economy in fiscal 2000. Oregon's non-profit arts sector employed 3,623 individuals.
Among other findings:
Source:
"Impact of the Arts on Economic Development"
NATIONAL GOVERNORS ASSOCIATION (NGA) CENTER FOR BEST PRACTICES --
http://www.nga.org/cda/files/062501artsdev.pdf
Thanks to a cooperative agreement between the National Endowment
for the Arts and the Center for Best Practices and with
significant research assistance from the National Assembly of
State Arts Agencies, this is the first of three Issue Briefs where the
NGA Center will explore and demonstrate effective policies and practices
that best integrate economic development and the arts.
The Dahl Arts Center in Rapid City, South Dakota is asking women artists to submit contemporary work that will contribute to a dialogue about women and war -- including themes of service to country, the feminine experience in war, and the effect of war on women. The exhibition will be held in conjunction with a community theatre production of Shirley Lauro's A PIECE OF MY HEART, a play about five women who served their country in Vietnam. Although the play is set in Vietnam, the exhibit will not be limited to that war.
The Juror is artist Masumi Hayashi, whose photographs and installations have been exhibited internationally and whose HISTORY AND MEMORY JAPANESE AMERICAN INTERNMENT CAMPS series brings focus to the American internment of Americans of Japanese descent during WWII. Masumi Hayashi was born in the Gila River Relocation Camp, (Arizona) grew up in Watts, California, was a naval officer's dependent during the Vietnam War era. She currently resides in Cleveland, Ohio where she is a Professor of Art at Cleveland State University. Her current work is about ancestral worship, temples and sacred sites in Asia.
For details, visit the Arts Wire Current "Calls" page at http://www.artswire.org/current/calls.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: September 21, 2001, proposals from Boston and New England artists for original, experimental work in the performing, media, and visual arts, MOBIUS, Boston, MA
Deadline: September 28, 2001, Westchester (NY) artists to participate in the design of a Cultural Tourism Center at The Arts Exchange, WESTCHESTER ARTS COUNCIL
Deadline: October 1, 2001, visual artists, POINSETT STATE PARK'S ARTIST-IN-RESIDENCE PROGRAM
Deadline: November, 1, 2001, artists to informally present developing performance work to an invited audience, MOBIUS WORKS IN PROGRESS, Boston, MA
- Sponsored by the by The John F. Kennedy Center for the Performing Arts, the National Endowment for the Arts, VSA Arts and administered by the National Arts and Disability Center at the University of California, Los Angeles
State arts agencies in partnership with the VSA affiliate in their state are invited to apply for support to convene a Statewide Forum on Careers in the Arts for People with Disabilities. The purposes of the Statewide Forums are to (1) assess the education and career needs and barriers for artists and arts administrators with disabilities; and (2) develop and implement strategies to overcome barriers and advance careers in the arts for individuals with disabilities. The specific focus and activities to be conducted will be responsive to the career-related opportunities and challenges of artists with disabilities within the individual states.
The Statewide Forums would:
State arts agencies must submit their application in partnership with the VSA affiliate in their state. For a listing of VSA affiliates see http://www.vsarts.org/affiliates/ Applications will be accepted for project periods up to 12 months on a competitive basis. Projects must be completed by 12-30-02.
This pilot program will support three Statewide Forums. Applicants may request support for up to $12,650 to organize a planning committee, convene a forum, summarize proceedings and disseminate the information to arts groups throughout their state, as well as organizations that serve people with disabilities.
Application Due Date: October 15, 2001
For Additional Information and Application, visit http://nadc.ucla.edu/StatewideForums.htm or contact Olivia Raynor, Director, National Arts and Disability Center University of California, Los Angeles 300 UCLA Medical Plaza, Suite 3310 Los Angeles, CA 90095-6967 Email oraynor@mednet.ucla.edu Voice/relay 310-794-1141
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
ASSISTANT PROFESSOR OF PAINTING AND PRINTMAKING, Lawrence University, (Appleton, WI)
MANAGER, SCHOOL & FAMILY PROGRAMS, The Museum of Television & Radio, (Los Angeles, CA)
DIRECTOR OF DANCE, (nonprofit organization) (Northern NJ)
EXHIBITIONS DIRECTOR, Richmond Art Center, (Richmond, CA)
ASSOCIATE DIRECTOR, Craft Emergency Relief Fund, (Montpelier, VT)
SENIOR CREATIVE PROJECT MANAGER, Acoustiguide, (New York City, NY)
PROGRAM OFFICER, GRANTS, (2 positions available) The New York Foundation for the Arts, (New York City, NY)
TEACHER - ACTING, WRITING, ORIGINAL PERFORMANCE, Visible Theatre, Inc., (New York, NY)
INSTRUCTORS, Spoken Word, Drama, Dance, Chorus, Marta Valle Secondary School, After School Assistance Program, (New York City, NY)
ARTIST/INSTRUCTORS/CHILDREN'S ART, Family Days, The Palo Alto Art Center, (Palo Alto, CA)
COORDINATOR EDUCATION AND COMMUNITY PARTNERSHIPS, The Philadelphia Orchestra, (Philadelphia, PA)
SOPRANO, ALTO TENOR BASS, OR BARITONE, Temple Beth Shalom, (Peabody, MA)
ARTISTIC DIRECTOR, The Lancaster Opera Company, (Lancaster, PA)
ARTIST SERVICE COORDINATOR, Bronx Council on the Arts, (Bronx, NY)
SPECIAL EVENTS COORDINATOR, New Museum of Contemporary Art, (New York City, NY)
COORDINATOR, Grant Programs for Artists and Arts Organizations, The Virginia Commission for the Arts, (Richmond, CA)
STAGE MANAGER, Kansas City Ballet, (Kansas City, MO)
AUDIO VISUAL MANAGER, Whitney Museum of American Art, (New York City, NY)
TECHNICAL DIRECTOR, TADA! Theater, (New York City, NY)
GRAPHIC DESIGNER, Richmond Art Center, (Richmond, CA)
HTML/JAVASCRIPT BUILDER/DESIGNER, andante Corporation, (New York City, NY)
COSTUMER, Bowen Park Theatre, (Waukegan, IL)
PROJECT MANAGER, Marty Pottenger, (New York City, NY)
MARKETING AND EVENTS DIRECTOR, Irish Repertory of Chicago, (Chicago, IL)
RENAISSANCE CAMPAIGN DIRECTOR, Arena Stage, (Chicago, IL)
MEMBERSHIP PROGRAMS MANAGER, The New Museum of Contemporary Art, (New York City, NY)
MEMBERSHIP PROGRAMS MANAGER, New Museum of Contemporary Art, (New York City, NY)
PROGRAM ASSOCIATE, PUBLICATIONS AND SPECIAL PROJECTS, The Metropolitan Opera Guild, (New York, NY)
MUSEUM SOFTWARE ACCOUNT EXECUTIVE, Gallery Systems, (New York City, NY)
BUSINESS MANAGER, Young Audiences of Massachusetts, (Somerville, MA)
TOURISM ASSOCIATE, (cultural organization), (Brooklyn, NY)
DEVELOPMENT DIRECTOR/CHIEF ADMINISTRATOR, White Columns, (New York City, NY)
DIRECTOR OF DEVELOPMENT, Bronx Council on the Arts, (Bronx, NY)
DIRECTOR OF DEVELOPMENT, The Chicago Humanities Festival, (Chicago, IL)
DIRECTOR OF DEVELOPMENT, School of VISUAL ARTS, (New York City, NY)
DEVELOPMENT ASSOCIATE, Atlanta Ballet, (Atlanta, GA)
DEVELOPMENT ASSOCIATE, Vineyard Theatre, (New York, NY)
ASSISTANT MANAGER, DEVELOPMENT RECORDS, Whitney Museum of American Art, (New York City, NY)
DEVELOPMENT ASSISTANT, The Los Angeles Chamber Orchestra, (Los Angeles, CA)
REGISTRAR, (Photography Gallery) (New York City)
REGISTRAR, Andrea Rosen Gallery, (New York, NY)
ASSISTANT REGISTRAR, The Center for Curatorial Studies Museum, Bard College, (Annandale-on-Hudson, NY)
EXECUTIVE ASSISTANT, Lower Manhattan Cultural Council, (New York City, NY)
EXECUTIVE ASSISTANT/OFFICE MANAGER, ArtsConnection, (New York City, NY)
ADMINISTRATIVE/PROGRAM ASSISTANT, Illinois Alliance for Arts Education, (Chicago, IL)
ASSISTANT TO THE PRESIDENT, ICM Artists, (New York City, NY)
ORCHESTRA MANAGEMENT INTERN, New York Youth Symphony, (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
Beginning in 1992 with a text interface, moving to the web in 1996, the Arts Wire Conferencing System brought artists, arts organizations and arts funders together on the same platform.
In addition to core discussion of arts issues, the conferences nurtured online activity in the arts community. Arts Wire conferences, such as AWNEWS and AWHUB, were central gathering places for arts activism, news, and discussion, and initially they also provided material which was filtered into Arts Wire CURRENT.
Other Arts Wire conferences, such as the ARTISTS conference, were gathering places for artists. Additionally, groups, such as the Native American Network Online and the Alliance of Artists Communities, hosted conferences to bring participants across the country together on a shared and economical platform.
But with the advent of the web, much of the arts community energy initially focused on Arts Wire conferencing slowly migrated to other Internet applications, such as web site building and email and/or ListServ communication. Thus, the Arts Wire conferencing system is being closed.
Before closing the conferencing system, Arts Wire staff has indexed and archived most of the approximately 138 conferences which Arts Wire hosted. (Private Conferences to which the staff did not have access have not been archived unless their owners choose to make their own archives)
Because the conference system was set up with a YOW (you own your own words) contract; because people were often speaking frankly in a sheltered environment about issues such as national arts policy; and because some of the material -- including the Interactive Art Conference, NewMusNet and SpiderSchool -- is already available on the web, the archived material from Arts Wire Conferences will not be publicly available.
However, because Arts Wire was an early online arts conferencing system of both historical and methodological interest -- an unprecedented attempt to bring diverse segments of the US arts community together on one platform at a time when national arts funding was in crises, as well as an incubator for online activity for many artists and arts organization -- some of the material may be made available to researchers.
Conference organizers will be asked for permission before any of their material is made available, and researchers will be advised that (with the exception of copyright free conferences) material can not be reprinted without the permission of the person who posted it.
For further information, contact the Arts Wire Transition team at aw@nyfa.org
Sources/resources:
Some of the Arts Wire conferences and art works, which were created on Arts Wire hosted conferences and which still have web presence are listed below:
BLACK WRITERS INSTITUTE -- http://www.blackwriters.net/
INTERACTIVE -- http://www.well.com/~couey/interactive/
THE NEWMUSNET CONFERENCE -- http://www.newmusnet.org/
SPIDERSCHOOL -- http://www.artswire.spiderschool.org
NAME IS SCIBE -- http://www.well.com/user/jmalloy/scibe/story.html
NATIONAL ARTS & DISABILITIES CENTER -- http://nadc.ucla.edu
NOTE TO FORMER ARTS WIRE MEMBERS - If you haven't contacted us to let us know where your email and/or web sites will be moved, please let us know immediately by sending email to aw@nyfa.org
All accounts including web sites about which we have not been notified, will be removed on August 17.
NEW YORK CITY, NY -- In an interview to air Tuesday, August 14 during VH1 SAVE THE MUSIC REPORT CARD, a special program examining music education in the U.S., Secretary of Education Rod Paige discusses the importance of music and arts education in our classrooms.
Secretary Paige voices his concern over the prospect of cuts to music programs by public schools commenting, "I think music and the arts should be considered core subjects in our nation's schools. There is absolutely no conflict between the expansion of our fine arts programs, our music programs and focus on other academic programs."
VH1 Save the Music observes that the Secretary's statement comes at a time when heavy emphasis on improving math and reading scores in U.S. schools and proposed mandatory testing for students has raised the concern that some public school systems may drop music programs from their curriculum.
"We welcome the Bush Administration's support for music and arts education and the important role Secretary Paige sees for these programs," said John Sykes, President, VH 1 and CMT. "Our experience with the VH1 Save The Music Foundation and scientific research has established that music education is a cornerstone for any effort to improve our schools and overall academic performance."
VH1 Save The Music Report Card will feature the complete interview with Secretary Paige and a look at how students and school systems have benefited from support provided by VH1 Save The Music, and its partners since the program's inception in 1997.
The full report will air on VH1 on Tuesday, August 14th from 7:30 to 8:00 PM, ET/PT.
VH1 Save The Music, in partnership with like-minded organizations, conducts awareness campaigns, musical instrument drives, and fundraising events in conjunction with public schools to help restore instrumental music programs. Since VH1 Save The Music was created in 1997, more than $17 million worth of musical instruments has been donated to 750 public schools in 70 cities, improving the lives of more than 250,000 children. The Foundation's ten-year plan is to bring music participation to one million children in public schools.
For more information, visit:
http://www.vh1.com/insidevh1/savethemus/index.html
An Excite search engine for Arts Wire CURRENT is located at http://www.artswire.org/current/AT-Currentquery.html The engine allows anyone interested in arts news to find information in the Current archives as far back as 1995.
To subscribe to Arts Wire's Current, send an email message to majordomo@artswire.org In the message body, type "subscribe current". (The Subject: line of your message will be ignored, and can be left blank.) To be removed from this list, send an email message to majordomo@artswire.org In the message body, type "unsubscribe current".
Major support provided by the Masters of Arts Management Program of Carnegie Mellon University.
Arts Wire® is a service mark of the New York Foundation for the Arts. Individual membership of the New York Foundation for the Arts.
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