"Michael Hammond - composer, conductor, music educator, neuroscientist, and passionate advocate for the arts - died on January 29, 2002. He did not have the opportunity to lead the Endowment in carrying out his vision, but we do," Acting NEA Chair Eileen B. Mason told the hearing on cultural agency appropriations for FY03. Mason was appointed Acting Chairman when Michael Hammond died suddenly on January 29 one week after taking office as the eighth chairman of the NEA.

After the September 11th attack, the arts have sustained the American spirit, Eileen Mason said, and she delineated the continuing need to provide opportunities to experience performances, exhibitions, literature, and festivals and to "enliven the artistic culture of the Nation by strengthening all forms of educational activity in the arts, especially for the young."

NEA Chair Bruce Cole, who also noted that in the aftermath of the terrible events of September 11, 2001 the humanities are particularly needed, testified that "Since coming to the Endowment less than three months ago I have been actively learning more about the procedures and operations of the agency's programs and offices. This experience has confirmed my long held view that NEH plays a crucial role in the life of the humanities in our nation that more than justifies the high level of respect it receives from the humanities community and the general public alike."

The President's budget included $117 million for the NEA and $121 million for the NEH. The Institute of Museum and Library Services (IMLS) Office of Museum Services, currently at $27 million, would receive $29 million. The small increases over last year's budget for the cultural agencies are primarily for administrative costs.

Among the NEA programs which NEA Chair Mason specifically mentioned at the hearing was $35.9 million to provide approximately 1,676 matching grants to support artmaking. "We will support commissions, residencies, rehearsals, workshops, collaborations, re-creation or imaginative reinterpretation of existing works as well as the development of new work of quality," she told the Committee, according to her statement on the Arts Endowment website.

$11.350 million is earmarked for approximately 354 Arts Learning grants, and under the Challenge America program, a requested $17 million will support outreach programs including projects that enhance communities and make the arts more accessible to disabled persons.

She also announced that the Arts Endowment plans to raise the number of poetry fellowships from 40 to 45.

The National Assembly of State Arts Agencies (NASAA) reports that in response to questioning from Committee Chair Joe Skeen, (D-NM) Mason mentioned, in addition to program organization, increased support for quality programs on radio and television. When Maurice Hinchey (D-NY) asked her what the NEA would do with more money, Mason replied that the Arts Endowment would augment its current programs -- with an emphasis on touring to disseminate more quality art throughout the country.

"How much money does the NEA really need?" asked minority leader Norm Dicks. (D-WA) In response, Eileen Mason supported the President's budget proposal, according to NASAA. However, she called the Arts Endowment's budget officer to the stand, and he explained that the NEA now funds only 20 to 25 percent of grant applications. Funding all applicants would require an appropriation of about $468 million Dicks calculated.

According to NHA-ANNOUNCE, although the NEA had channeled the increases awarded to the NEA by Congress in the past few years entirely into the Challenge America program, Mason indicated that any further increases would be divided among Challenge America and other programs of NEA.

In her testimony -- available on the NEA website at -- http://www.arts.gov/endownews/news02/Testimony3-02.html -- Mason promoted changes in the grant review process.

"As part of this budget, we request a legislative change to allow the National Council on the Arts to delegate authority to the Chairman to utilize this review process for grants up to $10,000," she told the Chairman.

She said that with the Challenge America Fast Track grants the Endowment piloted the use of readers, or outside reviewers, rather than convening panels and conducting Council review. She believes this enabled the Endowment to save time and reduce overhead.

However, under current legislation the agency is required to utilize review panels of citizen experts who represent geographic and ethnic diversity.

Ensuring a diverse spectrum of awards, these panels have been a respected and integral part of the Arts Endowment granting process for many years.

Additionally, according to testimony from then NEA Chair Bill Ivey at last year's budget hearings, because of reduced funds the Endowment now urges applicants to consider the level of recent awards and to request a reasonable grant amount. In the past few years, well over half of the agency's grants have been for amounts less than $25,000.

In his testimony to the House Appropriations Subcommittee on Interior and Related Agencies, NEA Chairman Bruce Cole set forth the Humanities Endowment's special initiative that will "encourage new project proposals that advance our knowledge of the events, ideas, people, and principles that shaped and define the American nation."

He told the Committee that "This new initiative, entitled We the People, will call on scholars, teachers, filmmakers, museums, libraries, and others engaged in the humanities to develop projects of excellence and significance on these themes."

The program requires no additional funding but will be woven into the NEH's already existing funding structures.

Cole also emphasized that in FY03, projects which employ new electronic technologies to make the humanities more widely accessible will be encouraged in all the agency's core programs. "The Internet, World Wide Web, CD-ROMS, and other digital formats are continuing to transform research, education, and public programming in the humanities," he stated. "I plan to continue and broaden the active role the NEH has taken in harnessing digital technologies in the service of the humanities."

Among recent projects in this area, he pointed to a Challenge Grant to George Mason University in Virginia to endow a Center for History and New Media which is pioneering the use of information technology in historical research and in the classroom.

In his testimony -- available on the NEH website at http://www.neh.gov/whoweare/2003testimony.html -- Cole set forth the following priorities for the NEH:

• Advancing scholarship and research in the humanities. Strengthening teaching and learning in the humanities at all levels of our nation's education system.

• Encouraging and supporting the public education activities of the state humanities councils

• Encouraging and supporting the public education activities of the state humanities councils.

• Preserving and increasing the accessibility of important cultural and intellectual resources.

• Quality interpretive programs and projects in the humanities for public audiences

• Encouraging and leveraging private support for the humanities.

A project of former NEH Chair Bill Ferris, the Regional Humanities Centers, an initiative in the planning stages, would have created regional humanities centers at educational institutions across the nation. However this initiative was allotted zero funding in the NEH budget. Cole clarified the status of this project, saying that "last November the Endowment awarded one-time implementation grants to eight institutions across the nation in support of these projects. We are confident that NEH's grants will enable these institutions to move forward with their plans. In the future, any institution that is interested in applying for support for a regional center will be eligible to submit a proposal through our regular Challenge Grants program and to compete for funding against other applications."

In her testimony to the Committee, NEA Acting Chair Mason strongly stated the case for arts education, saying that "Too many Americans grow up with almost no contact with the richness of their artistic inheritance. In today's culture there are fewer and fewer opportunities for a child to stumble across quality art. We will work to change that."

She pointed out that "to ensure the artistic future of our country, we believe we must begin with our children and grandchildren", and she told the House Committee that "In communities throughout the country, we plan to support projects that combine two important components: hands-on learning and exposure to quality art - excellent paintings, sculpture, literature, theater, and dance" -- supporting projects that "provide children, beginning as early as the pre-school years, with the opportunity to learn by actual experience the techniques of music-making and the skills of drawing, painting, sculpting, and dance movement."

Children, she said "should experience the techniques of writing poetry and the art of acting and play-making. This builds appreciation for skill, discipline, and sacrifice necessary for achievement. It helps children develop admiration for the skills and hard work of others."

Sources/resources:

NATIONAL ENDOWMENT FOR THE ARTS -- http://www.arts.gov
"Prepared Statement by Eileen B. Mason Acting Chairman of the National Endowment for the Arts Before the Subcommittee on Interior and Related Agencies U.S. House of Representatives" -- http://www.arts.gov/endownews/news02/Testimony3-02.html
March 6, 2002

"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

NATIONAL ENDOWMENT FOR THE HUMANITIES -- http://www.neh.gov
"Prepared Statement Bruce Cole, Chairman, National Endowment for the Humanities Before the Appropriations Subcommittee on Interior and Related Agencies U. S. House of Representatives"
-- http://www.neh.gov/whoweare/2003testimony.html
March 6, 2002

Jacqueline Trescott
"The Scholar's Call to Arms Bruce Cole sees Humanities as Key to Building a Homeland Defense"
THE WASHINGTON POST -- http://www.washingtonpost.com/wp-dyn/articles/A45896-2002Mar6.html

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

"Mason Presents Bush Arts Budget to House Panel"
THE NATIONAL ASSEMBLY OF STATE ARTS AGENCIES (NASAA) -- http://www.nasaa-arts.org/nasaanews/bush_arts_budget.shtml
NASAA WEBSITE - http://www.nasaa-arts.org

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

"Bush Budget Recommends Level Funding for the Cultural Agencies"
Arts Wire CURRENT -- http://www.artswire.org/current/2002/cur021202.html
February 12, 2002

Located in the Saratoga hills, Montalvo occupies a Mediterranean-style villa on 175 acres of beautiful land, which Senator James Duval Phelan left to the people of California "for the encouragement of art, music, literature, and architecture." In the new campus, located in a hillside orchard about a 5 minute walk from the main complex, each cottage is unique and is designed especially to suit a discipline.

"The artists residency program has used small apartments in the villa, but we are such an active arts center that we really needed to give artists room and separation," Director of Arts Programs Dakin Hart told Arts Wire. Because the original mission included architecture, the program wanted to make the new artists housing architecturally significant.

Villa Montalvo thinks of the new area -- which is a five minute walk from the main complex -- as both a small university campus and a kind of sculpture park of distinctly designed cottages.

For instance, a cabin for composers is dug deep into the hillside -- with thick concrete walls, none are of which are perpendicular, Hart explained. "Lots of features inside both the cabins for composers are specifically designed to make them an acoustically good space." Cottages are being designed in discipline-specific pairs with each artist-architect team designing a set of two cottages. The two composers cottages were designed by Solomon, Inc. with jazz composer Patrick Gleeson and artist Nellie King Solomon.

Two visual artists' cottages were designed by Adele Naude Santos and Associates with artist Doug Hollis. "Visual artists work with truly horrific substances -- for instance there is a lot of debate now about whether or not Eva Hesse's death was caused by the toxic materials she worked with," Hart observed. "So it's very important to have separate living and working space and have it extremely well ventilated. In these cabins, the living and working spaces are completely separate.

The writers cottages were designed by Hodgetts + Fung Design Associates with New York playwright Lee Breuer. "Lee Breuer had the concept that writers and artists are either introverts or extroverts, so one of the writer's cottages is cave-like -- dug into hill with big skylights; the other cantilevers out over the ravine with a spectacular view," Hart explained.

In addition to designing the Commons Building of the complex, StastnyBrun Architects administered an invitational competition used to select the designs for the ten additional cottages currently under construction. The other Architect/Artist Teams are:

• Jim Jennings Architecture with poet Czeslaw Milosz and sculptor Richard Serra (Visual Artists & Writers Cottages)

• MACKArchitect(s) with artist David Ireland (Visual Artists Cottages)

StastnyBrun Architects will design the Commons building with artist Ted Savinar and will continue to coordinate the efforts of the architect/artist teams.

Founded in 1939 by Anne Dodge Bailhache, Montalvo's artist community is the third oldest in the U.S. (after MacDowell Colony in Peterborough, NH and Yaddo in Saratoga Springs, NY) and the oldest in the West. Modeled on McDowell and Yaddo which in turn were modeled on the American Academy in Rome, Montalvo is a non-profit organization dedicated to "inspiring a love of the arts in everyone by presenting the best of the literary, performing, and visual arts, supporting practicing artists in the major creative disciplines, and providing significant arts experiences for children."

Residencies are suspended until completion of the new complex. During this transition, staff are re-designing the program to take advantage of the new facility.

According to the SARATOGA NEWS, Montalvo plans to add a new director of residency program. Artists accepted in the residency program will receive one-to three-month residencies with living stipends as well as opportunities to share their work with the South Bay community, including students.

"Our number one goal is have a program commensurate with new complex," Dakin Hart explained. Noting that the program has a low profile although it is one of the oldest programs in the country, Hart said: "We want to create a program that is extremely collaborative and a catalyst for culture in the South Bay, which serves as a resource, which takes advantage of the resources we have, the wonderful cultural and education institutions all over the bay area, the focus on area on innovation in the area."

Villa Montalvo also emphasizes that "What won't change is the program's focus on research and development for the arts and, in particular, our support for writers, artists, composers and performers with space, time, resources and creative community.

Construction is currently underway, and Villa Montalvo plans to reopen to residents in the fall of 2003. The next selection process will begin in the Spring of 2003.

Sources/resources:

VILLA MONTALVO -- http://www.villamontalvo.org

Oakley Brooks
"Montalvo to begin building studios to house artists"
SARATOGA NEWS -- www.metroactive.com/papers/saratoga.news/08.01.01/montalvo-- 0131.html
August 1, 2001

EVA HESSE -- http://www.sfmoma.org/hesse/
SFMOMA special interactive program, developed in conjunction with the exhibition EVA HESSE, on view at the Museum through May 19, 2002

ENVIRONMENTALLY FRIENDLY ETCHING

Centrum Arts and Creative Education, a Pacific Northwest center for the arts and creative education, is sponsoring a two-day intensive workshop to introduce printmakers to alternative methods of intaglio printmaking. Utilizing environmentally friendly etching techniques developed by Keith Howard and others, the workshop will introduce students to ImagOn photo-etching, which eliminates the use of hazardous materials associated with traditional printmaking techniques.

Teachers are Beth Dunn, Experimental College of University of Washington; and Richard Nelson, Daniel Smith Artists' Materials.

The workshop will take place in Centrum's Building 205 print studio which is being converted into a non-toxic print center. The studio features a 30-inch American-French etching press. On hand for the workshop will also be Ettan MS 12, Ettan M3 and Whelan etching presses.

"This workshop is ideal for printmakers, photographers and other 2-D artists who want to join the non-toxic printmaking revolution," they state.

For details, visit http://www.centrum.org/news/print.html

DESIGN IN AMERICA: BREAKING OLD HABITS - LECTURE SERIES CONCLUDES WITH ARCHITECT ELIZABETH WRIGHT INGRAHAM

"Twentieth-century Americans radically changed their landscape, building three-bedroom houses on suburban lots, embracing the automobile, abandoning Main Street for the mall, and tying it all together with seemingly endless miles of highway. In 2001, these trends continue apace. Houses are getting bigger and commutes longer. Vans, trucks, and S.U.V.s barrel down ever-widening freeways. Fueled by a hot economy throughout the 1990s, the whole country seems bent on a course of more, more, more.

Not everyone is cheering. For many, a house - even a small house - is no longer affordable. People tire of traffic, congestion, noise, pollution. We feel guilty about using more than our share of the world's natural resources. We despair over subdivision creep and the loss of open space...." - Design in America Breaking Old Habits

Organized by the Colorado College Art Department, the lecture series DESIGN IN AMERICA BREAKING OLD HABITS has examined the built contemporary environment and explored possible new directions -- with a series of speakers who included:

DAVID BARRETT, architect, Boulder, currently working on a mixed-use living/working urban village in North Boulder.

MABEL WILSON, architect, who will return to the California College of Arts and Crafts in San Francisco after a year of teaching at Columbia University. She focuses on cultural memory in writing, teaching, and design work.

ANDREW FREEAR, architect and professor at the Rural Studio at Auburn University in Alabama, who works with Samuel Mockbee to direct architectural students in designing and building structures for the rural poor.

The series will conclude in April with ELIZABETH WRIGHT INGRAHAM, architect, Colorado Springs, who embarked on a second design career in 1970. Her work -- such as her design for the Vista Grande Community Church in Colorado Springs -- embraces steel, glass, stone, and concrete. She serves this year as president of the Colorado Chapter of the American Institute of Architects.

www.coloradocollege.edu/whatsnews/ArchitectureLectures2001

More information about Elizabeth Wright Ingraham is available at http://www.archrecord.com/PROJECTS/FEB01/WrightIngraham.ASP

National Foundation for Jewish Culture and the New Media Collective - FUNDRAISING CLINIC

"Kick off our New Media Collective with some fundraising tips co-hosted by the National Foundation for Jewish Culture."

A Panel discussion hosted by filmmaker/media artist Alan Berliner

Alan Berliner's internationally shown experimental documentary films include THE SWEETEST SOUND; (2001) NOBODY'S BUSINESS; (1996) INTIMATE STRANGER; (1991) and THE FAMILY ALBUM. (1986) Several of his films are routinely rented for filmmaking and film His work also include sound performances, video sculptures and interactive audio installations. Berliner's interactive video installation, GATHERING STONES (1999), based on the tradition of placing rocks on tombstones when visiting Jewish cemeteries, was commissioned for the exhibition, TO THE RESCUE, EIGHT ARTISTS IN AN ARCHIVE at the International Center of Photography Midtown in New York City. His work has been shown at the Museum of Modern Art; the International Center of Photography; Whitney Museum of American Art Biennial Exhibition, Walker Art Center and at film festivals from Germany and Finland to England and Brazil.

The Panelists are:

• PENELOPE DANNENBERG, Director of Programs, the New York Foundation for the Arts (NYFA) began her work at NYFA in 1984. She has been responsible for creating and developing programs that build organizational capacity and services for artists and arts organizations. Previously, Dannenberg was the Lighting Designer and Production Stage Manager for the Pilobolus Dance Theatre and Martha Clarke's Crowsnest Dance Theatre. In 1982, she received an OBIE award for her light design for METAMORPHOSIS IN MINIATURE. She has toured extensively with these companies throughout Europe and the United States. She teaches lighting design at Sarah Lawrence College. Penelope Dannenberg holds an MFA in dance from the University of California, Los Angeles and has served as an advisor and consultant to numerous arts organizations and funders including the National Endowment for the Arts, Florida State Commission on the Arts, the NYC Department of Cultural Affairs, American Dance Festival, and the Joyce SoHo. She was President of the Danspace Project at St. Mark's Church in the Bowery, from 1989-1996, served as Vice President of the Congregation B'nai Jeshurun in FY97-98 and is presently a member of the Board of Trustees.

• DON PALMER has worked at the New York State Council on the Arts (NYSCA) since 1986 in the Presenting Program ad the Museum Program. Since 1998 he has been Director of the Individual Artists Program. He has also worked as a freelance writer since 1981 in New York City covering music, theater and film for a variety of local and national publications such as the Voice, the Times, Spin, and Jazziz. He has lived and traveled extensively in East and West Africa, and spent 10 days in Sri Lanka giving lectures on the legacy of Duke Ellington.

• RUBY LERNER is the Executive Director and President of the Creative Capital Foundation, an organization in support of innovative approaches in the performing, visual and media arts, as well as in new and emerging fields such as computer-based artwork and projects. Prior to coming to Creative Capital, Ruf Independence Mall and the Liberty Bell Pavilion in Philadelphia and is Executive Director of the Jewish Museum of Maryland.

"Our building is a living, breathing place. A building with a rooftop garden and playground, a lobby filled with light and space, designed like a communal living room. Two pools-one a 25-meter lap pool and a second training pool with a hydraulic lift to accommodate every kind of swimmer. A multimedia center that's as welcoming to seniors who want to become computer literate as it is cutting-edge for the community's emerging creative artists. A structure that houses a state-of-the-art fitness facility as well as a contemplation center, a study center, and arts studios. A fully-equipped auditorium that can be configured for poetry slams, classical concerts, and lectures as well as debuts of theatrical works.The JCC will be a refuge. A place to rejuvenate. To engage. A building that speaks to all of us. One-of-a-kind. All under one roof."

The admission for the FUNDRAISING CLINIC is $8.00 To register for the event, call 646-505-5708 WEB SITE: http://www.jccmanhattan.org

MUSEUMS FOR A NEW MILLENNIUM: CONCEPTS PROJECTS BUILDINGS

"As museums have evolved as public institutions, they have been required to be more than simply repositories for art. Many museums have responded to an increased demand for space and for leisure-oriented visitor services such as restaurants and gift shops. The challenge facing architects is to design a successful building that will itself be a work of art, yet will not upstage the art it is constructed to house. Recent building projects, like Frank Gehry's Guggenheim Museum in Bilbao, have illustrated that innovative, dramatic architecture can significantly increase the celebrity and desirability of the building, its architect and its city. Gehry's theatrical, titanium-covered buildings illustrate his belief that "a building for art should have a persona." These wildly expressive structures become public spectacles, immediately and permanently changing the character of their cities." - Museums for a New Millennium

MUSEUMS FOR A NEW MILLENNIUM: CONCEPTS, PROJECTS, BUILDINGS examines contemporary museum architecture with drawings, photographs, and original models of twenty-five architectural from around the world -- ranging from Norman Foster's Carre d'Art in Nimes, begun in 1984, to Zaha Hadid's futuristic design for The Contemporary Arts Center in Cincinnati, scheduled to be completed in 2003. Several projects reflect the use of computer technology to aid in the design and construction structures. They include Frank Gehry's Guggenheim Museum in Bilbao and Santiago Calatrava's extension of the Milwaukee Art Museum which "set on the city's lakefront, features a glass reception hall, a suspended pedestrian bridge, and a 90-ton moveable winglike steel sunshade (brise soleil) that spans almost a mile."

The exhibition's showcased projects -- these imposing, strategically located museum structures -- highlight mega-museum attention (or inattention) to the arts community and the community as a whole, as well as profit versus culture, visual impact versus accessibility, and other issues of contemporary museum architecture.

"One of the most ambitious building projects featured in the exhibition is Richard Meier's J. Paul Getty Museum in Los Angeles," the exhibition states. "The $1 billion Getty Complex is dramatically situated 900 feet above sea level, providing panoramic views of the Santa Monica Mountains, the Pacific Ocean, and the gridlike pattern of the city below. Meier's modernist complex is oriented horizontally and responds to the natural contours of the site. Visitors must take a unique ride in an electric tram up the mountain to reach the Getty entrance."

Japanese architect Tadao Ando's design for the new Modern Art Museum of Fort Worth, opening fall 2002, is also showcased in the exhibition. The new building will consist of five glass and concrete pavilions with roofs that are supported by giant Y-shaped columns. Three gallery pavilions and an indoor/outdoor cafe will appear to float on a large reflecting pool.

Other projects which the exhibition includes are:

• Oswald Mathias Ungers, Galerie der Gegenwart, Hamburg
• Robert Venturi, Denise Scott Brown, Museum of Contemporary Art, San Diego
• Vittorio Gregotti, Manuel Salgado, Centro Cultural de Belem, Lisbon Alvaro Siza Vieira, Centro Galego de Arte Contemporanea, Santiago de Compostela
• Mario Botta, San Francisco Museum of Modern Art Rem Koolhaas, ZKM, Zentrum fr Kunst und Medientechnologie, Karlsruhe
• Ricardo Legorreta, MARCO, Museo de Arte Contemporaneo, Monterrey Daniel Libeskind, Judisches Museum, Berlin
• Aldo Rossi, Bonnefanten Museum, Maastricht Peter Zumthor, Kunsthaus Bregenz
• Jean Nouvel, Fondation Cartier, Paris
• Josef Paul Kleihues, Museum of Contemporary Art, Chicago
• Jos Rafael Moneo, Moderna Museet/Arkitekturmuseet, Stockholm Renzo Piano, Fondation Beyeler, Riehen/Basel
• Jacques Herzog & Pierre de Meuron, Tate Modern, London
• Giorgio Grassi, Neues Museum, Berlin, 1st Competition
• Juan Navarro Baldeweg, Museo de las Cuevas de Altamira, Santillana del Mar
• Steven Holl, Bellevue Art Museum David Chipperfield, Neues Museum, Berlin, 2nd Competition

The exhibition is accompanied by a 224-page catalogue which contains essays and illustrations for each building project, as well as biographies and selected bibliographies for each of the architects.

Focusing on issues of architecture and space, the Modern Art Museum is also hosting a lecture series which will run through April 9.

The exhibition is a project of the Art Centre Basel, Switzerland, coordinated under the direction of Suzanne Greub. Scientific curators and editors of the catalogue are Vittorio Magnago Lampugnani and Angeli Sachs, from the Institute for the History and Theory of Architecture at the Swiss Federal Institute of Technology, Zurich.

Following its US premiere in Fort Worth, Museums for a New Millennium will travel to six venues in North and South America and five museums in Japan.

For more information, visit the Modern Art Museum of Fort Worth's Web site at http://www.themodern.org

NYFA's Knowledge in Technology Program (KIT) assists small and mid-sized nonprofit arts organizations improve their organizational effectiveness through the development of a mission-based technology plan. This program includes workshops, one-on-one technical assistance from expert consultants, access to a listserv that serves as a "just in time" support network, and a technology planning guide for arts organizations in print and electronic formats. Upon completion of the plan, organizations receive a small grant towards implementation of their plan.

The deadline for applications will be Friday, April 19th, 2002 by 5:00 PM.

The program will only accept six applicants who will receive six months of consulting and an implementation grant of $3,000. Program guidelines and a Request for Proposal (RFP) may be downloaded at http://nyfa.org/kit/index.html

Opportunities for Artists

"In order to insure for Yaddo a larger influence and...in the hope that it may continue as a practical force in the world for all time, we desire to found here a permanent Home to which shall come from time to time...authors, painters, sculptors, musicians and other artists both men and women, few in number but chosen for their creative gifts and besides and not less for the power and the will and the purpose to make these gifts useful to the world...It is such as these whom we would have enjoy the hospitality of Yaddo, their sole qualification being that they have done, are doing, or give promise of doing good and earnest work." - Spencer and Katrina Trask

Located in Saratoga Springs, NY, Yaddo invites highly-qualified writers, visual artists, composers, choreographers, performance artists, and film and video artists to apply for residencies for up to two months.

The next deadline is August 1, 2002 for residencies from late October of the through next May.

There is no fee for a residency. A small fund exists to provide limited help towards the expenses of travel or renting equipment to invited artists of any discipline who otherwise might not be able to visit. In addition, through a grant from an anonymous donor, up to $1,000 in financial aid is available for writers who might otherwise be unable to accept an invitation to visit Yaddo and can be used for things such as rent, utilities, childcare, loans, medical bills or travel expenses, or to cover the loss of earned income during their residency.

In 1900 by financier Spencer Trask and his Katrina, a poet -- who were left without immediate heirs by the deaths of their four young children -- bequeathed their home in Saratoga Springs, New York, to future generations of writers, composers, painters, and other creative artists.

"Since then, nearly 5,500 creative artists have walked Katrina's woods and found the peace and guaranteed privacy necessary for creative work," Yaddo states. "Though much has changed since 1900, Yaddo's mission - to provide artists with uninterrupted time to work, good working conditions, and a supportive community - has remained central to its operation, and in recent years the Board of Directors had reasserted Yaddo's original commitment to aesthetic daring, social egalitarianism, internationalism, and the support of artists at political risk."

Yaddo's mission is "to offer creative artists uninterrupted time to work, good working conditions, and a supportive environment."

Yaddo encourages artists from all nations and of all backgrounds to apply for admission and does not discriminate in its programs and activities against anyone on the basis of race, creed, color, religion, national origin, sex, age, sexual orientation, marital status, ancestry, disability, HIV status, or veteran status.

For complete details, visit http://yaddo.org

Deadline: April 1, 2002, Postcards that interpret poems of Iowa's Poet Laureate Marvin Bell, MAIL-IN ART SHOW

Deadline: April 5, 2002, Sculpture, ART IN THE HEART OF THE CITY, Ithaca Downtown Partnership and the City of Ithaca, NY

Deadline: April 15, 2002, new play on themes of Jewish identity, NewShpiels, RELATIVELY THEATER, NY

Deadline: April 19, 2002, WA, OR, ID artists, MERCER ISLAND, WA PUBLIC ART SCULPTURE PROJECT

Deadline: April 20, 2002, Functional fine art and toys in any media, Exhibition, CARABAUX GALLERIES, NEW ORLEANS, LA

Deadline: April 26, 2002, Artists working in all media residing in the mid-Atlantic region, EXHIBITIONS DURING THE 2002 - 2003 SEASON, THE ARLINGTON ARTS CENTER

Deadline: May 1, 2002, Artists who work in printmaking, book, digital, sound and video arts, 2002 KALA ART INSTITUTE FELLOWSHIP AWARDS, BERKELEY, CA

Deadline: June 15, 2002, Plays pertaining to the Indian Diaspora, THE LARK THEATRE COMPANY, NEW YORK

Deadline: June 15, 2002, Young artists, ages 16-25, living in the United States who have a physical, cognitive or mental disability, EXPRESSING FREEDOM NATIONAL JURIED EXHIBITION

Deadline: June 20, 2002, Works of all media created by artists of Asian descendent or the works with strong Asian influence, ASIAN AMERICAN ARTS CENTRE SLIDE ARCHIVE

Deadline: ongoing, Artists' ideas of what creativity means to them, (book)

EXECUTIVE DIRECTOR - NEW YORK FOUNDATION FOR ARCHITECTURE

The New York Foundation for Architecture is seeking a dynamic leader to support expanding administrative and fund-raising needs, its primary program, Learning By DesignNY, and its efforts in Scholarships, Exhibitions, Research, and Yearly Lecture series. The Executive Director will also be responsible for cultivating and soliciting major gifts from individuals, corporations, foundations and government sources.

The New York Foundation for Architecture (NYFA) was established by the American Institute of Architects New York Chapter (AIA) in 1966 to serve as the charitable not-for-profit affiliate of this professional organization. It's mission is to increase understanding and appreciation of the built environment through education and outreach. The Foundation administers several scholarship programs, which offer grants to students in architectural programs and internships for emerging architectural writers. Learning by Design; NY focuses on the K-12 school community and works to integrate the study of architecture and design into the classroom curriculum.

It is currently working with the AIA to open the Center for Architecture a new center of learning for the public and building industry professional to be housed at 534 LaGaurdia Place. The Center will play a vital role in fulfilling the long-term goal of both organizations to improve the quality of architecture and urban design in New York City. The Center is slated to open in 2003 and will serve as a hub for the City's built environment, providing galleries and lecture spaces, a resource center, and a wide range of public programs, as well as housing the offices for AIA, NYFA and Learning By Design. After completion of the center, new programs will include Exhibits, Lectures and Symposia.

The Executive Director will work closely with the Board of Directors and officers, initiating, organizing and administering programs, and with the Director of Learning By Design to assist in their operations and to identify and solicit foundation, government, and corporate funding for the program's growing needs. In addition, the position will work with the Foundation's Fundraising Team (comprised of select Board of Trustees) in an effort to effectively identify and solicit contributions for an endowment that will establish a firm base of support for The New York Foundation for Architecture's programs.

Office Location The New York Chapter of the American Institute of Architects, 200 Lexington Avenue, Suite 600.

• Self-confident individual who demonstrates strong interpersonal skills, assertiveness, diplomacy and good judgment
• Excellent organizational management, writing and verbal skills
• Strong computer skills including Microsoft Office
• 2-3 years experience in development preferred
• Experience in nonprofit arts administration
• Working knowledge of architecture and arts education a plus

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, Guild Complex, (Chicago, IL)

EXECUTIVE DIRECTOR, (visual arts organization) (Philadelphia, PA)

EXECUTIVE DIRECTOR, Oregon Cultural Trust, (Portland, OR)

EXECUTIVE DIRECTOR, relisted with changed information, The American Recorder Society, (Denver, CO/location of position holder possible)

PRESIDENT, The New Jersey Center for Visual Arts

PROGRAM MANAGER, ORGANIZATIONS DEPARTMENT, Massachusetts Cultural Council, (Boston, MA)

DIRECTOR OF EDUCATION, Atlanta Opera, (Atlanta, GA)

GENERAL MANAGEMENT/COMPANY MGR, New York production of BLUE MAN GROUP, (New York City, NY)

REGISTRAR, ExhibitsUSA, (Kansas City, MO)

COMMUNICATIONS MANAGER, Lower Manhattan Cultural Council (LMCC) (New York City, NY)

DIRECTOR OF DEVELOPMENT AND PUBLIC RELATIONS, Writers In The Schools, (Houston, TX)

DIRECTOR OF DEVELOPMENT, Guadalupe Cultural Arts Center, (San Antonio, TX)

OPERATIONS MANAGER, New Langton Arts, (San Francisco, CA)

DIRECTOR OF THEATRE SERVICES, Warner Theatre, (Washington DC)

OFFICE MANAGER, Historic Philadelphia, (Philadelphia, PA)

OFFICE/BUSINESS MANAGER, (performing arts public relations firm) (New York City, NY)

VISITOR SERVICES, (Part Time) Neue Galerie New York, (New York City, NY)

ASSISTANT TO THE DIRECTOR OF THE GALLERY, (arts and cultural organization)

SENIOR ACCOUNT EXECUTIVE, (classical music and gourmet) (New York City, NY)

BOOKKEEPER, Brooklyn Arts Council, (Brooklyn, NY)

DANCE INTERN, IMG Artists, Dance Division, (New York City, NY)

INTERNSHIPS, Arts at St. Ann's, (New York)

INTERNSHIP, Earth Celebrations, (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

"We now need designers who can plan, design and implement new developments working interactively with the community at large. If we follow the role of the traditional architect we cannot meet this need. We have to go beyond buildings and work with programmes that transform society. Design has to be part of a peoples' process," the site states" - Brinda Somaya

Hosted by The Hecar Foundation -- WOMEN IN ARCHITECTURE -- http://hecarfoundation.org/womeninarchitecture.html -- showcases the work of women architects in South Asia. The site is well designed and includes photos of the architects, photos and plans of their work, as well as bios and texts about their work

Included are:

SANDHYA SAVANT who studied at Sir J. J. College of Architecture, University of Mumbai and graduated with a Masters degree in Urban Design, at University of Texas at Austin. In her work, she has outlined the Development guidelines for the Opera House Precinct, which is one of the first urban architectural controls to be adopted for heritage areas in India. She has also co-authored CONSERVING AN IMAGE CENTER - THE FORT PRECINCT IN BOMBAY.

BENG KIAN TANG who completed her MArch from the University of California, Los Angeles, and her BArch (Hons) from the National University of Singapore. She is a member of the IT Committee of the Singapore Institute of Architects and a member of the Singapore Board of Architects Examination Panel. She is currently Assistant Professor at the School of Architecture, National University of Singapore. Her work includes Revenue House, the first "intelligent" government building in Singapore, which houses the various departments of Inland Revenue Authority of Singapore under one roof.

AYESHA NOORANI who did her National Diploma in Architecture from National College of Arts Lahore and who established her own private practice in Lahore in 1985 as Noorani Associates. Her projects range from landscaping to interiors to buildings. She won the U.N.E.S.C.O. competition for Tomorrow's Habitat in Pakistan and is a visiting Lecturer for Architecture Design at the National College of Arts. She describes a house documented on the site in this way:

"This is a four-bedroom house on two levels. The inspirations for the plan, exterior finishes and detailing came from the wonderful stone carvings found at Makli Hills in Thatta, Sindh. It was not possible to carve these panels but we used the moulding and casting technique on site to cast panels, borders and brackets. The focal point of the house is the atrium that not only forms the central entertaining space but also helps in ventilating the house and providing ample natural light to the areas surrounding it."

The online exhibition also showcases the work of Afroza Ahmed, Anupama Kundoo, Beng Kiang Tan, Brinda Somaya, Dhruti Vaidya, Eli Giannini, Fauzia Qureshi, Gayathri Shetty, Gita Balakrishnan, Hiranti Welandawe, Ismet Khambatta, Itsuko Hasegawa, and Kirtida Unwalla, among many others.

The HECAR Foundation seeks to educate the public about architecture (including heritage and urban issues) through talks, publications, exhibitions, scholarships and seminars. HECAR is an acronym for Heritage, Education, Conservation, Architecture, Restoration.

Noting the importance of women architects being able to establish themselves through their work, the organizers of this online exhibition state that in the past ten years the body of architectural work by women has grown so much that "it was difficult for us in WIA to decide whose work we would exhibit."

Visit the site to find out more.

The Milka Bliznakov Prize, conferred in recognition of research that advances knowledge of women's contributions to architecture and related design fields, was created to encourage the use and growth of the INTERNATIONAL ARCHIVE OF WOMEN IN ARCHITECTURE. An annual prize of $1000, it is presented by the Board of Advisors of the International Archive of Women in Architecture. (IAWA)

Proposals may include original projects, research, or scholarly work relative to the IAWA collections, and which will contribute to and advance the recognition of women's contributions in design. The Board of Advisors of the IAWA may select up to six proposals from the first round. Authors of selected proposals will be invited to continue their projects and to compete in the second jury for the Bliznakov Prize.

The International Archive of Women in Architecture (IAWA), established in 1985, is a joint program of the College of Architecture and Urban Studies and the University Libraries at Virginia Polytechnic Institute and State University (Virginia Tech). "The purpose of the archive is to document the history of women's involvement in architecture by collecting, preserving, storing, and making available to researchers the professional papers of women architects, landscape architects, designers, architectural historians and critics, and urban planners, and the records of women's architectural organizations, from around the world," they state.

The IAWA's primary focus is on collecting the papers of those who practiced at a time when there were few women in the field. (before the 1950's) in order to fill serious gaps in the availability of primary research materials for architectural, women's, and social history research. The IAWA also collects books, biographical information, and published materials as part of its mission "to act as a clearinghouse of information about all women in architecture, past and present."

For complete details, visit http://spec.lib.vt.edu/iawa/Bliznakov/Prize2003.html