"After years of fighting the good fight for our nation's arts and humanities, I am gratified we have secured this increase. It is a small increase, but it is a signal that most Members of Congress no longer feel public funding for the arts should be a political football," said Congresswoman Louise M. Slaughter, (D-NY) who co- chairs the bipartisan Congressional Arts Caucus with Representative Steve Horn. (R-CA)

"Three decades ago, the Endowment appeared upon the arts stage playing a small, but crucial role. Today, that role has even greater cultural implications," then National Endowment for the Arts (NEA) Chair Bill Ivey observed at a House Interior Appropriations Subcommittee hearing on FY02 cultural funding last Spring.

Ivey detailed the increased importance of NEA seed money in enabling arts organizations to leverage other private and public donations. For example, Federal dollars seeded the National Dance Project, which together with other public and private sponsors, helps dance companies tour shows to hundreds of small and medium size towns. He also emphasized the impact of NEA pilot programs, such as Creative Links: Positive Alternatives for Youth, which fosters community efforts to provide in-school and after-school residencies for artists -- such as Tucson Writers, a collaboratively hosted community program where at-risk young people write their own poems, stories, and books.

For the National Endowment for the Humanities, (NEH) since the House had approved a $3 million increase and the Senate had voted a $5 million increase, the $4 million increase was a compromise. Because the House and the Senate were in agreement on their FY2002 budget, no conferencing was necessary for the NEA and the Institute of Museum and Library Services. (IMLS)

"All three of these agencies share overarching goals for a new century," said Representative Horn, who, with Slaughter, Norm Dicks, (D-WA) and Nancy Johnson, (R-CT) introduced the House amendment to increase cultural agency funding. "They strive to involve traditionally underserved American communities in art, culture and community. These agencies have done wonders with severely reduced budgets, and if given the opportunity, they can reach many more Americans and transform many more lives for the better. America's cultural heritage is well worth the investment."

The White House has already reached a broad agreement with Congress on parameters for the spending bills, and the President is expected to sign the Interior bill, according to NHA ANNOUNCE.

Although the president's FY02 budget set arts education funding at zero, both the House and Senate education appropriations bills have approved $30 million for arts education, (a $2 million increase above FY01) according to the National Assembly of State Arts Agencies. (NASAA) In addition to funds for the Kennedy Center's arts education programs and for Very Special Arts, the arts education funds, which are administered by the U.S. Department of Education, will support the development and implementation of arts education curriculum frameworks; the development of model professional development programs for arts educators and other instructional staff; instruction in music, art, theater and dance; the development of model arts education assessments -- as well as programs to integrate arts education into the regular elementary and secondary school curriculum.

"....recent data and empirical evidence indicate that specific instruction in music, art, and dance improves the success of K-12 students," The Senate education committee acknowledged, NASAA reports.

Sources/resources:

NATIONAL ENDOWMENT FOR THE ARTS -- http://www.arts.gov

NATIONAL ENDOWMENT FOR THE HUMANITIES -- http://www.neh.gov

THE INSTITUTE OF MUSEUM AND LIBRARY SERVICES -- http://www.imls.gov

NATIONAL ASSEMBLY OF STATE ARTS AGENCIES (NASAA) -- http://www.nasaa-arts.org

NHA-ANNOUNCE -- http://www.nhalliance.org/news/

"Bipartisan Spirit Prevails at House FY02 Cultural Funding Hearing; Arts Funding Still Spread Thin, NEA, NEH Chairmen Testify"
Arts Wire CURRENT -- http://www.artswire.org/current/2001/cur041701.html
April 17, 2001

"House Gives NEA $10 Million Increase; NEH $3 Million; IMLS $2 Million"
Arts Wire CURRENT -- http://www.artswire.org/current/2001/cur062601.html
June 26, 2001

"...the arts should be considered core subjects in our nation's schools." - Secretary of Education Paige
Arts Wire CURRENT -- http://www.artswire.org/current/2001/cur081401.html
August 14, 2001

Yi Ping, who is exiled from China because of his participation in democracy activism, will spend two years in Ithaca with his family. While in Ithaca, he will write about Chinese culture, literature, and politics, and write poetry, plays, and novels -- as well as translate and teach part-time in the Cornell University Asian Studies department.

In China, Yi Ping was permanently banned from working in educational and cultural fields. "The City of Asylum is very important because writers with different opinions are persecuted in their own countries, he said. "But in a City of Asylum, he or she can find protection and be free to write. I am a Chinese writer and poet, but when I live in America, I must make a living. I had to do hard physical labor at factories and restaurants to support my family. Because of the City of Asylum's aid, I have a chance to use this two year residency to quietly think, write, and work."

"Without the help, it would be impossible for me to write," Yi Ping emphasized.

Ithaca City of Asylum (ICOA) is a not-for-profit project affiliated with the Center for Religion, Ethics, and Social Policy. Ithaca, the 27th City of Asylum, joins a worldwide network of Cities of Asylum, supporting writers "whose works are repressed, whose lives are threatened, whose cultures are vanishing, and whose languages are endangered." This network -- including Barcelona, Berlin, Caen, Frankfurt, Las Vegas, and the Tuscany Region -- is maintained by the Paris-based International Parliament of Writers.

As a City of Asylum, Ithaca strives to create a safe haven in which the writer can live peacefully. Working in close partnership with Cornell University, Ithaca College, and Hobart and William Smith Colleges, ICOA welcomes exiled writers. Each writer is invited for a two-year period. During that time, the writer is employed part-time by Cornell University, which provides a living stipend, health insurance, and visa sponsorship. ICOA provides housing, furnishings, and social support to the writer and his or her family.

"Ithaca is a small town, really small. But it holds so many poets and writers! I never expected this," Yi Ping said in an interview. (Translation assistance provided by Lin Zhou and Bridget Meeds.) "The youngest poet I have met is 12 years old, and the oldest poet I have met is 80 years old. And such a small place has a poetry bookstore, the Bookery. I never imagined I could find this. A student at Cornell told me, everyone in Ithaca is a poet!"

In addition to doing his own writing and teaching, Yi Ping will work to forge connections between the work of writers in Ithaca and China. He and his wife, Lin Zhou, will translate poetry written by poets in Ithaca and will facilitate their publication in China.

The City of Asylum is also assisting him in finding outlets to publish and read work. An article he wrote about his experience participating in the Tiennamen Square uprising has just been published in THE BOOKPRESS. (translated by poet and essayist Deborah Tall, who lives in Ithaca and teaches at Hobart and William Smith Colleges) The Bookpress is based in Ithaca.

"Jack Goldman, the publisher, has been quite supportive of the Ithaca City of Asylum Project," Project Director Bridget Meeds told Arts Wire. "I hope that the Bookpress will continue to publish Yi Ping's work throughout his time here." The project is also working to facilitate the translation into English of a number of the poet's works.

In China, Yi Ping collaborated on dissident journals, such as SEA WAVES. Sea Waves was banned by the Public Security Bureau, and its editor-in-chief, Sun Feng, was imprisoned. Yi Ping also took part in the "Xidan Democracy Wall Movement."

As a result of these activities, he was suspended from his teaching job and subjected to political examination.

In 1986, Yi Ping, along with the poets Wang Ye, Liu Changying, Fan Xinmin, and Li Wei, founded the poetry journal ENCLAVE REVIEW in Beijing. He was co-founder of the underground poetry journal SURVIVORS, and, along with poets Mang Ke, Duoduo, Yang Lian and critic Tang Xiadu, founded the Survivors Poetry Club in 1988. In April 1989, they organized the SURVIVORS POETRY FESTIVAL, and hosted Survivors Poetry Reading, which was a harbinger of the 1989 Students' Democracy Movement.

Subsequently, the publication of his literary works was forbidden.

The two only books he was able to get published in China were expurgated. The publisher, Xianzhi Lin, was subjected to political examination and investigation.

In the recently published essay on Tiennamen Square, Yi Ping wrote:

"Throughout that night, the Chinese were a very brave people indeed. I will always remember watching a student in front of the Sidan Theater, a white cloth ribbon tied around his head, carrying a red flag as he led a charge against the police. When they opened fire, I could still see that red flag waving up front. I do not know if he was eventually hit. In the rain of bullets, someone near me fell to the ground; others rushed to his rescue; more people fell . . . Bullets, flames, the rumbling of tanks . . . When the main roadblock was broken through, the crowd immediately blocked the intersection. Those in the rear roared and began to sing "The Internationale." The singing and gunfire rose up in a tragic grandeur. That night, one not only witnessed cruelty and fear but loftiness and dignity as well. On June 4th, 1989, the Chinese government's power was cruel, but in the following days it descended into barbarity. The government massacred innocent people and then labeled them "thugs" to justify the killings. Such has been the logic of murderers since ancient times. The state manipulated public opinion to support the "suppression of the riot," but in this way, it smeared blood on the entire nation...."

In January 1997, while in New York City to speak at the GLOBAL CHINESE DEMOCRACY SYMPOSIUM, Yi Ping applied for and was granted political asylum by the US Government. Since then, he has lived in San Francisco and New York.

"I hope that a place like Ithaca can exist in China's future, and that Chinese people can live someday like people in Ithaca live. I also hope that the poets in Ithaca will have a chance to visit China, and meet the poets in China," he said. "The world is surrounded by a lot of troubles, like September 11. All the world is in upheaval. Human beings are very weak from the effort of dealing with the trouble. But I hope that human beings will keep the traditions of a place like Ithaca, and a poetry like this, for the future generations."

He would like to continue teaching in this country. He and his family are interested in to settling permanently in Ithaca. "And, in two years, the Ithaca City of Asylum project will welcome a new refugee writer to Ithaca," said Project Director Bridget Meeds.

Sources/resources:

ITHACA CITY OF ASYLUM PROJECT is supported in part by contributions from the Saltonstall Foundation, the Hatch Fund, and private donors.
For more information, visit http://www.saltonstall.org/icoa
Bridget Meeds, Project Director -- Email: bm24@cornell.edu

INTERNATIONAL PARLIAMENT OF WRITERS -- http://www.autodafe.org

THE BOOKPRESS -- http://www.thebookery.com/boo_bpress.taf

Yi Ping's works include KINGDOM OF PUZZLEMENT, Hebei Huashan Publishing House, China, 1989 (Theory) THE FIELD BEHIND, Writer's Publishing House, China, 1998 (Essay selection) Unpublished works by Yi Ping include SAIL; BLUE SUNFLOWER; DAY AND NIGHT; OUTSIDE (poetry) and GUEN; VICTOR; ON A RUSSIAN TRAIN. (dramas)

Updated daily, the site features interviews with key politicians, as well as statements and platforms from key parties, including the Coalition, Labor, Australian Democrats, and the Australian Greens Party. It also interactively invites statements from the arts community. Many have responded -- including the Music Council of Australia; Disability in the Arts, Disadvantage in the Arts, Australia; The Australian Society of Authors; and Craft Australia.

Artsvoter.com is a sub-site of dramaticonline.com, a publisher and distributor of information and services to the Australian cultural industry. The site is not currently funded, and they are producing it in house from our own resources.

David Eedle, CEO of dramaticonline.com, explains that there was a consensus of opinion around the office that the Arts never really get much attention during an election -- particularly this year when the entire election has been overshadowed by the September 11 events. "It seemed sensible to collect as much information together to enable an arts person to make an informed voting decision," he told Arts Wire, and the Internet provided the perfect way to collate and present this issues-based information.

"My partner Executive Producer Fiona Boyd had an inspiration one afternoon for the domain name artsvoter.com," Eedle added.

The reaction from the arts community has been very positive, he noted. "People have been extremely complimentary about the site, and the way it gives the Arts a voice during a time when so much of the political agenda and airtime is taken up with other things."

Politicians have also reacted very favorably. "We scored an interview with the Opposition party's arts spokesperson because at the time the Federal Arts Minister was being featured on artsvoter.com," he said. "We've now done in-depth interviews with all the relevant arts ministers and spokespeople from the various parties. Plus, we sent a survey to all candidates in the most marginal electorates, asking about their attitude to the arts, and local arts issues in their area. We've had several dozen of these back."

The site includes a constantly updated arts vote tally:

"Which Party Do You Intend To Vote For?
Liberal/National Labor Democrats Greens Independent Other
You can only vote once a day."

Sources/resources:

ARTSVOTER.COM -- http://www.artsvoter.com

DRAMATIC ONLINE -- http://www.dramaticonline.com

David Eedle started life as a stagehand and lighting designer (after being kicked out of Monash University for spending too much time working backstage, and not enough time working on his degree). He went on to tour with theatre and music as a technician and production manager, before moving into the safety of various venues across the country, and then winding up as Manager of Bendigo Regional Arts Centre. In 1996 he founded The Dramatic Group, which in 2000 launched dramaticonline.com

New York Foundation for the Arts Panel Discussion:
THE ARTIST IN TIME OF CRISIS

"In the past, artists have created works that act as agents of healing, that help us comprehend the incomprehensible, and that have allowed future generations a glimpse into the hearts and minds of those who experienced events firsthand."

In light of the recent tragedies at the World Trade Center and Pentagon, the New York Foundation for the Arts has asked prominent artists to discuss how they view their role as artists in these challenging times.

Panelists include: Philip DiCorcia, photographer whose body of work Streetsmart has been widely exhibited around the world; Maria Irene Fornes, dramatist of Promenade and Signature Theatre Company's Playwright-in-Residence for the 1999-2000 season; Richard Gluckman, architect who designed Andy Warhol Museum, Pittsburgh, PA and expansion of the Whitney Museum, New York, NY; Lar Lubovitch, choreographer and founder of Lar Lubovitch Dance Company which recently celebrated its 30th anniversary at New York's City Center Theater with the world premiere of Thus Is All; Larry Rivers, painter whose exhibition, Fashion Show, was recently featured at the Marlborough Gallery in New York; and moderator, Elizabeth Streb, choreographer and founder of dance company, STREB.

"Now, more than ever, artists are vital to the human and national spirit. Artists create works that are an integral part of our healing process and of learning how to live with our differences," said Theodore S. Berger, Executive Director of NYFA. "A number of artists have already begun to create works that reflect upon, memorialize, and try to interpret the tragic events of September 11. We hope that this panel will open discussion and serve as a forum for artists to come together and understand their role in these times of crisis."

The panel will be asked to address questions such as:

• When society is in crisis, does artistic activity become more or less important?

• Are there ways artists can/should respond to radical events?

• What are some of the ways your art has been/might be affected by current events?

• Have recent events altered audience's reactions to your work?

• Has your view of your own work changed because of recent events?

or contact 212-366-6900 x322

Admission is free.

NOOKS AND CRANNIES INSTALLATIONS IN NON-GALLERY SPACES

The 21 artists in the exhibition have consistently found ways to exhibit their work in non-traditional settings -- in the nook and cranny spaces that exist throughout the Phoenix area.

In this installation, the audience must search for their installations in non-gallery spaces of the ASU Art Museum's Antoine Predock-designed Nelson Fine Arts Center.

The artists include GREGORY SALE, who encourages the viewer to sit on, play, and even enter his human-scaled, teddy bear-shaped benches, which (located in a hallway and in an elevator) make reference to pleasant childhood associations; and TARA KOZUBACK, whose video projection located in a women's bathroom, is a commentary on the presence of multiple security cameras in each gallery of the museum -- focusing on "how private actions regularly become matters of public record as one's every mundane movement in public spaces is memorialized."

Other works located in out of the way places in the ASU Art Museum environment are:

CUP
Location; South Bridge of Top Gallery
"Just as Antoine Predock designs his exceptional architecture for exploration and revelation, CUP -- the collaborative name under which Helene Renard and Terry Surjan presently work -- has created POCKET HOUSE, an interactive installation constructed from five-foot wide panels of industrial felt within the south bridge of the museum's top gallery. Creating their own environment within the environment of the museum, CUP invites willing participants to interact with their own bodies, as well as the artifacts within Pocket House and the museum/house space itself. Viewers are invited to literally envelop themselves within the work and engage its soft, pliable architecture in ways they feel appropriate."

RYAN MCNAMARA
Location: Top Level South Elevator Entry Area
"What would it be like to be a young, emerging artist from Arizona moving to New York to try to make a start of it in the Big Apple? Recently relocated Phoenix artist Ryan McNamara is about to find out and he is going to share his experiences with you. Through this ever-evolving work, McNamara's space will change weekly upon the arrival, via US Postal Service, of an object of discovery and adventure (whether one of illumination, realization, confusion or disenchantment) from his new East Coast home. Each of McNamara's chosen pieces will be accompanied by a didactic text panel written by the artist providing insight into the meaning and relevance of his latest urban archeological finds."

JILL MCVARISH
Location: American Gallery Floor
"Even though they are usually considered children's playthings, dolls have had a profound effect on their human owners. Historically, humans in almost every society have formed strange relationships with dolls, treating them almost as living creatures. Both children and adults play with them, learn to socially interact through them, at times fear them, even perform religious rituals with them. Using the doll form, Jill McVarish affords museum goers a chance to let their imaginations run wild in the traditional setting of the American Gallery. Using the same child as a model, McVarish has created small doll-like figures with different facial expressions. Look inside their heads, however, and various mini-dioramas, like frozen dreams, fill the empty spaces where human brains might be, giving the illusion that McVarish's young boy dolls have the capability of breathing and thinking for themselves."

For more information, visit http://asuartmuseum.asu.edu

TO THE TRADE AT DIVERSE WORKS IN HOUSTON LOOKS AT THE RELATIONSHIP BETWEEN ART AND BUSINESS

Examining a relationship of contemporary art with reality, specifically the reality of art business, TO THE TRADE is a functioning trade show for the art industry.

In this gallery-turned-exposition hall, artists will be available to the public for demonstrations, presentations, panel discussions and workshops all open to the public.

Curated by Bernard Brunon (Texas) and Jade Dellinger, (Florida) the exhibition doubles as an actual trade fair oriented towards providing services where viewers are able to commission the services offered and as a real-time, real-world situation where object and product yield to service and where art and business merge.

DiverseWorks is a non-profit art center dedicated to presenting new visual, performing, and literary art, "a place where the process of creating art is valued and where artists can test new ideas in the public arena."

For more information, visit http://www.diverseworks.org/home.html

January 31, 2002 - THE MARIE WALSH SHARPE ART FOUNDATION offers free studio space in New York City. The studios are non-living spaces for the making of new works of art. There is no stipend or equipment provided. Studios are available beginning September 1, 2002 for periods of up to one year. Visual artists 21 years and over are invited to submit proposals. Artists who presently have a studio larger than 400 sq. feet in NYC are not eligible. Applicants must be U.S. citizens or permanent U.S. residents, and not in school at the time of residency. There is no application form. Proposals should include eight slides of recent work; an annotated slide list; a resume; a concise statement indicating why studio space is needed, specifying a desired start date and residency length; and a SASE. For more information, contact: The Space Program, The Marie Walsh Sharpe Art Foundation, 830 North Tejon St., Suite 120, Colorado Springs, CO 80903 or phone 719- 635-3220.

Deadline: April 15, 2001 - THE EMILY HALL TREMAINE FOUNDATION offers its biennial Exhibition awardF= "mailto:info@tremainefoundation.org">info@tremainefoundation.org or visit http://www.tremainefoundation.org

Deadline: Ongoing - THE HENRY STREET SETTLEMENT ABRONS ARTS CENTER offers exhibition space and an Artist-In-Residence Workspace Program. The Center's Charles E. Culpeper Alcove Gallery on Manhattan's Lower East Side accepts applications from photographers for one-month solo exhibition opportunities. The next application review panel will meet in October 2001. The Henry Street Settlement also offers its Artist-In-Residence Workspace Program to six visual artists. Selected artists may work in their collective studio workspace for one year. Artists must use the studio at least 20 hours per week and be New York City residents. For more information and application guidelines, send a SASE to: Visual Arts Coordinator, Abrons Arts Center, 466 Grand St., New York, NY 10002 or email VAAIEPrograms@aol.com

The Center for Arts and Culture's Research Scan is inventorying research initiatives and projects, including programs and projects in the arts, humanities, cultural heritage and creative industries and those that examine the intersection of creativity and culture with policy questions in technology, law, globalization, access, and community revitalization.

The site documents studies such as the Center for Arts and Cultural Policy Studies, Princeton University, AMERICAN ART MUSEUMS AND THEIR USE OF THE WEB; The American Assembly Arts & Culture Projects, ART, TECHNOLOGY AND INTELLECTUAL PROPERTY; and the ARTS MANAGEMENT RESEARCH CLEARINGHOUSE at the University of Oregon.

The site also invites organizations and researchers to submit information on their projects.

For details, visit the Research Scan at http://www.culturalpolicy.org/research/scan.htm

The Outer/Space program was developed in response to a shortage of affordable rehearsal and performance spaces in Manhattan and the subsequent opening of many artist-run outer borough studios. Awards ranging from $3,000-$7,500 will be disbursed in a continued effort to assist artists who manage public studios in the Bronx, Brooklyn, Queens and Staten Island. The Outer/Space program is designed to help defray costs associated with space management, in turn allowing organizations to offer affordable rehearsal rates of $10/hr or less to the greater dance community.

For a complete list of application guidelines, or to view the 2001 Outer/Space recipients, visit DTW's website at http://www.dtw.org

Deadline January 4, 2002

For additional information call 212-691-6500 ext. 225.

TECHNOTOPIAS: TEXTS, IDENTITIES, AND TECHNOLOGICAL CULTURE, to be held July 10-12, 2002, Glasgow, United Kingdom, is an Interdisciplinary Conference organized by the Department of English Studies, University of Strathclyde. Guest speakers will include Wendy Chun, Harry Collins, Judith Halberstam, Colin MacCabe, Bryan Turner.

To realize the interdisciplinary nature of this conference, they invite papers from all fields of literary and cultural criticism, as well as the scientific and technological disciplines, at both post-doctoral and post-graduate levels.

Suggested topics include:

• Literatures of technology: historical contexts
• Frontiers of the imagination: Science and Fiction
• (Post) modern texts / (post) industrial spaces
• Technologos: technology and the word
• The science of Angellica: gender and technology
• Culture, technology, and the body
• Technologies and the self
• New media, old academe
• Paradigms of utility in academia

The deadline for abstracts of 200 words for a 20 - 30 minute paper is December 31, 2001

For complete details, visit: http://www.strath.ac.uk/ecloga/technotopiascfp2.htm

The Solomon R. Guggenheim Museum is offering a fellowship for an in-depth study of the issues surrounding the preservation of ephemeral materials and/or electronic media. The fellow would help coordinate a project funded by the Langlois Foundation which supports the advancement of the Variable Media Initiative, a strategy for preserving the artistic integrity of a work through documentation prior to the obsolescence or deterioration of the primary physical materials.

Responsibilities will include acting as a liaison between the conservation department, curatorial department, and the archives and documentation programs.

Working with the conservators to implement the preservation methods, and assisting documentation and curatorial to record all concerns, the fellow will explore, study and collect standards for best practices and preservation of materials that will include, among others, analog and electronic media formats. The fellow should have an interest in conservation and documentation practices, as well as a good understanding of the current contemporary art environment. Familiarity with materials and processes, including photography, film, magnetic and electronic media formats is preferable. Knowledge of and interest in relational and object-oriented databases is a plus.

The fellow will be supervised by representatives from each department Curatorial, Conservation, and Archives, Library, & Museum Records. The project is for one year, the hours are flexible and a modest stipend is offered. Interested candidates should contact Jon Ippolito at JI@guggenheim.org

Opportunities for Artists

The Association of Video and Filmmakers (AIFV) is working with NYC media organizations to help collaborate on productions, broadcasts, topical materials, policy and actions related to the 9-11 terrorist attacks.

An overview of those activities is archived on the AIVF website at http://www.aivf.org/info_services/response.html

For instance, Third World Newsreel & the Black Documentary Collective are producing a 7-segment program on these events and their meaning in communities of color; Paper Tiger TV is finishing up a collective production timed for the convergence events in DC. as well as working with IndyMedia and Freespeech.org to catalog and share footage and projects, and US-unite, a NYC interfaith vigil and interview project seeks digital editors to help cut and stream interviews and vigil footage.

Visit the site for details.

Established by a group of independent filmmakers to offer support and resources to independent artists, AIVF -- http://www.aivf.org -- works to increase the creative and professional opportunities for independent video and filmmakers and to enhance the growth of independent media by providing services, advocacy, and information.

PEN AND ARCHITECTURAL DIGEST MAGAZINE $10,000 to go to American writer for exceptional book published in U.S.

A purse of $10,000 is awarded to an American writer for an outstanding book, published in the United States in 2001, of criticism or commentary on one or more of the visual arts -- which may include architecture, interior design, landscape studies, painting, photography, and sculpture.

Through this award, PEN and Architectural Digest pay tribute to work from a growing array of accomplished writers who have chosen to devote their attention to non-literary art forms, and whose books enrich our appreciation both of literature and the visual arts. The PEN/Architectural

Deadline: December 15, 2001.

For details, visit http://www.pen.org/awards/digest.html

Deadline: November 10, 2001, single-channel video work
for the exhibition B HOTEL, P.S.1 Contemporary Art Center

Deadline: November 30, 2001, Artist made wreaths, Gallery 218, Milwaukee Wisconsin

Deadline: December 2, 2001, Film and Video, Ocularis

Deadline: January 1, 2002, Fiction, Poetry, 2 dimensional artwork, comics, literary journalism, book, art, music, and restaurant reviews, Coup

Deadline: December 21, 2002, shikishi, (Japanese ceremonial greeting cards) AWAKENING, Japanese American Cultural and Community Center

Deadline January 4, 2002, Assistance for artists who manage public studios in the Bronx, Brooklyn, Queens and Staten Island, Dance Theater Workshop Outer/Space program

Deadline: January 15, 2001, Time-based works created students of any age, working in any discipline, ART IN MOTION, USC School of Fine Arts

Deadline: January 31, 2002, Artists software, read_me festival 1.2, State Center for Museums and Exhibitions, Moscow

Deadline: ongoing, Proposals for thematic group exhibitions, The Organization of Independent Artists

Deadline: ongoing, Artists, musicians, writers, online arts collective

To submit jobs to Arts Wire, email them to joblist@artswire.org Please send a text file in the body of the message. (ie no attachments and no HTML) There is no fee for posting job listings. The deadline is Friday for the next week's listings. (which usually are posted on Monday) For the most part, job listings are not edited. The contents of the postings are the responsibility of the originating agency.

ASSISTANT PROFESSOR - VISUAL THEORY, University at Buffalo, The State University of New York, (Buffalo, NY)

FULL PROFESSOR/DEPARTMENT CHAIR; ART EDUCATOR/ASSISTANT PROFESSOR; PHOTOGRAPHY/ASSISTANT PROFESSOR
California State University, Northridge, (Northridge, CA)

TENURE-TRACK FACULTY POSITIONS; VISITING FACULTY POSITIONS, School of Art & Design, University of Michigan at Ann Arbor, (Ann Arbor, MI)

ASSOCIATE COORDINATOR OF EXHIBITIONS, The Museum of Modern Art, (New York City, NY)

MEDIA EDUCATOR/ARTIST-IN-RESIDENCE, Teen TV Program
Arts Council For Chautauqua County, City of Jamestown Department of Youth Services, Jamestown Public Schools, (Jamestown, NY)

ARTS PROJECT MANAGER (PUBLIC ART PROGRAM), The Washington State Arts Commission, (Olympia, WA)

ARTS PROJECT MANAGER (PARTICIPATION OUTREACH INITIATIVE), Washington State Arts Commission, (Olympia, Washington)

LITERATURE TEACHER/WRITER/LITERACY SPECIALIST - CONSULTANT, Flatbush Youth Initiative, (Brooklyn, NY)

DIRECTOR, The Betsy Ross House, (Philadelphia, PA)

MEDIA PRODUCTION ASSISTANT, The Kitchen, (New York City, NY)

ADMINISTRATOR/FUNDRAISER; ASSISTANT ADMINISTRATOR/BOOKKEEPER; PR/FRONT OF HOUSE, The Caravan StageBarge

MARKETING MANAGER, (Part Time) The Choral Arts Society of Washington, (Washington, DC)

MANAGER OF CORPORATE AND FOUNDATION DEVELOPMENT, Opera Festival of New Jersey, (Princeton, NJ)

MARKETING & DEVELOPMENT DIRECTOR, (classical music company), (New York City, NY)

DIRECTOR OF MARKETING & SALES, The Vancouver Symphony, (Vancouver, B.C. CANADA)

RESOURCE DEVELOPMENT ASSOCIATE, OPERA America, (Washington, DC)

BUSINESS MANAGER, Atlantic Theater Company, (New York City, NY)

DEVELOPMENT ASSOCIATE, GRANTS MANAGER, Shakespeare Festival/LA, (Los Angeles, CA)

DEVELOPMENT ASSISTANT, Museum of American Glass, (Millville, NJ)

EXECUTIVE ASSISTANT, MacDowell Colony, (Peterborough, NH)

EDUCATION ASSISTANT, Symphony Space, (New York City, NY)

OFFICE ASSISTANT, FILM FORUM, (New York City, NY)

EDITORIAL/CURATORIAL INTERN, The Organization of Independent Artists, (New York City, NY)

FUNDRAISING/DEVELOPMENT INTERN, The Organization of Independent Artists, (New York City, NY)

INTERNSHIPS, Massachusetts Cultural Council, (Boston, MA)

MARKETING INTERN, Symphony Space, (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

The following words are excerpted from the (substantially longer) diary of California-based Curator, Writer, Editor of UMBRELLA Magazine Judith Hoffberg, who was visiting New York City the week that the City was attacked.

• September 11, 2001

  "I was staying on Franklin near Church in a lovely loft. Just finishing breakfast, the building felt a rumble and then a huge explosion and the building moved. We ran to the roof and saw the WTC enveloping in blacksmoke. My knees almost buckled, and we stood in shock. Then I ran down the 5 flights of stairs to the street-this was Church Street, directly down from the twin towers. People were running from the towers and I was crying.

  Someone kept driving us down the street-go, go, go he said-and we all ran. I didn't know whether I was running from a fireball or a wave of rubble-for it seemed to topple towards us."

  ....

  "....as we looked at the towers, the second one was hit-and the fireball appeared.. And then, and then the tower just crumpled and disappeared in a vast cloud of debris-and it was down..."

  ....

  "I then found the door of the Ron Feldman Gallery open, and what should I see but the work of Leon Golub-and it was the wrong work to see-I didn't know where to go, I was traumatized, but also confused. I walked out of the gallery and found myself sitting on some cast iron steps across the street, where a British man who once worked in the Towers was trying to use his cell phone, but could not. I sat quietly making small talk-but then the second tower collapsed-and then it was too much for me. I sobbed until I couldn't sob any longer."

  ....

  "How can we ever forget the 11th of September? It had always been the anniversary of the death of my grandmother-and now..a day of infamy, treacherous evil, and New York was crying. The stories of missing people began so early and are still continuing to this moment."

• September 12, 2001

  "As we sat on the steps, we met an elegant young Nigerian who spoke of worldly wisdom. We also talked to a volunteer, a young woman, who had been working 10 hours a day, saying that at ground zero it is very dark. Being a woman, she was asked to pass food, water, etc. They were even giving IV to the dogs, since they were tiring after so many hours seeking bodies anywhere they could in the area."

  ....

  "....there were trucks everywhere taking away rubble-flattened automobiles, ambulances, gray white powdered ghosts of their original shapes-and there were humvees, and military vehicles too, and national guardsmen, and electricians. I felt I was living in a Magritte painting, the most surrealistic of all worlds. Nothing seemed real-and New York was silent with the dead sound of the thousands who were missing."

  .....

  "It was very difficult for us to view the images over and over and over. I speak for myself that each time I see the planes hit the towers, I react as I did originally and that is too much for any human being...."

  .....

  "Beth and I had dinner after looking at the Brooklyn view of what had been the site of the Twin Towers-how ironic that when I arrived from the Newark Airport, I always walk through the World Trade Center, and that 8th of September, I marveled how New York sparkled and how wonderful it was to arrive from Newark and see those buildings sparkling themselves after having been bombed in 1993-and how lucky I was to have friends in Tribeca to put me up for the five days. Never will I enter those doors again-never will it be convenient to fly with the freedom we have had."

  ....

  "....back to Brooklyn and an incredible energy of artists. We sat and tried to eat dinner, but the sight of two military helicopters (big ones with missiles) prevented me from eating much of my dinner nor could Beth."

  ....

• September 14, 2001

  "Saturday, I took a walk to Chelsea, passing by St. Vincent Hospital, where people were holding up pictures of their missing relatives, friends and parents, while each bus stop and corner were covered with pictures of missing persons and corners became shrines with candles. It was so very sad, so very heartbreaking."

  ......

  _________

  Judith Hoffberg can be contacted at email umbrella@ix.netcom.com
  The website for UMBRELLA Magazine is http://www.colophon.com/umbrella/

  ---

  ELSEWHERE ON THE NET

  HELEN KELLER ARCHIVES DESTROYED BY SEPTEMBER 11 ATTACK

  "The prospect of the millennium does not seem to me as imminent as it once did. The process of emancipation of mankind from old ideas is very slow. The human race does not take to new ways of living readily, but I do not feel discouraged. Personally, I am impeded by physical difficulties, which generate forces powerful enough to carry me over the barriers. This is true of the world's problems, too. It is for us to work with all our might to unite the spiritual power of good against the material power of evil. There is always a new horizon for the onward looking." -- Helen Keller

  NEW YORK CITY, NY -- Formerly located at "ground zero" in New York City, just across the street from the Twin Towers of the World Trade Center, Helen Keller Worldwide (HKW) lost their archives including photographs, correspondence, and HKW President John Palmer's personal library of first editions of Keller's books

  "Our office building at 90 West Street, listed as a national landmark, collapsed this afternoon as I wrote this memo," Palmer wrote. "As a result we lost our archives, many records, and communications infrastructure. Reminded that the capacity of Helen Keller Worldwide resides in our people and not in our buildings, we remain strong as ever and emerge from this disaster with renewed dedication and commitment to the saving of sight and life and to the rebuilding of civil society around the world. We are undaunted."

  Writer/activist Helen Keller, who was both blind and deaf from early infancy, dedicated her life to helping blind and deaf-blind people. Her books include THE STORY OF MY LIFE, (1902) THE WORLD I LIVE IN, (1908) OUT OF THE DARK, (1913) LET US HAVE FAITH, (1940) and OPEN DOOR. (1957) Helen Keller Worldwide was established in 1915 and provides blindness-prevention programs in 30 countries.

  "Life is either a daring adventure or nothing at all. Security is mostly a superstition," HKW quotes her as saying.

  Sources/resources:

  HELEN KELLER WORLDWIDE -- http://www.HKI.org
  There new street address is Helen Keller Worldwide, 352 Park Avenue South, Suite 1200, New York, New York 10010

  "Helen Keller Archive Lost in World Trade Center Attack"
  POETS & WRITERS MAGAZINE -- http://www.pw.org/mag/is_keller.htm
  September/October 2001
  P&W reports that Palmer is asking anyone who owns first editions of Keller's books or correspondence with the writer to contact him at jmphki@aol.com