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DANCE/USA TO OPEN SATELLITE OFFICE IN NEW YORK CITY; DANCE/NYC WILL INCREASE NYC DANCE'S VISIBILITY AT A CRITICAL TIMEWASHINGTON, DC -- In 2002, Dance/USA will open a satellite office in New York City, Executive Director Andrea E. Snyder has announced. The new project, DANCE/NYC, will be dedicated to serving the needs of the NYC dance community -- with the long-term goals of creating an environment for dance in New York City that is stable, inclusive, and accessible within and beyond the dance field, and of generating a model for centralized, locally oriented dance services.The New York Community Trust-LuEsther T. Mertz Advised Fund has provided a $400,000 challenge grant to support the first four years of the project. Dance/USA has also just announced that the Booth Ferris Foundation will provide $150,000 over two years for Dance/NYC. "The case for a service organization to support the NYC dance community is compelling on many levels, and long overdue," said Robert Crane, a representative of the LuEsther T. Mertz Charitable Trust. "We are pleased to help jump-start this effort and encourage our colleagues in the philanthropic community to support Dance/USA's important new undertaking." Dance/NYC grew out of a 2000 Dance/USA survey of the needs of the diverse New York City dance community and strategic planning meetings with members of the New York City dance and funding communities. The study confirmed an earlier report by New York Grantmakers in the Arts that dance companies and artists were competing for strained funding resources, touring opportunities, performance venues, and affordable rehearsal space. Dance/NYC will be strategically positioned to gather and disseminate vital information addressing these concerns, convene individuals and groups around key issues, and stimulate advocacy efforts. According to a recent study by AMS Planning and Research, in cooperation with seven national arts service organizations including Dance/USA, (available on the Dance/USA website) September 11 is having a devastating impact on the NYC dance community. The Dance/NYC project will help increase dance's visibility at this critical time, and will work with other dance service organizations to address the needs articulated by the city's dance community, Andrea Snyder told a group of more than 160 members of the New York City dance community who gathered at Danspace Project /St. Mark's in October to talk about the impact of the disaster. Snyder is now looking to other arts foundations and supporters to assist in matching the grant dollars or to provide other contributions to this project. Dance/USA is also interviewing candidates for the Project Director position. The Project Director will focus on advocacy, information-sharing, and professional development services, with programs that will augment existing opportunities provided by other New York dance organizations. As a "dance diplomat," the Project Director will also represent the city dance community and work to raise the visibility of dance among the cultural players in New York. "I hope to have someone in place before the end of December," Snyder said. The new Project Director will be responsible for opening the office and will also hire a project assistant. She added that "Dance/NYC may use temporary space until the right office is found." They are looking for enough space to house two people, (preferably two rooms) and can share conference, copying, kitchen. Immediate specific needs, in addition to office space, include equipment, computer(s), and supplies. Others will become more apparent once the Program Director is on board. As the national service organization for not-for-profit professional dance, Dance/USA has taken a leadership role in profiling the dance community and in identifying needs of the dance field in its many regions. For more than 10 years, Dance/USA's Director of Research and Information, John Munger, has compiled statistical surveys of the national field and has completed several regional needs assessments that have been used by foundations, dance companies, and researchers to document trends in the field. The New York Community Trust is a community foundation that administers more than 1,300 charitable funds which were created by individuals, families, or corporations. The Trust makes grants to about 4,000 non-profit agencies each year; last year, The Trust awarded grants of $130 million. In 1995, the LuEsther T. Mertz Charitable Trust established several funds, including the LuEsther T. Mertz Advised Fund, in her name at The New York Community Trust. The Booth Ferris Foundation's primary interests are in educational activities, especially at private colleges and theological institutions, along with public school programs and initiatives in civic and urban affairs and art and culture in New York City. "This is an important step for Dance/USA and for the New York dance community," said Linda Shelton, chair of Dance/USA's board of trustees. "As the home of so many leading dance companies and organizations, as well as a vibrant community of independent dance artists, the city needs to have a voice for the field that will galvanize support and ensure a strong future for New York dance." Sources/resources: DANCE/USA -- http://www.danceusa.org
The website currently features: THE NEW YORK COMMUNITY TRUST -- http://www.nycommunitytrust.org THE BOOTH FERRIS FOUNDATION -- http://www.ats.edu/faculty/spons/B0000401.HTM#anchor1083607
OREGON'S TRUST FOR CULTURAL DEVELOPMENT IS SIGNED INTO LAWSALEM, OR -- HB 2923, a bill which provides funding for Oregon's Trust for Cultural Development, has been signed into law by Governor John A. Kitzhaber. The culmination of more than two years of work by statewide arts, humanities, heritage and historic preservation leaders, the Trust is a long-term public/private funding initiative designed to preserve and strengthen culture for all Oregonians. It became official on October 8, 2001."What is remarkable about Oregon's Cultural Trust is that it will build participation in arts and culture in three ways: by engaging people in identifying cultural priorities on a local level, by building support for and funding projects of statewide significance, and by expanding access to cultural programs through increased funds to Oregon's cultural agencies like the Oregon Arts Commission," said Christine D'Arcy, Executive Director of the Oregon Arts Commission. The bill establishes a tax credit for direct contributions to the Oregon Trust for Cultural Development, a long-term public/private funding initiative designed to preserve and strengthen culture for all Oregonians. Funding for the Trust will also come from revenue derived from the sale of a new "cultural" license plate and from the sale of state-owned surplus assets. "Our Trust is unique in that it will be citizen-driven, with key revenues coming from individual and corporate contributions," Christine D'Arcy noted. "The Oregon Legislature, in essence, gave arts and culture advocates a 'permission slip' to build a multi-million trust fund. In order to qualify for the tax credit available to contributors, a giver must first make a gift to an Oregon cultural non-profit, then an equal or greater contribution to the Trust. If Oregonians embrace the notion of increased public and private support for culture in Oregon, we now have a mechanism to make that investment." More than two years ago, thousands of Oregonians came together in response to a mandate from Governor John Kitzhaber to develop a unified strategy to guide and increase public investment in Oregon's severely under-funded arts, culture and heritage organizations. "Our vision for the Cultural Trust is simple and straightforward -- it's time for a true cultural awakening, something that lifts the arts, the humanities and our cultural heritage to a new and pivotal level capable of impacting favorably every Oregonian," said Charles Walker, chair of the Joint Interim Task Force on Cultural Development. This summer, with the leadership of Rep. Ben Westlund (R-Tumalo) and Senator Lee Beyer, (D-Springfield) the two legislators who served on the Joint Interim Task Force on Cultural Development which developed the Trust, the bill passed the Oregon House on June 30 by a vote of 53 to 3, and then the Oregon Senate on July 3 by a vote of 25 to 3. "HB 2923 is the culmination of a great effort by a great number of individuals. It reflects the tremendous effort by the Cultural Task Force ... which traveled all over the state and met thousands of citizens concerned about the state of our arts, culture and historic preservation. ...I'd like to thank the numerous people who supported this effort so nobly and persuasively over the two years it took to put this visionary arts and cultural trust together," said Rep. Ben Westlund. "The arts have had a profound impact on my life. I could list a handful of moments ... where my personal involvement in an artistic endeavor has fundamentally changed me and my outlook on the world. ...This bill will be leaving a long term legacy for our children," said Rep. Chris Beck. (D-Portland) The Cultural Trust will be a staffed entity operating within the Secretary of State's office and directed by a governing board. As a funding mechanism, the Trust will invest in communities through direct funding partnerships with county and tribal cultural coalitions; through competitive matching grants to support, protect and stabilize cultural organizations in the future; and through increased funding to state cultural agencies, including Oregon Arts Commission, Oregon Council for the Humanities, Oregon Heritage Commission, Oregon Historical Society and the State Historic Preservation Office. "Oregon has one of the lowest per capita public investments in the arts nationally," said Christine D'Arcy. "The Cultural Trust enactment is the biggest accomplishment for arts and culture here in over a decade." Cultural trusts have now been established by almost a quarter of the state arts agencies throughout out the US, including Arizona, Colorado, Connecticut, Delaware, Indiana, Iowa, Missouri, Montana, Nebraska, North Dakota, Puerto Rico, Texas, Utah, Vermont. and Wyoming. Sources/resources: OREGON TRUST FOR CULTURAL DEVELOPMENT -- http://culturaltaskforce.econ.state.or.us OREGON ARTS COMMISSION -- http://art.econ.state.or.us/
"State Cultural Trusts for the Arts Hold Almost $70 M in Assets"
AMERICAN CENTER FOR WINE, FOOD & THE ARTS OPENS IN NAPA, CA ARCHITECT IS POLSHEK PARTNERSHIPNAPA, CA -- On November 18, COPIA: The American Center for Wine, Food & the Arts opened in a new 80,000-square-foot building, on the banks of the Napa River.Partners James Polshek and Richard Olcott and associate Robert Young of Polshek Partnership Architects (New York City) designed COPIA: The American Center for Wine, Food & the Arts in response to the Center's mission "to explore the distinctively American contribution to the character of wine and food in association with the arts and humanities, and to celebrate these as a unique expression of the vitality of American life, culture and heritage." The stone, polished concrete, metal and glass building combines natural and man-made materials with specific references to the industrial and agricultural architecture of the Napa Valley. Three and one-half acres of working and decorative gardens, designed by the architects and Peter Walker & Partners of Berkeley, California, complement the Napa landscape and are indivisible from the architecture, enabling the building to merge with its surroundings. The grounds -- 12 acres along the banks of the scenic Napa River -- include an outdoor education space featuring a wood-fired oven and fireplace, a grass concert terrace facing the Napa River, orchards, a vineyard, and seasonal plantings of vegetables, fruits and flowers. For COPIA's opening exhibition ACTIVE INGREDIENTS eight artists from diverse backgrounds and countries -- The Art Guys, Jorge Pardo, Lucy Orta, Gay Outlaw, Lee Mingwei, Antoni Miralda, and Andrea Zittel -- have created new works which address themes related to the dynamics of food preparation, and customs and rituals associated with its consumption. "The artists selected for Active Ingredients use social space for artistic intervention and are engaged in stretching the concept and boundaries of the works," the exhibition states. "The exhibition and performances will have elements of entertainment and playfulness, while simultaneously addressing social concerns and the role and function of art." Guest curators were Amy Cappellazzo and Margaret Miller. A Legacy artist in residence program will host chefs, writers, winemakers, artists, farmers, and musicians. These Legacy guests will remain in residence while they share their knowledge of gastronomy, wine, food, the arts, the gardens, or a variety of other topics that relate to the center's mission in events which will range from dinners to performances. The program will begin in January with resident artist Lee MingWei, whose DINING PROJECT at the Whitney Museum of American in 1998, integrated food, environment, and Buddhist ideals. In February, Jessica Harris, an African American cookbook author and an authority on the food and foodways of the African diaspora, will be in residence. The approach to the center is along a tree-lined alley flanked by a canal of moving water.... Among the major design inspirations for the Center are the 16th-century jardins potager (kitchen gardens) at Villandry in France's Loire Valley. Villandry's water features and stone chateau inform the Center's architecture and the gardens. The approach to the Center is along a tree-lined alley flanked by a canal of moving water. As described by the project, this axis intersects a 355-foot long fieldstone wall, which forms the entry threshold to the principal public spaces of the building. Symbolizing the historic connection between the agricultural and viticultural products that COPIA celebrates, the wall also frames views from the restaurant toward the gardens and forms the parapet of a viewing balcony on the upper floor. Inside, a two-story light-filled gallery atrium provides dramatic views of the river where a crescent-shaped steel framework embraces the performing arts amphitheater. Gallery spaces are arranged on the upper level, with the serpentine roof of the permanent exhibition hall corresponding to the rolling hills located to the East. In 1988, vintner Robert Mondavi, his wife Margrit Biever Mondavi, and other leaders in the wine community began to explore the idea of establishing a unique cross disciplinary institution designed to educate, promote and celebrate American achievements in the culinary, winemaking and visual arts. As the project evolved, key partner organizations including the University of California at Davis, the Cornell University School of Restaurant and Hotel Administration, and the American Institute of Wine & Food, joined forces to develop COPIA: The American Center for Wine, Food & the Arts. Mondavi gave the Center a $20 million lead gift, and subsequently a group of supporters from Napa Valley and the Bay Area, the "Founding Seventy" made substantial donations to launch the $50 million Raising the Dough capital campaign. To date, more than 100 local and national leaders have provided support for the project. Major donors include: Lauren and Robert Ackerman, Beringer Vineyards, Barbara Dawson and Matthew Katzer, Meyer Corporation, Staglin Family Vineyard and Wine Spectator Magazine. The new Center includes 13,000 square feet of gallery space, a 280-seat theater, classrooms with special audio-visual capabilities, an 80-seat demonstration food forum, a gourmet dining room, an outdoor amphitheater, a cafe and gift shop, and the gardens. The 278-seat Theater and the 500-seat River Concert Terrace will showcase films and performers from around the region, the nation, and the world. The architects, Polshek Partnership Architects, also designed the Iris and B. Gerald Cantor Center for the Visual Arts at Stanford University, Santa Fe Opera Theater in Santa Fe, N.M., the renovation of the Smithsonian Institution's Cooper-Hewitt National Design Museum in New York, Scandinavia, and the renovation and expansion of the Brooklyn Museum of Art. New projects include the William Jefferson Clinton Presidential Center, Little Rock, AR. Peggy A. Loar, formerly of the Wolfsonian Museum and Research Center and the Smithsonian Institution, was appointed Director in 1997. Sources/resources: COPIA -- The American Center for Wine, Food & the Arts -- http://www.copia.org/ POLSHEK PARTNERSHIP ARCHITECTS -- http://www.polshek.com/ PETER WALKER & PARTNERS -- http://www.pwpla.com Lee MingWei, DINING PROJECT -- http://www.paperveins.org/mingwei/
CITY OF CHICAGO/ARTSPACE PARTNERSHIP TO REHABILITATE FORMER SCHOOL INTO PILOT LIVE/WORK SPACE FOR ARTISTS; ARCHITECT IS YVES JEANTYCHICAGO, IL -- More than $1 million in Community Development Block Grant (CDBG) funds and nearly $400,000 in tax credits will rehabilitate a former public school into a living and working space for artists, Mayor Richard M. Daley announced last month.The Switching Station Lofts Project is conceived as a pilot project for developing more artist's housing in Chicago. Minneapolis-based Artspace, which has developed live work housing across the country, is working in partnership with the Chicago Departments of Housing and Cultural Affairs to create 24 units of relatively affordable live/work rental housing for artists and their families at 15 South Homan Ave. The architect is Chicago- based The Architects Enterprise, Yves Jeanty. Construction will begin in January 2002. The 32,000 square foot Roentgen School started life in 1906 as an telephone switching station and then was converted to the school. It has been vacant for 8 years. The structure is a two-to-four story brick building with an enclosed, central U-shaped courtyard. Preserving the original front of the building, and a central courtyard, the new project will also include a rooftop garden. In order to recreate within the building a flow conducive to housing artists and families, the interior will be completely redone. "But it will preserve a classroom feel." The original blackboards and coat hooks will remain on the walls, and the gymnasium basketball backboard and climbing bars will also remain, "as if someone is moving into a former school," explained Artspace Project Manager Brian Gorecki. The Duncan YMCA Chernin Center for the Arts is working collaboratively with Artspace as a community liaison and on developing a committee and a model selection process for artist tenants, as well as on developing future programming. "There is a real cultural vitality to Chicago. But we're lacking a affordable viable space for the needs of artists," Chernin Center Artistic Director Ifa Bayeza told Arts Wire. Indeed, in a recent CHICAGO READER article which detailed the City's artist housing crises -- including Tree Studios Building, where city-brokered commercial redevelopment is endangering a long-time artists community -- arts advocate Laura Weathered, Executive Director of Near Northwest Arts Council, (NNWAC) strongly urged a public policy for Artists housing in Chicago. For Acme Artists Community, NNWAC is converting an old warehouse into a mixed use condominium which combines non profit office space and affordable live/work housing for artists. "Artists are being chased out of everywhere. Everybody's being pushed around. Everything's being made into condos. That's what's so sad. There's such a shortage of adequate, affordable live-work space, and work space too." the Reader quoted Arlene Rakoncay, Executive Director of the Chicago Artists' Coalition, as saying. "Generally, philosophically, as a working artist, one of my life missions is to re-integrate artists into natural flow of community, to make artists an integral part of society," said Ifa Bayeza. "Artists communities which have emerged on their own have been the fuel for revitalization in Chicago. All of these reasons make this an important initiative. The Artspace model is a good one because they have successfully implemented it around the country." "We are very excited about The Switching Station Project, our first in Chicago. This is a way to look at how artists' housing can part of the fabric of the city," said Artspace Project manager Brian Gorecki. "Chicago has gone thru a tragic gentrification for artists. Great for city but a tragedy for the artists who initially made devastated areas liveable." Ifa Bayeza noted that the city is looking at other independent live/work developments, such as Tree Studios, originally designed to be artists space, and the NNWAC Acme project. She hopes that the Switching Station Lofts Project will spawn real awareness of the potential of this kind development and that, in the future, funding will nurture arts programing and arts education partnerships in the live/work community. Sources/resources:
"Mayor Daley Introduces $25 Million in New Affordable Housing
Initiatives" CHICAGO DEPARTMENT OF CULTURAL AFFAIRS -- http://www.ci.chi.il.us/CulturalAffairs/ ARTSPACE PROJECTS-- http://www.artspaceprojects.org
Jeff Huebner NNWAC ACME ARTISTS COMMUNITY-- http://www.nnwac.org/artist_housing.html
PublicationsCULTURE COUNTS: STRATEGIES FOR A MORE VIBRANT CULTURAL LIFE FOR NEW YORK CITY A Cultural Blueprint for New York City, a special project of the New York Foundation for the Arts, (NYFA) is an independent, non-partisan, citywide, multi-sector initiative of cultural and civic leaders concerned with supporting and sustaining the vital cultural life of New York City in the 21st Century. Released in November 2001, the Blueprint's report, CULTURE COUNTS: STRATEGIES FOR A MORE VIBRANT CULTURAL LIFE FOR NEW YORK CITY, outlines the findings of its research and makes recommendations for City leaders. The report will be profiled in the December 11 issue of CURRENT, which will be produced by NYFA. More information is also available on the NYFA website at http://www.nyfa.org/culturalblueprint.htm
ConferencesST LOUIS, MOMarch 20-26, 2002 Hyatt Regency at Union Station Art Libraries Society of North America/ Visual Resources Association - First Joint Conference - ..GATEWAY TO THE FUTURE ... VISUAL INFORMATION IN A NEW AGE "Like the entrance to the western frontier that the Gateway Arch symbolizes, the professional arena of the art information specialist also stands at a frontier; only ours is not the physical toil of the 19th century homesteaders and Gold Rushers. The landscape that beckons us is a virtual - that is, a digital - one." The Art Libraries Society of North America and the Visual Resources Association will meet in St Louis next year in a joint conference "to mutually explore this digital frontier and to search for our virtual bridge to lead us on our way. The central theme of the program reflects the convergence and compatibility of many of our professional interests, goals, and responsibilities that the digital era not only makes possible but mandates." Plenary Sessions; Seminars and Workshops will include:
Seminar: BURIED TREASURE: ARTISTS' FILES IN THE DIGITAL AGE
Session: ARCHITECTURAL ARCHIVES: TO WEB OR NOT TO WEB NINCH Town Meeting: THE INFORMATICATALOGING OUTSIDE THE CANON: CATALOGING AFRICAN ART; WOMEN ARTISTS OF SAINT LOUIS: PAST AND PRESENT; NEGOTIATING POWER: ONLINE JOURNALS AND THE ART LIBRARIAN; "HEY NOW, WHAT'S THAT SOUND, ANYBODY KNOW WHAT'S GOING ON?"; (sound culture, sound art, sonic practices and digital sound production) THE THREE V'S: VISUAL IMAGE DATABASES, VISUAL CULTURE AND VISUALIZING OUR FUTURE; and much more. Tours will include: LAUMEIER SCULPTURE PARK, a 100-acre St. Louis County park, founded in 1976 for the collection and display of monumental contemporary sculpture which is exhibited in both the meadows and woodlands of the former Henry H. Laumeier country estate. ARCHITECTURE TRANSFORMED - RESTORATION AND ADAPTIVE USE IN ST LOUIS - a glimpse at some of the diverse ways in which new life has been given to old buildings in St Louis, designed to augment a conference session addressing adaptive re-use in St Louis. The conference notes that "with the theme of exploration, the conference hotel is the Hyatt Regency Union Station, housed in what was once the second busiest train station in the nation and the starting point for many adventures. On the National Register of Historic Places, this Romanesque Revival structure has been restored to its former glory, and features elegant rooms, dramatic public spaces, and dozens of on-site eating, shopping, and entertainment venues." For more information, visit: http://library.wustl.edu/~beth/Conference.html
EventsWASHINGTON, DCthrough March 10, 2002 The National Building Museum TWIN TOWERS REMEMBERED "Vergara's gimlet-eyed images reveal the buildings from virtually every conceivable angle, perspective, and distance, in nearly every weather condition, at every time of day, and ultimately, from construction through destruction. They capture the buildings' singularity, their role in the greater ensemble of lower Manhattan, their monumentality, their surprising delicacy. They illuminate the architects' and engineers' work in all its daring and complexity. Perhaps above all, these photographs communicate the unforgettable contribution the Twin Towers made to a neighborhood, a skyline, and a nation." For more than thirty years, Camilo Jos Vergara continuously photographed the 110-story buildings, which were designed by the architects Minoru Yamasaki and Emery Roth & Sons and engineered by Leslie Robertson, then of Skilling Helle Christiansen & Robertson. "We have long admired Vergara's work, but since the tragic events of September 11, 2001, our response to these particular photographs has been forever altered. As we worked with these images, we at the Museum came to grasp more fully the Twin Towers' physical size, their symbolic resonance, and ultimately, the magnitude of their loss," writes Susan Henshaw Jones, President, National Building Museum. (on the Museum's web site) "In time, we began to comprehend - and accept as real - an event that seems to defy comprehension and reality. In this sense, the presentation of this exhibition has had a restorative dimension. And perhaps that reveals one of the reasons why we embarked on this exhibition in the first place. We believe that by presenting Vergara's photographs, we are participating in a collective process of healing." An exhibition catalog is co-published by the National Building Museum and Princeton Architectural Press. The exhibition is made possible by the Museum's F. Stuart Fitzpatrick Memorial Exhibition Fund. For more information, visit http://www.nbm.org/Exhibits/Twin_Towers_Remembered.html NEW YORK CITY, NY December 7, 2001-January 16, 2002 Urban Center Galleries, 457 Madison Avenue ARVERNE: HOUSING ON THE EDGE An exhibition of projects by architectural teams asked by the Architectural League to propose ideas for a long-vacant oceanfront urban renewal site in Queens, in parallel to a request for proposals issued by the city's housing department. Teams from the Yale, City College, and Columbia schools of architecture, and a Dutch/American consortium, participated in the project. Participating architects and designers include Diana Balmori, Deborah Berke, Peggy Deamer, Keller Easterling, Michael Sorkin Studio, SYSTEMarchitects, SHoP, Michael Bell, Marble Fairbanks Architects, Mark Rakatansky, John Bosch, Reinier de Graaf, Bruce Fisher, and Beth Margulis. For well over 100 years the Architectural League of New York has helped architects, artists, and the public enrich their understanding of the purposes and importance of the art of architecture. The League has remained constant in its focus on the aesthetic, cultural, and social concerns of architecture and the allied arts. For more information, visit http://www.archleague.org
MONEYFollowing is a small sample from current funding opportunities for artists and arts groups compiled by Alex Burke/FYI -- http://www.nyfa.org/fyi -- at the New York Foundation for the Arts. To add your listings to MONEY send email to aburke@nyfa.orgDeadline: Ongoing - THE NEW YORK COUNCIL FOR THE HUMANITIES offers mini-grants for public humanities programs that interpret history and culture. These programs can take many forms, such as conferences, lectures, film or museum exhibitions, or walking tours. Non-profit New York State organizations are eligible. Special consideration is given to events that bring humanities to underserved communities. For more information, contact: The New York Council for the Humanities, 150 Broadway, Suite 1700, New York, NY 10038; phone (212) 233-1131; fax (212) 233-4607; or visit http://www.culturefront.org Deadline: Ongoing - THE LYN BLUMENTHAL MEMORIAL FUND FOR INDEPENDENT VIDEO awards grants for criticism and production. For more information, contact: Lyn Blumenthal Memorial Fund for Independent Video, P.O. Box 3514, Church St. Station, New York, NY 10007. Deadline: Ongoing - SOHO20, a non-profit artist-run women's gallery since 1973 seeks new members in all media for their new Chelsea location. For a full prospectus, send a large SASE to: Membership Coordinator, SOHO20 Gallery, 545 Broadway, 3rd Fl., New York, NY 10012. Deadline: Ongoing - CHANGE, INC., provides emergency grants to artists. $100-500 is available for medical, living, or other emergencies. Open to artists of all disciplines. There are no geographical restrictions; however, students are not eligible. Prompt turnaround time on decisions. For more information, contact: Change, Inc., Box 705, Cooper Station, New York, NY 10276 or phone (212) 473-3742.
Funding/Opportunites for OrganizationsCOMING UP TALLER AWARDS HONOR 10 PROGRAMS FOR AT-RISK YOUTHWASHINGTON, DC - Last week, the President's Committee on the Arts and the Humanities (PCAH), together with the National Endowment for the Arts (NEA) and the National Endowment for the Humanities (NEH) recognized 10 organizations for their outstanding work with at-risk youth by awarding them Coming Up Taller Awards in a Capitol Hill ceremony wich included performances by some of the recipients, including the Boys' Choir of Tallahassee and Christopher Pate, Jr., a student at the Opera Theatre of Saint Louis' Artists-in-Training program. Each recipient organization will receive $10,000. "These awards celebrate the creativity of our young people and the excellence of after-school, weekend and summer arts and humanities programs for children, especially those who live in family and community circumstances that offer few opportunities for discovery and creative expression," said First Lady Laura Bush, Honorary Chair of the President's Committee on the Arts and Humanities. The 2001 Coming Up Taller Recipients were:
Through their programs, performing and visual artists, early childhood educators, historians and others offer children learning opportunities, creative outlets, and ways to contribute to their communities. For instance, in Reno, Nevada, participants in the Great Basin Young Chautauquans program portray historical figures through dramatic monologues. After the performance, young people -- in and out of character -- engage the audience in discussions. The Chautauqua model is being replicated in rural Nevada, as well as in several other states. In Sells, Arizona, in the heart of the Sonoran Desert, sixty miles west of Tucson, Tohono O'odham Community Action (TOCA) offers after-school and summer arts and culture programs that cover a wide spectrum including traditional mask making, pottery, basketry, storytelling, singing and dancing. TOCA also coordinates an Elder/Youth Outreach Initiative where young people and elders join together to share cultural knowledge. Program participants are encouraged to become engaged in activities that address the challenges faced by their communities so that they will be prepared to provide leadership in the future. Along with the 10 Coming Up Taller awardees, the PCAH, NEA, and NEH also recognized 40 semifinalists for their work in providing arts and humanities programming for young people. There were 246 nominations from 47 states, the District of Columbia and Puerto Rico for this year's awards, which were reviewed by a national jury of experts. In addition to NEA and NEH, supporters of the Coming Up Taller Awards include Betsy Levitt Cohn, Cranium Inc., the Green Family Foundation, Agnes Gund and Daniel Shapiro, the Harman Family Foundation, the S. H. and Helen R. Scheuer Family Foundation, the New York Stock Exchange, Inc., and Surdna. For more information, visit http://www.arts.gov/endownews/news01/TallerPR.html RFP: BUSINESS PLAN FOR THE AFRICAN AMERICAN MUSEUM OF DELAWARE The City of Wilmington and the African American Museum of Delaware Foundation (AAMDF) are requesting proposals for the development of a comprehensive business plan for a start-up, state-wide museum to be located in Wilmington, Delaware. A detailed Request for Proposal may be obtained at the City of Wilmington, Department of Finance, Office of Procurement and Records, 5th Floor, City/County Building, 800 N. French Street, Wilmington DE 19801 tel: 302-571-4325 Proposals are due in the Office of Procurement and Records by 5:00 PM, January 8, 2002. For further information please call Debra C. Martin, Department of Planning, at 302-571-4402.
Calls for Papers2002 ACSA International Conference - Havana, Cuba ARCHITECTURE, CULTURE, AND THE CHALLENGES OF GLOBALIZATION"There are many diverse voices and opinions among Cuban intellectuals, artists, and architects about architecture, culture, and the challenges of globalization. They address a main concern: how to define and preserve a subtle, yet ubiquitous, national identity while meeting the new demands of a changing context. They also raise the challenge for contemporary design, which is to match in quality Cuba's rich architectural and urban heritage." From June 21 - 24, The 2002 Association of Collegiate Schools of Architecture (ACSA) INTERNATIONAL CONFERENCE in Havana will provide an inclusive forum for these diverse voices. "Havana will provide a unique laboratory, an ideal site, in which to examine how the forces of globalization affect and challenge architectural and cultural practices not just in Havana, but in our own North American cities," the Conference states. The conference will provide a variety of paper sessions and panel discussions that will address a diverse range of issues that connect with the theme of architecture, culture, and the challenges of globalization. Cuban architects, educators, and scholars will be actively invited to submit papers and participate fully in all sessions in order to provide an exchange that will be equally enriching for ACSA members as well as for their Cuban colleagues. ACSA welcomes and encourages submissions not limited to the themes:
Architecture and Identity History / Theory / Criticism Community Practice Tourism and Culture Construction Technology Urban and Regional Planning Education and Pedagogy Doctoral works-in-progress Historic Preservation Open submissions They encourage interdisciplinary participation from other fields such as history, literature, anthropology, sociology, engineering, art, and planning. The Association of Collegiate Schools of Architecture is a nonprofit, membership association founded in 1912 to advance the quality of architectural education. Membership includes over 150 schools in the United States and Canada and over 500 supporting members composed of architecture firms, product associations and individuals. For more information, visit http://www.acsa-arch.org/activities/index.html
Opportunities for ArtistsRHIZOME.ORG LAUNCHES NET ART COMMISSIONING PROGRAMRhizome.org, an online platform for the global new media art community, has announced the launch of its first net art commissioning program. With support from The Andy Warhol Foundation for the Visual Arts and The Jerome Foundation, Rhizome.org will commission three new net art projects. The fee for each commission will be $5,000. Artists are invited to submit proposals in one of two tracks alt.interface or Tactical Response. The deadline for proposals is February 15, 2002. For complete details, visit http://rhizome.org/commissions The complete call is also available on the Arts Wire CURRENT "Calls" Page at http://www.artswire.org/current/calls.html LEEWAY FOUNDATION HARMONY GRANTS TO SUPPORT PHILADELPHIA AREA WOMEN ARTISTS WORKING ON PROJECTS THAT PROMOTE TOLERANCE The Leeway Foundation supports individual women artists, arts programs and arts organizations, focusing on the Greater Philadelphia Region. A special program in response to current events, Leeway's December 2001 Harmony Grants, will provide short-term, immediate financial assistance to women artists working on arts projects that promote racial, ethnic, national and/or religious tolerance and have secured a commitment from a host or sponsor for a specific date or dates. Projects may address tolerance directly, or may otherwise support it; e.g., through their process of creation or performance, or by creating a space for voices less heard to tell their stories. Up to $16,000 will be awarded in grants of up to $2,000 each. Artists may be working independently or as project leaders, and in any discipline, including performing, literary, visual, mixed media, folk and community-based arts. In response to the current social and political climate, priority will be given to the voices of Arab-Americans, Muslims, ethnic minorities and women of color. Applications are due by December 5th of this year, and awards announcements and checks will be mailed by mid-January, 2002. For complete information, visit http://www.leeway.org 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: January 15, 2002, Films, DOGME-THON, - Northwest Film Forum's WigglyWorld Studios, Seattle, WA Deadline: for January, 2002 performance, Dance Group, puppeteers, singers, production, Earth Celebrations, VISIONS FOR THE EARTH WINTER PAGEANT FOR PEACE Deadline: February, 2002, Artists - Process art as a result of pre-set conditions, LINK Independent Curators Deadline: February, 2002, Artists - SUB(conscious)ANATOMY, LINK Independent Curators Deadline: February 6, 2002, 2D and 3D Digital Images, Installations, Sculptures, Virtual Environments, Site-Specific, and Performance, Web Sites, CD-ROMs, DVDs, SIGGRAPH 2002 Art Gallery, SIGGRAPH 2002, San Antonio, Texas, July 2002 Deadline: March 20, 2002, Small prints, THE IOWA MINIPRINT INTERNATIONAL 2002 Deadline: Ongoing, Visual artists to assist families in making memorial panels, AN AMERICAN QUILT
JOB OPPORTUNITIESNETWORK OF MUSIC CAREER DEVELOPMENT OFFICERS CONFERENCE The Manhattan School of Music will host the seventh annual NETWORK OF MUSIC CAREER DEVELOPMENT OFFICERS conference on January 17, 2002 from 9 am to 4 PM in New York City. There will be a pre-conference session on Wednesday, January 16, from 6-9 PM, especially geared toward those new to (or considering) running music career centers. The conference is an opportunity to exchange ideas and information on assisting musicians to develop careers; to hear how other institutions deal with similar issues; to explore fresh perspectives on the issues of music career development.
Spaces are limited and the registration deadline is
December 1, 2001. For more information, contact meeting co-chair
Angela Myles Beeching, Director, Career Services Center, New
England Conservatory Email:
abeeching@newenglandconservatory.edu Career Services Center information-- available on the NEW ENGLAND CONSERVATORY website at http://www.newenglandconservatory.edu -- includes the NEC Job Bulletin; Music Career Handouts; Ask Carlotta; and workshop information. THE MANHATTAN SCHOOL OF MUSIC -- http://www.msmnyc.edu/ 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, 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.
EXECUTIVE DIRECTOR, Empire State Youth Orchestra, (Schenectady, NY) DEPARTMENT CHAIR, ELECTRONIC ARTS; TENURE TRACK FACULTY IN INTERACTIVE INSTALLATION, iEAR Studios, Department of the Arts, Rensselaer Polytechnic Institute, (Troy, NY) DANCE FACULTY, Five College Dance Department, (Amherst, Hampshire, Mount Holyoke, Smith Colleges and the University of Massachusetts at Amherst) (Massachusetts) STUDIO ARCHITECT, Smith College Department of Art, (Northampton, MA) ART AND ARCHITECTURAL HISTORIAN, Smith College Department of Art, (Northampton, MA) ARTISTIC DIRECTOR, Amherst Ballet School, (Amherst, MA) DIRECTOR, CENTER FOR PERFORMING ARTS, Georgia Southern University, (Statesboro, GA) ASSOCIATE FOR PERFORMING ARTS CENTER, Georgia Southern University, (Statesboro, GA) PRODUCTION MANAGER, Bumbershoot, (Seattle WA) CASTING COORDINATOR/ARTIST CONTRACTS MANAGER, New York City Opera,(New York City, NY) MEDIA PRODUCTION ASSISTANT, The Kitchen, (New York City, NY) PROFESSIONAL FELLOWSHIPS, (with professional opera companies) OPERA America SPECIAL EVENTS COORDINATOR; BUILDING PRIDE PROGRAM COORDINATOR, (both Temporary, Part-Time) Association for Visual Artists (AVA) (Chattanooga, Tennessee) DIRECTOR OF EXTERNAL RELATIONS, North Bennet Street School, (Boston, MA)
PROGRAMMING ASSISTANT, Performing Arts for Everyone DEVELOPMENT DIRECTOR, SculptureCenter, (Long Island City, NY) DEVELOPMENT AND MARKETING ASSOCIATE, American Music Center, (New York, NY) DEVELOPMENT ASSISTANT, Queens Theatre in the Park, (Flushing, NY) DEVELOPMENT ASSOCIATE, Lower East Side Tenement Museum, (New York City, NY) GALLERY ASSISTANT, Roger Smith Gallery, (New York City, NY) PUBLICIST, (performing arts PR office) (New York City, NY) EXECUTIVE ASSISTANT, DIRECTOR'S OFFICE, Whitney Museum of American Art, (New York City, NY) EXECUTIVE ASSISTANT, C. W. Shaver & Company, (New York City, NY) OFFICE MANAGER/ADMINISTRATIVE ASSISTANT, Valley Youth Theatre, (Phoenix, AZ) CONFERENCE PLANNING INTERN, Associated Writing Programs, (Fairfax, VA) THEATRE INTERNSHIPS, The Lark Theatre Company, (New York, NY) INTERNSHIP, Center for Traditional Music and Dance, (New York City, NY) INTERN/ PART TIME RESEARCH ASSISTANT, National Coalition Against Censorship, (New York City, NY) ARTIST/TEACHER INTERNS, Children's Studio School, (Washington, DC)
ADMINISTRATIVE INTERN, The American Opera INTERNSHIPS, CROSSPATHCULTURE, (New York City, NY) ART INTERNSHIP, Tetkowski Studio, (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
ARTS WIRE WEB REPORTSBOORA ARCHITECTSBased in Portland, Oregon, BOORA Architects, which will design the new Robert and Margrit Mondavi Center for the Performing Arts, at the University of California, Davis, has a diverse portfolio with much of the firm's work -- including the Dean Lesher Regional Center for the Arts in Walnut Creek, Portland Center for the Performing Arts, and Theatre on the Square in Tacoma, Washington -- located on the Pacific Rim, from California to Alaska. The firm's design for Mondavi Center for the Performing Arts will integrate architecture, landscape and art "subtly celebrating the institutions rich agrarian heritage, creating a clear procession, providing orientation and a new, memorable sense of arrival," they note. BOORA's website -- http://www.boora.com -- features information about the firm's projects, such as the oceanside BOORA Beach House in Neskowin, Oregon, which was designed for the firm's employees. Conceived of as a place for inspiration and rejuvenation, the house is used both for client meetings, office team building activities, and for private use by staff members and their families. "The house, in continuous use, has become a strong bond between employees, who all share this special place outside the workplace," BOORA notes. In addition to photographs and sketches from the firm's portfolio, the website hosts discussions with architects and the community. For instance, The online question: "What is more important in a successful design - to be comfortable or to be provocative?" elicited a remarkable array of responses, including from a student in architectural engineering; (Egypt) an interface design teacher; (Sheffield, UK) architects; (Maine, Connecticut, Brazil, among other places) a Taxi Driver; (New York) and a Carpenter. (Emeryville, CA) Visit the site to find out more.
ELSEWHERE ON THE NETWALLACE-READER'S DIGEST FUNDS ARTS4ALLPEOPLE WEBSITE FOCUSES ON BUILDING ARTS PARTICIPATION
"If people came here, no matter who they are, no matter how
they're dressed, no matter how many of them, no
matter how few of them, no matter how many children
were with them, they would absolutely find something in
here that they could sit back and say...'Wow!'" Arts participation success stories from the Cleveland Museum of Art -- as well as the Isabella Stewart Gardner Museum, Cornerstone Theatre Company, Baltimore Museum of Art, and the Liz Lerman Dance Exchange -- are featured on a website launched by Wallace-Reader's Digest Funds. The new site -- http://www.arts4allpeople.org -- provides a hands-on exchange of new practices in the arts, research and dialogue to help connect people to the arts and to help arts groups, along with their funding partners, to find successful audience-building practices. "Over the past decade," stated M. Christine DeVita, president of the Wallace-Reader's Digest Funds, "the Funds have encouraged meaningful interaction between artists, arts groups and their communities. We continue to learn from our research and from the hundreds of cultural institutions that have put into practice exemplary programs to generate vital, engaged and demanding audiences. Arts4AllPeople is an important step in communicating and sharing these findings and in encouraging all its users to contribute their knowledge and experience in ways that can reach arts and cultural institutions beyond the extent of our grantmaking." Among the research reports and articles available on the site are: "A New Framework for Building Participation in the Arts," a study designed and conducted by RAND for the Wallace-Reader's Digest Funds; "New Fundamentals and Practices to Increase Cultural Participation and Develop Arts Audiences", by Jerry Yoshitomi and "Rethinking Participation: A Framework for Change," by Michael Moore. The site also encourages input from arts organizations who want to share arts participation strategies. Sources/resources: ARTS4ALLPEOPLE -- http://www.arts4allpeople.org Clarification: HELEN KELLER ARCHIVES Brian Keough, Curator of Manuscript M.E. Grenander Department of Special Collections and Archives University at Albany, SUNY, wrote to clarify that although the organization Helen Keller Worldwide (HKW) lost their archives, the papers and archives of Helen Keller are safe and stored at the American Foundation for the Blind. ("Helen Keller Archives Destroyed by September 11 Attack", Arts Wire Current, November 6, 2001) More information about archival collections damaged or destroyed because of 9/11 can be found at http://www.nyshrab.org/WTC/status.html
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