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FROM NEW YORK FOUNDATION FOR THE ARTS PROGRAMS DIRECTOR, PENELOPE DANNENBERGAs I sit here in New York City on the eve of 2002 I am struck by the collision of feelings that come to my mind as I write these new year thoughts. First I have the anticipation of a bright new year with all the possibilities of a clean slate; at the same time I think of the calamitous events of the past year.I don't want to characterize the whole year by events of September 11th. The recovery from the terrorists attacks has preoccupied us for much of the fall and early winter, but in New York City, we are steadily regaining our footing. The grounding is solid, and we are preparing with more determination than ever to support the work of artists and their organizations in 2002. We look forward to experiencing the imaginations of artists post September 11th and as always know that through their work we will be able to remember, integrate, and transform our own anger, sadness, and fear. Through Arts Wire Current we will bring you the most up to date information available on, in and about the arts community and as always look forward to hearing your responses on this information during the new year. At the New York Foundation for the Arts (NYFA) we have integrated the services of Arts Wire into our Services and Information departments. We discontinued web hosting, and have expanded our Knowledge in Technology planning programs and technical assistance. We have established a new department, Public Programs through which we hope to build the value of and concern for contemporary artists in communities around New York State. We enthusiastically continue to support New York's individual artists through fellowship grants, and we will continue to expand the information available for artists through out the US and abroad on the Hotline as well as expand the disciplines the hotlines will serve. On behalf of all of us at NYFA I hope that 2002 brings you enormous amounts of imagination, opportunities to create, and a year of health and happiness.
MICHAEL HAMMOND CONFIRMED AS NEW NEA CHAIRMANWASHINGTON, DC -- On December 20 the United States Senate voted unanimously to confirm composer/conductor Michael Hammond as Chairman of the National Endowment for the Arts. (NEA)"As Americans, we are all heirs to an incredibly rich and diverse artistic and cultural heritage," Hammond stated at his confirmation. "It is essential, particularly at this difficult period in our history, to draw support and inspiration from that heritage, and to encourage and support the finest work of our own time. The Art Endowment is committed to these tasks." Michael Hammond, who comes to the NEA from Rice University in Houston, Texas where he was Dean of The Shepherd School of Music, said that he would work to increase the Arts Endowment's role "in making the arts an ever more valuable part of our lives, connecting us to the past, illuminating the present, and inspiring our future." Hammond was the founding Dean of Music for the new arts campus of the State University of New York at Purchase, New York. He was also responsible for planning the facilities and curriculum of the Music School there and later served as President of the College. He founded the Pepsico Summerfare, an international Festival of the Arts at Purchase, funded by Pepsico, a corporate neighbor of the College at Purchase. Before going to New York, he had been Director of the Wisconsin Conservatory of Music in Milwaukee. At Rice, he has taught in both the Music School and in the Humanities Division. "I will advocate especially for policies and practices that enhance the experience of our young people -- by giving them the insights and skills that lead to understanding and participation in the arts," he emphasized. Educated at Lawrence University, Delhi University (India) and, as a Rhodes Scholar, at Oxford University, (where he earned his degree in philosophy, psychology and physiology) Michael Hammond has written numerous scores for theater here and abroad. His special interests include the music of Southeast Asia, Western Medieval and Renaissance music, and the relationships between neuroscience and music. He replaces, new Institute of Museum and Library Services (IMLS) Director Robert Martin, who became Acting Chairman of the Arts Endowment when William Ivey stepped down in September 2001. Sources/resources: NATIONAL ENDOWMENT FOR THE ARTS -- http://www.arts.gov
"President Nominates Michael Hammond, Dean of the Shepherd
School of Music at Rice University, as New NEA Chair"
"NEA Chairman Bill Ivey Resigns Effective September 30"
NEA AWARDS $19,432,000 IN 819 NEW GRANTSWASHINGTON D.C. - In the first major funding round of FY2002, the National Endowment for the Arts (NEA) has announced $19,432,000 awarded through 819 grants. Awards -- to organizations, through the categories of Creativity and Organizational Capacity, and to individuals, through Literature Fellowships -- will be distributed to nonprofit organizations and to writers across the country, from writer Richard Schmidtt in Sparr, FL; to the Community Visual Art Association of Jackson Hole in Jackson, WY; to the Anchorage Concert Association in Anchorage, AK.This round of new Grants in Creativity included $45,000 to American Composers Orchestra (New York, NY) in support of the Emerging American Composers project; $10,000 to the Actors Theatre of Phoenix to support the development and production of a new play by Gus Edwards based on historical and contemporary stories of the African American community in Arizona; $36,000 to the Bemis Center for Contemporary Arts (Omaha, NE) to support residencies for artists to create new work; and $20,000 to the American Film Institute (Los Angeles, CA) to support the Directing Workshop for Women. The Lower Manhattan Cultural Council will receive $35,000 to support the World Views Visual Arts Residency. Until the events of September 11, the program operated on the 92nd floor of the World Trade Center's Tower One. An alternative site is being explored. Grants in Organizational Capacity included $20,000 to the Association of Collegiate Schools of Architecture (Washington, DC) to support meetings and workshops between design professionals, politicians and policy makers regarding urbanism; and $11,000 to The Field (Performance Zone, Inc.) (New York, NY) - to support a 2002 series of workshops and residencies. [Dance]Fieldwork offers over 400 artists a method of strengthening their creative process via a group feedback structure and will take place in several cities across the United States. Literature Fellowships --this year awarded in fiction and creative nonfiction -- included grants to Barbara Hurd (STIRRING THE MUD: ON SWAMPS, BOGS AND HUMAN IMAGINATION, Beacon Press, 2001) Jonathan Franzen (THE CORRECTIONS A NOVEL, Farrar, Straus and Giroux 2001) and Norah Labiner (OUR SOMETIME SISTER, Coffee House Press, 2000. Two grants were held up last month (in the final stage of the approval process) by NEA acting Chair Robert Martin. One, for a production of Tony Kushner's HOMEBODY/KABUL at the Berkeley Repertory Theatre was eventually approved. However, the second grant -- to the Maine College of Art for ERACISM, a retrospective of artist William Pope.L -- was denied. (see coverage elsewhere in this issue of Arts Wire CURRENT)
With 726 grants totaling $16,675,000, Creativity grants will support all
aspects of the creation and presentation of artistic work including
commissions, residencies, rehearsals, workshops, performances,
exhibitions, publications and festivals. The 726 projects are expected to
produce 7,000 artistic events or opportunities for interaction between
artists and audiences. A few of this year's funded projects in Creativity
are:
With 48 grants totaling $1,937,000,Organizational Capacity grants will
serve a broad constituency and support projects that develop future arts
leaders and enhance the skills of those already working in the field. A
few of the grants in this category are:
The Arts Endowment's Literature Fellowships represent one of the agency's
most direct investments in American creativity by supporting writers in
the development of their work. The program's goal is to encourage
production of new work by affording artists the time to write.
Simultaneously, the fellowships give writers national recognition and
invaluable validation of their talent to peers, agents, publishers and
presenters around the country. During the past 35 years, the
agency has awarded $38 million through its Creative Writing
Fellowships to 2,400 writers, and sponsored work resulting in over
2,300 books.
Each grantee will receive $20,000. Among others, they include:
Chris Adrian; (Norfolk, VA) Mary Allen; (Iowa City, IA) Donald E.
Antrim; (Brooklyn, NY ) Kevin Brockmeier; (Little Rock, AR) Cydney
Marie Chadwick; (Petaluma, CA) Anthony Doerr; (Bosie, ID) Paul
J.Hendrickson; (Takoma Park, MD) Anthony Varallo; (Yorklyn, DE)
and Maurice Brennen Wysong. (Geneva, NY)
Additionally, nine grants were awarded to Translation Projects in
Prose, including $10,000 to David L. Frye to support the
translation from Spanish of EL PERIQUILLO SARNIENTO by Mexican
writer Jose Joaquin Fernandez de Lizardi and $10,00 to Louis John
Felstiner, Jr.Stanford, CA) to support the translation from French
of the collected correspondence between poet Paul Celan and his
wife, French artist Gisle Celan-Lestrange. Written between 1951
and 1970, when Celan committed suicide, the more than 600 letters
explore critical aesthetic questions and include first drafts of
renowned poems.
The Arts Endowment's budget appropriation for FY 2002 is $115.2
million, representing the second consecutive budget increase the
agency has received since 1992 and an increase of $10 million over
last year's budget.
In Berkeley, CA where, although it was initially held up, the
Berkeley Repertory Theatre received funding to support the
development and presentation of a new production of Tony Kushner's
play HOMEBODY/KABUL, (which opened this month at the New York
Theatre Workshop) Artistic Director Tony Taccone stated:
"I am relieved and excited that the NEA has chosen to support
Berkeley Rep and Homebody/Kabul. While it was disconcerting that
there was ever any controversy surrounding this grant, we applaud
the Endowment for supporting art which raises important political
issues. Tony Kushner's greatest strength as a writer is the
expansiveness of his mind and his ability to describe the social
and psychological latticework that connects us all. We can only
benefit from having the opportunity to see and learn from this
tremendous work."
Sources/resources:
NATIONAL ENDOWMENT FOR THE ARTS --
http://www.arts.gov/endownews/news01/Announce12-19.html
As Founding Director of the Performance Art Festival + Archives,
which presented the work of performance artist William Pope.L on
three separate occasions during our annual Festivals since 1991, I
am profoundly disappointed in the recent actions taken by the
National Endowment for the Arts to reject the funding of Pope.L's
eRacism retrospective exhibition planned for the Institute of
Contemporary Art at the Maine College of Art, Diverse Works in
Houston and the Portland Institute for Contemporary Art in Oregon.
It is particularly distressing that this action was taken
unilaterally by the acting chair of the NEA, contradicting the
recommendations of the agency's own review panel and endorsement
of the National Council on the Arts.
But it is not surprising. It is also no coincidence that
performance art is often a lightning rod for censorship by funding
agencies, institutions and the media.
Performance art, by its nature, defies classification or
definition, but there are a few characteristics that much
performance art shares. It is often presented by the same artist
who creates it, unlike many of the traditional performing arts
such as theatre, dance and music. The work is often created by
women, minorities, and the politically disempowered, and the work
often expresses personal issues in a direct manner without the
mediating separation of a book, a film or even a theatrical stage
between the artist and the audience. These issues are often
political and highly personal in nature, exploring capitalism,
race and power structures, the human body, the commodification of
culture, the representation of women and minorities in advertising
and the media, and other uniquely postmodern issues.
Although he is a professor of theatre, one of Pope.L's
performances in Cleveland involved him crawling in the streets of
various neighborhoods in order to reflect back to the community
its own attitudes of racism. In fact, he persuaded the entire
audience at one of his lectures to join him on his crawl. I can
recall how the downtown hotel housing our artists refused to allow
entrance to this award-winning black performer one evening,
thinking he was homeless. His repeated performances in Cleveland
endeared him to the performance art community locally, and we
looked forward to his regular appearances as someone courageous
enough to illuminate the truth on a range of difficult issues.
Always thought provoking, Pope.L is an exemplary teacher and
educator, articulate and patient with those witnessing his
performance, consistently willing to engage in dialogue with those
who were moved in some way by his work. We were pleased that
Pope.L was one of the few artists chosen to participate in the
prestigious Whitney Biennial for 2002.
I recall in 1992 when I served as a panelist for the National
Endowment for the Arts Solo Theatre Panel. The acting chair at
that time had rejected a number of panel-approved grants in a
similar fashion to the events of this month. My fellow panelists
and I were so dismayed by the prospect that our recommendations
would also be overturned that we appealed to the acting chair to
tell us what criteria were being used by the administrators of the
NEA to reverse these already sanctioned grants. Then, as now, it
appears that the NEA's own panels and National Council on the Arts
can be overruled for any reason, or no reason at all. With no
accountability, the process loses credibility, and our nation
moves from one that promotes the best and the brightest artists in
an open, democratic national panel process to one that censors
challenging and difficult work through secret, unilateral rulings
by appointed political officials. Especially in the current
environment of rapidly eroding civil liberties, we must be
vigilant to protect our constitutional rights of free expression.
Now that the Performance Art Festival + Archives is focusing on
the development of our unique archive of performance art
documentation (2000 hours of video, 6000 photos, artist
interviews, biographies and critical reviews, collected over 12
years), we have found that educators who wish to teach the
influential art form of performance art have very little source
material around which to build their curricula. Funding for this
art form is so tenuous that virtually all publications that
covered performance art have folded, and venues that once
presented it vigorously now either rarely present performance art
or they have disappeared completely.
It is a shame that larger institutions, museums and art centers
hardly ever present performance art exhibitions or retrospectives.
Apparently, when they attempt to do so, this is the treatment they
can expect.
(c) 2001 Thomas Mulready - For permission to redistribute this
contribution, please contact him at
thomas@performance-art.org
PORTLAND, ME -- On December 18, Maine College of Art (MECA) was
informed by officials of the National Endowment for the Arts (NEA)
that the agency had declined grant funding for the William Pope.L:
eRacism exhibition, scheduled to take place in 2002 at the
Institute of Contemporary Art at MECA.
MECA -- the lead applicant in a consortium proposal which also
included two other contemporary arts institutions, DiverseWorks
Art Space of Houston, Texas and Portland Institute for
Contemporary Art (PICA) in Oregon -- had requested a $42,000 grant
from the NEA in support of the exhibition.
"We are disappointed with the NEA's decision not to fund this
major retrospective of William Pope.L's work," said MECA President
Christine J. Vincent. "Pope.L is a nationally acclaimed African
American artist who engages important issues of our time. As a
leading arts education institution, Maine College of Art and its
Institute of Contemporary Art are committed to supporting
innovative and influential artists whose work brings fresh, often
challenging, thinking about art and culture to public audiences
and to our campus community."
According to NEA officials who spoke to College administrators,
the proposal had been recommended by the agency's advisory grant
review panel and then by the National Council on the Arts. The
decision to decline funding was made by the Interim Chairman of
the NEA, Richard Martin. No specific reason for the decision was
provided.
The Arts Endowment doesn't comment on grant applications which
aren't funded, an NEA spokesperson told Arts Wire.
William Pope.L's work has included THE BLACK FACTORY in which
centrally a machine grinds text and images from contemporary
African American culture into "pulp"; and the performance ERACISM
in which Pope.L (as Mr. Poots) involves the audience in a
performative investigation of racism in America.
In the Boston Financial district, he sat on a 'throne' of Wall
Street Journals and "attempted to injest a stack of newspaper on
which I was sitting while drinking milk, (to coat my stomache and
to dilute the poisons of the paper)" he states on the Franklin
Furnace's web site. "At spontaneous intervals during the
performance I made phone calls to the senior vice presidents of
the district office of the Wall Street Journal in Boston. I
invited each vice president to lunch with me at the particular
location of the performance. I did this work once a day for five
days calling one senior vice president a day."
He is a professor of Theater and Rhetoric at Bates College in
Lewiston, Maine. In the mid 1990's when the Arts Endowment was
still directly funding individual artists, he received one of the
last NEA individual artists fellowships. He was recently selected
to participate in the prestigious Whitney Biennial in New York in
2002.
Many of his street performances, such as a series of "crawls" are --
in their intense, physical demanding implementation -- disturbingly
evocative of the societal problems, such as homelessness, to which they
call attention.
He has also walked around New York City wearing a huge (extendable to 14
feet) white cardboard penis, as a commentary on the pervasive supremacy
of white phalluses.
For that one project a 25-year retrospective appears in jeopardy, Pope.L
noted to the PORTLAND PRESS HERALD.
MECA recently received word from The Andy Warhol Foundation for
the Visual Arts that it has been awarded a grant of $50,000 toward
the exhibition's budget of $165,000, and the MIT Press will
publish a catalog for the eRacism exhibition. "We are committed to moving
forward with this exhibition," said Mark H.C.Bessire, Director of the ICA
at MECA and co-curator of the Pope.L exhibition. "Our presentation of
William's work will provide an important educational opportunity for the
College and the community to explore the role of the artist as social
critic and the importance of freedom of artistic expression. We will
continue exploring other potential sources of support to help fill
the gap left by the NEA's decision."
In the past decade, while performance art continues to flourish in
other countries, such as Canada, (in events and venues including Fado
Performance, the New Gallery in Calgary, and Western Front in Vancouver)
in this country, dwindling funding has been instrumental in the demise of
several major performance art venues, including HIGH PERFORMANCE
Magazine and the CLEVELAND PERFORMANCE ART FESTIVAL.
All art forms in this country are in need of more funding, and the
recent round of Arts Endowment grants is notably diverse,
including other grants to Maine institutions and artists (for
instance the Bates Dance Festival and Maine writers Michael
Paterniti and William F.Roorbach) as well as funding for the
Atlanta (GA) Contemporary Art Center to support an installation,
investigating the historical roots of racism and to Performance Space 122
(New York, NY) to support six new performance/performance art works which
emphasize visual elements.
Nevertheless, although the passionate and evocative work of American
performance artists -- Adrian Piper's race and identity centered works;
deceased artist Jonathan Larson's Wall Street performed J. P. MORGAN
SAVES THE NATION; Paul Cotton's underdocumented performance works which
search for an integrative place for the human body in community
situations; Susan Lacy's performative works with inner city youth;
William Pope.L's challenging, audience-centered investigations of race
and commodity -- are an important American cultural resource, performance
art, with its tough, edgy ability to ignite conversation, to spotlight
social issues, and to generate controversy, has been underfunded on a
national level in the past decade, and it continues to be underfunded.
As Thomas Mulready, founding Director of the Cleveland Performance Art
Festival emphasizes in his essay which accompanies this article: "It is a
shame that larger institutions, museums and art centers
hardly ever present performance art exhibitions or retrospectives.
Apparently, when they attempt to do so, this is the treatment they
can expect."
Sources/resources:
MAINE COLLEGE OF ART --
http://www.meca.edu
Stuart Horodner
William Pope.L
Glenn Jordan
"HIGH PERFORMANCE Mails Out Last Issue"
"This Year's Cleveland Performance Art Festival will be the Last"
CLEVELAND PERFORMANCE ART FESTIVAL ARCHIVES --
http://www.performance-art.org
APAP ANNUAL MEMBERS CONFERENCE INVITES COMMUNITY TO ATTEND SPECIAL
PRESENTATIONS BY ANNE BOGART, LEE C. BOLLINGER, AND MEREDITH MONK
The Association of Performing Arts Presenters, (APAP) its members
and staff, invite the arts community to hear three speakers
provide reflection, leadership, and inspiration at the APAP Annual
Members Conference -- WITH VOICES. FROM THE SOURCE. FROM THE SOUL.
The special session speakers are: author and director Anne Bogart;
President-elect, Columbia University, Lee C. Bollinger; and
composer, singer, choreographer Meredith Monk.
Saturday, January 12, 2002, 11:00 AM - 12:30 PM
Sunday, January 13, 2:00 to 3:00 PM
Tuesday, January 15, 9:00 to 10:15 AM
"With Voices. From the Source. From the Soul we hope to explore
the potential of our individual and collective voices, and to
examine the endless possibilities of human expression and
responses to human experience, Arts Presenters states. In addition
to the open sessions, the conference will feature choreographer
Ronald K.Brown and a performance by Ronald K.Brown/EVIDENCE; actor
Terry Galloway; performer Bill Shannon; composer Osvaldo Golijov;
and director Ching-ming Liu.
Arts Presenters is also hosting a two-day Winter Institute.
scheduled on Thursday and Friday, January 10-11, 2002. Offering
professional development/challenge response, Arts Presenters'
Winter Institute features eight seminars on a variety of topics
including marketing, fundraising, audience development,
evaluation, arts education, branding, and sponsorship. The seminar
"Presenting in a Changing World" will feature David White of Dance
Theater Workshop, Roberta Uno of NEW World Theater, MK Wegmann of
the National Performance Network, and Gabri Christa of Danzasia.
Scholarships are available for some seminars. For additional
information on the three special events or the Winter Institute,
visit the Arts Presenters Web site at
http://www.artspresenters.org
THE DREAM OF THE AUDIENCE - THERESA HAK KYUNG CHA (1951-1982)
The Dream of the Audience is a retrospective exhibition of the
works of Korean-American artist Theresa Hak Kyung Cha, who worked
in media ranging from performance, film and video to mail art and
artist's books. when she was murdered in New York in 1982 at the
age of 31.
"An ongoing exploration of themes born out of personal experience
-- primarily those of geographic exile and cultural and linguistic
displacement -- Cha's complex work is distinguished by multiple
cultural references and languages, including Korean, French and
English," notes the exhibition which will feature extensive
documentation of Cha's performances, video and film installations,
sculpture, artist's books, works on paper and documentation
relating to the unfinished film WHITE DUST FROM MONGOLIA, which
Cha was working on when she was killed.
Cha moved with her family from Korea to San Francisco in 1964 and
eventually received four degrees from UC Berkeley - a B.A. (1973)
in comparative literature, and a B.A. (1975), M.A. (1977), and
M.F.A. (1978) in art practice. During the last two years of her
short life she lived in New York, where she created her final
work, the book DICTE, which combines family history,
auto-biography, stories of female martyrdom, poetry, and images,
and touches on all the major themes of her work -- language,
memory, displacement, and alienation.
On the occasion of the opening of the exhibition, THE DREAM OF THE
AUDIENCE, an interdisciplinary panel of speakers will present a
multi-faceted discussion of the work of Theresa Hak Kyung Cha,
whose work has become increasingly important and relevant to a
broad range of disciplines -- from ethnic studies, Asian American
Studies, and women's studies to film, literature, and linguistics,
as well as visual and performance and art. Panelists include Laura
Kang, UC Irvine; Elaine Kim, UC Berkeley; Lisa Lowe, UC San Diego;
and Ann Pellegrini, UC Irvine.
The Dream of the Audience Theresa Hak Kyung Cha (1951-1982) has
been organized by the University of California, Berkeley Art
Museum and Pacific Film Archive. Special thanks to The Beall
Foundation and the Claire Trevor School of the Arts, University of
California, Irvine.
For more information, visit
http://artscenecal.com/UCIrvine.html
A joint project of Meet The Composer and the National
Endowment for the Arts, (NEA) Commissioning Music/USA supports
the commissioning of new works by not-for-profit performing and
presenting organizations. Grants provide support for composer and
librettist commissioning fees, copying costs, as well as a range
of support services. (Production costs are not supported.)
Commissioning Music/USA is available both to consortia and to
individual organizations. In 2001 awards included:
For the Flynn Center for the Performing Arts; Burlington, VT;
Diverse Works; Houston, TX; and Arts at St. Ann's; Brooklyn, NY,
Eve Beglarian (New York) and Phil Kline (New York) will compose
THE BILITIS PROJECT, an evening-length song-cycle setting the
erotic CHANSONS DE BILITIS of fin-de-sicle French writer Pierre
Louys. Beglarian and Kline will create an evening of songs that
they will perform with musicians Nurit Tilles and Margaret
Lancaster. The completed work will include visual elements in the
form of slides and/or video, and the extensive low-and high-tech
electronics the two composers are known for, as well as live
acoustic instruments and voices. The composers plan to finish the
work by summer 2002. The premiere will be at The Flynn Center in
October of 2002, and they will tour the project to the consortium
member's venues.
For the THAMYRIS, new music ensemble, Decatur, GA, Janice Giteck,
(Seattle, WA) Frank Hannaway, (Atlanta, GA) Pauline Oliveros,
(Kingston, NY) and Alvin Singleton. (Atlanta, GA) will each
poet/writer Tracie Morris and
choreographer Maia Claire Garrison on a score for small ensemble
that will include cornet, trombone, bass, guitar, electronic and
acousic drums and percussion, additional stringed instruments,
tape and electronics.
For First Voice; San Francisco, CA; Asia Society; New York, NY;
and Contemporary Art Museum; Chicago, IL, Mark Izu (San
Francisco, CA) will compose a 90-minute production which will
explore East/West musical fusion, combining elements of western
classical music, American Jazz/New Music, North Indian Classical
music, traditional Persian musical instruments, and Gagaku.
(Japanese court music)
The deadline for Commissioning Music/USA 2002 is January 15, 2002
For complete application information., visit
http://www.meetthecomposer.org/programs/programs.htm#USA
Commissioning Music/USA is made possible with support from The
National Endowment for the Arts, The Helen F. Whitaker Fund, and
The Target Foundation.
Details about these and other opportunities are available on Arts
Wire's Web Site at
http://www.artswire.org/current/calls.html
Deadline: January 10, 2002, Digital Artists, SEYBOLD SEMINARS
DIGITAL ART CONTEST
Deadline: January 18, 2002, Films of any length and genre,
MAGNOLIA INDEPENDENT FILM FESTIVAL, West Point, MS
Deadline: January 20, 2002, Proposals for Actions/Interventions,
LOVE A COMMUTER PROJECT, a site-specific intervention by Nicolas
Dumit Estevez and Maria Alos at subway stations in New York City
Deadline: January 21, 2002, Writing about "fear", M/C - A JOURNAL
OF MEDIA AND CULTURE
January 31, 2002, Visual art, crafts, WMHT EDUCATIONAL
TELECOMMUNICATIONS ART AUCTION - contributions (which will be
included in a juried exhibition)
Deadline: March 1, 2002, Visual artists residencies, July 2002 -
THE ART OMI INTERNATIONAL ARTISTS' COLONY
Deadline: Through March, 2002, Individual artist submissions and
curatorial proposals for the 2002 season, NO NAME EXHIBITIONS @
THE SOAP FACTORY
Deadline: April 1, 2002, Writers, visual artists, and composers,
BYRDCLIFFE ARTS COLONY ARTISTS IN RESIDENCE PROGRAM
Deadline: April 5, 2002, Artists Works Which use Materials from
Hudson Valley Materials Exchange, for EARTH DAY COMMUNITY
CELEBRATION, Hudson Valley Materials Exchange (HVME), in
cooperation with the Orange County Art Federation
Deadline: April 30, 2002, Public Artists, ATRIUM SCULPTURE FOR THE
NEW IOWA CITY PUBLIC LIBRARY
Deadline: Ongoing, Artists with physical disabilities -- slides or
transparencies of original work for reproduction on cards and
calendars produced for the CHRISTOPHER REEVE PARALYSIS FOUNDATION,
VSA ARTS
Deadline: Ongoing, Artists in Milwaukee, WI area, Cooperative
gallery members- WALKER'S POINT ARTISTS ASSOCIATION/GALLERY 218
Details about these and other jobs are available on Arts Wire's
Web Site at http://www.artswire.org/current/jobs.html
To submit jobs to ARTS WIRE CURRENT JOBS, send email to
joblist@artswire.org
EXECUTIVE DIRECTOR, Movement Research, (New York, NY)
EXECUTIVE DIRECTOR, Mid-America Arts Alliance, (Kansas City, MO)
EXECUTIVE DIRECTOR, Rocky Ridge Music Center, (Estes Park, CO)
ASSOCIATE CHAIR AND ASSOCIATE PROFESSOR OF THEATRE ARTS,
Department of Theatre Arts, University of Miami, (Coral Gables,
FL)
ART HISTORIAN, ASSISTANT PROFESSOR (tenure track) University of
North Carolina at Charlotte, (Charlotte, NC)
DIRECTOR OF THE ARTS FOR CHILDREN PROGRAM - ASSOCIATE PROFESSOR,
(Renewable, three-year contract, tenure-track) SUNY College at
Brockport, (Brockpost, NY)
DEPUTY DIRECTOR, The Colorado Council on the Arts, (Denver, CO)
MANAGING DIRECTOR, (new not-for-profit with focuses on the Arts
and Civic Dialogue)(New York City, NY)
PROGRAM COORDINATOR, Council Senior Center, (New York City, NY)
COMMUNITY ARTS PROGRAMMER, Parks & Rec Dept, (Arlington County,
VA)
ARTS OPERATIONS MANAGER, Salina Arts and Humanities Commission,
(Salina, KS)
ADMINISTRATIVE DIRECTOR, Four Nations Ensemble, (Hudson NY)
MARKETING AND EVENTS DIRECTOR, Irish Repertory of Chicago,
(Chicago, IL)
PLAYWRIGHT/TEACHER - CONSULTANT, Flatbush Youth Initiative,
(Brooklyn, NY)
BALLET INSTRUCTOR, Juneau Dance Unlimited, (Juneau, Alaska)
DIRECTOR OF DEVELOPMENT, Merit School of Music, (Chicago, IL)
DIRECTOR OF MARKETING AND COMMUNICATIONS, Utah Symphony
(Salt Lake City, UT)
PROGRAM ASSOCIATE, Stage Directors and Choreographers Foundation,
(New York City, NY)
PROGRAM ASSOCIATE, Creative Capital Foundation, (New York City,
NY)
GALLERY ASSISTANT, (Upper East Side, New York)
PROGRAMMING ASSISTANT, Lincoln Center (New York City, NY)
ASSISTANT TO THE ARTISTIC DIRECTOR, Institute of Art and Civic
Dialogue, Tisch School of the Arts, New York University, (New York
City, NY)
ADMINISTRATIVE ASSISTANT/RECEPTION, National Foundation for Jewish
Culture, (NFJC) (New York City, NY)
INFORMATION SYSTEMS ASSOCIATE, WEB ADMINISTRATION AND DIGITAL,
MEDIA TECHNOLOGY, HUNTER COLLEGE of The City University of New
York, Department of Film and Media Studies, (New York City, NY)
BOX OFFICE ASSISTANT MANAGER, Symphony Space, (New York City, NY)
BOOKKEEPER, (part-time) (graduate art school), (New York City, NY)
APPRENTICESHIP, New Victory Theater, (New York, NY)
INTERN, Dancewave, (Brooklyn, NY)
INTERNSHIP, DANCE IN AMERICA, (New York City, NY)
PROGRAM INTERN, Meet the Composer, (New York City, NY)
INTERN POSITION, StudentsLive, (New York City, NY)
INTERNS, Arts at St. Ann's, (Brooklyn, NY)
INTERN, Barbara Gladstone Gallery, (New York City, NY)
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"....Art can free our perception of set patterns and allow us
to see the present differently as well as to imagine alternative
futures."
The National Coalition Against Censorship (NCAC) web site
is documenting responses to the attacks and their aftermath from
artists, curators, writers, musicians, and filmmakers, as well as
performance spaces, museums and art-related web sites.
"We are specifically looking for work that provides a perspective
on the current state of the world as defined by recent events in
the United States, Asia, and the Middle East," they state.
Works documented on the site include NPR'S SONIC MEMORIAL LINE:
for which the public radio community across the country is joining
together to commemorate and chronicle the people, places and endeavors
that made up the life and history of the World Trade Center; and D-Word's
WAR & PEACE, a collaborative documentary which reflects the individual
voices of documentary filmmakers from around the world.
The NCAC web site is also hosting an Art Now Discussion Forum in
order to create a conversation on the ethical, political and
historical aspects of creative expression in times of crisis.
Topics currently include:
HOUSTON, TX -- Acting on a museum patron's anonymous tip that the
work was threatening to President Bush, FBI and Secret Service
agents paid a visit on the Art Car Museum to investigate artwork
in the exhibition SECRET WARS, according to reports in the
HOUSTON CHRONICLE and HOUSTON INDYMEDIA. In addition to examining
the work, the agents asked questions such as where did the museum
get its funding.
The exhibition had been planned before the September 11 attacks
with the idea of artists decorporatizing war in a way parallel to how
they use mass produced automobiles to make art statements.
The agents determined the artwork was not dangerous, FBI
spokesman Bob Dogium told the Chronicle, adding that after the
terrorist attacks on September 11, at Attorney General Ashcroft's
urging, law enforcement investigates all tips about apparent
anti-American activities.
In an interview with docent Donna Huanca, a University of Houston
art student who was working at the museum when the agents
arrived, Houston IndyMedia quotes her as saying "It was a very scary
experience to have them and show them text from the white house,
press releases, the texts that are on the walls are not changed or
made into anything that they are not, we took them straight from
the CNN website.....they [the agents] looked particularly at a work [a
painting by Lynn Randolph] "that has a fighter jet crash, and it is
hanging off a tree with the Houston skyline burning and the composition
focuses on the children, as they remain innocent victims in the
middle of war, which was done during the gulf war, and it has
George Bush senior in the belly of the beast and the devil is
dancing around...."
The agents were also concerned that they were under surveillance
because a component of the exhibition is a mock surveillance
camera pointed at the gallery door. (The front door is visible on
a monitor, but it isn't recorded)
The Chronicle quotes Jim Harithas, the museum's founder and
director and director of Houston's Contemporary Art Museum from
1974-79, as saying that the exhibit is not meant to be
unpatriotic. Harithas pointed out that the current political climate
appears to curb free speech, and that "Apparently now, any criticism of
the president is subject to investigation."
Sources/resources:
Dale Lezon
tish |
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