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NEA ANNOUNCES $60,726,300 IN NEW GRANTSWASHINGTON, DC - The National Endowment for the Arts (NEA) has announced $60,726,300 awarded through 851 grants in the second major funding round of Fiscal Year 2002.Awards will be distributed to nonprofit national, regional, state and local organizations across the country through three of the Endowment's Grants to Organizations categories: Access, Arts Learning and Heritage/Preservation, as well as through Arts on Radio and Television, Challenge America Arts Access, Leadership Initiatives and Partnership Agreements. -- From New York where Electronic Arts Intermix received funding to support the ARTISTS' VIDEOTAPE DISTRIBUTION SERVICE with an online catalog which will make more than 3,000 works available to libraries, educational institutions, community centers, museums and other organizations; to Texas where the National Association of Latino Arts and Culture in San Antonio will produce a three-part television series examining the cultural and artistic expression of Latino communities in the United States; to California where California Summer Music (San Francisco) will implement the COMPOSITION & THEORY SKILLS PROGRAM, a program designed to provide opportunities for young musicians to compose and perform contemporary music. "Through these grants, the Arts Endowment will provide excellent arts education opportunities for children and young people, celebrate our rich cultural heritage, and ensure greater access to the arts for communities nationwide," said Eileen B. Mason, Acting Chairman of the Arts Endowment. In ARTS ON RADIO AND TELEVISION GRANTS, the NEA will provide $3.8 million for the development, production and distribution of arts programs for radio and television broadcast. Examples of projects supported by Arts on Radio and Television include: a grant to American Documentary, (New York, City) to support the production of VIRTUAL LIVES, a series of short documentary works by independent filmmakers and Internet artists offered to the public via the Web. The series will combine independent filmmaking with community-building dialogue via an Internet site which will include episodic installments as well as encourage user participation; and funding to Appalshop (Whitesburg, KY) to support the development and production of a radio series documenting the living music and cultural traditions of the Central Appalachian highlands. Intended for national broadcast, each program will combine musical presentations, interviews, and narration. ACCESS GRANTS help arts organizations utilize outreach strategies -- such as touring, publication or technology -- to help people overcome constraints in connecting to the arts. Examples of projects supported by Access grants include: Asian American Arts Alliance (New York City) to support the maintenance and expansion of the web-based ASIAN AMERICAN ARTS CALENDAR/NY; Adirondack Community College (Queensbury, NY; on behalf of Writers Institute) to support the creation of a writer's institute which will present readings and workshops by nationally renowned and local writers to students and community members; Rutgers, The State University of New Jersey (Piscataway, NJ; on behalf of the Jane Vorhees Zimmerli Art Museum) to support education programs for the exhibition ARTIST + PRINTERS: RECENT TRENDS IN COLLABORATIVE PRINTMAKING. The project will focus on the working relationship between the artist and the printer in the process of producing a successful print; Mercy Housing (on behalf of Indigenous Community Enterprises; Flagstaff, AZ) to support a housing project for elderly Navajos that incorporates traditional Navajo dwelling designs with contemporary housing design features. Design workshops will be conducted with Navajo elders and family members, community leaders, social service providers, tribal officials and facility managers; and Small Press Distribution, Berkeley, CA to support a distribution initiative which will provide individuals, libraries and bookstores in all 50 states with publications from 500 small and independent presses. ARTS LEARNING GRANTS support the arts as an integral part of education both in and outside the classroom. Projects focus on direct instruction of children and youth; professional development for teachers and artists; and curriculum and community-based program development. (Note that beginning in Fiscal Year 2003, Arts Learning will be separate from the other Grants to Organizations categories with its own set of guidelines and application.) Examples of projects supported by Arts Learning grants include: University of Massachusetts at Amherst (on behalf of the New WORLD Theater) to support continuation of PROJECT 2050. Designed as a multidisciplinary and cross-cultural project for youth from diverse racial, ethnic and class backgrounds, 2050 provides interactions among youth, professional artists and scholars and includes the creation of original theater pieces; through the LIFT COMMUNITY SERVICE PROGRAM, Dance Ring in New York City will offer dance education and support services for children in city homeless shelters; The Manhattan Theatre Club (New York, NY) will expand the distance learning TheatreLink program from 12 to 15 high schools across the country and provide for an upgrade of technological support; The Washington Very Special Arts (Washington, DC) School for Arts in Learning project helps students with disabilities transition from kindergarten through eighth grades; working with students of the Daniel Boone School, Village of Arts and Humanities (Philadelphia, PA) artists will create an art park in a blighted section of North Philadelphia; The California Institute of the Arts (consortium) Valencia, CA Community Arts Partnership will bring together youth with Cal Arts faculty and artists to design and implement in-depth programs in media arts, dance, visual arts, theater and music for youth. Consortium members include the Armory Center for the Arts, Inner-City Arts, Los Angeles Center for Photographic Studies, Plaza de la Raza, Santa Clarita Valley Boys & Girls Club, Self-Help Graphics & Art and the Watts Towers Arts Center. and in Vancouver, WA, Friends of the Vancouver School of Arts and Academics (consortium) -- through the ORIGINS program, designed as a symposium on arts education and the creative process -- high school arts students, artists and arts educators will examine creativity via student work. Consortium members include Portland Institute of Contemporary Arts, John F. Kennedy Center for the Performing Arts, Perpich Center for Arts Education and the Vancouver School District. HERITAGE/PRESERVATION GRANTS help conserve significant art works and honor, assist and increase the visibility of art and artists. Projects celebrate cultural traditions through performances, festivals, apprenticeships, workshops and mentoring opportunities. For instance: in New York City, Franklin Furnace Archive received funding to support an archival project to create a digital record and searchable database of the 25 year history of this pioneering alternative artists' organization. The project will create an accessible, interactive and ongoing record of the organization's work, including exhibitions of artists' books, temporary installations, performance art, and live on the Internet netcasts; in Chicago, the Art Institute of Chicago (on behalf of the Video Data Bank) received funding to support the preservation of ON ART AND ARTISTS. The project will accommodate the preservation of nearly 42 artist interviews and a publication to promote the availability of the videotapes; in Oklahoma City, OK, Black Liberated Arts Center will utilize NEA funds to support a photographic exhibition and catalogue documenting the contributions of African Americans to the cultural and architectural development of Oklahoma City; (photographer Ron Tarver) in New Mexico, the Albuquerque Arts Alliance was awarded a grant to support a cultural survey of various ethnic populations that reside in the greater Albuquerque areas. The survey will assist arts organizations in tailoring their programs and services to meet the specific needs of these underserved populations. Sixty CHALLENGE AMERICA ARTS ACCESS GRANTS totaling $2.3 million will support projects that engage artists, arts organizations and communities to make quality arts programs more widely available. In this category: Art Resources Transfer (New York City) received funding to support the Distribution to UNDERSERVED COMMUNITIES PROGRAM. The project will offer books, museum catalogues, videos and other material about contemporary art free to libraries across the nation with a special emphasis on rural and inner-city libraries; Meet The Composer (New York City) was awarded $100,000 to support the COMPOSER CONNECTIONS INITIATIVE designed to increase the impact contemporary music has on listeners; New Orleans Video Access Center will use NEA funds to support the provision of workshops and production equipment for media artists and students. In PARTNERSHIP AGREEMENTS, the Arts Endowment awarded $39,645,800 or 41% of its grantmaking budget to state and regional arts agencies across the country. For instance, the Wyoming Arts Council received $544,000 to support Partnership Agreement activities. The Endowment also awarded $1.3 million for LEADERSHIP INITIATIVES -- primarily for the Folk and Traditional Arts Infrastructure Initiative which will strengthen partnerships between state and local organizations for the nonprofit folk and traditional arts. As they do every year, these 851 grants reflect the broad and effective reach the Arts Endowment's arts funding programs have across the country. With a relatively small budget, The National Endowment for the Arts seeds and supports our Nation's arts in myriad ways. Among many other grants in this round are:
Sources/resources: NATIONAL ENDOWMENT FOR THE ARTS -- http://www.arts.gov For more information and a complete listing of this round of grants, visit http://www.arts.gov/endownews/news02/Announce4-24-02.html Information on applying for next year's rounds of grants in these categories is available at http://www.arts.gov/guide/Orgs03/OrgIndex.html
"NEA Awards $19,432,000 in 819 New Grants; Grants in Creativity,
Organizational Capacity, and Literature will Support Organizations and
Artists from Florida to Alaska"
ROWAN UNIVERSITY TO CLOSE GLASSBORO CENTER FOR THE ARTSGLASSBORO, NJ -- Rowan University has announced that it will completely close the Glassboro Center for the Arts at the end of this season, stating that because of the state budget crises and a subsequent cut to all state colleges and universities it can no longer justify the expense of the Center as a community and campus outreach program."The decision was announced as final; neither the staff or the community advisory and fundraising board were given an opportunity to help address the fiscal problem," Director Mark Fields told Arts Wire. "We are disheartened that the College President and Administration would close the Center for the Arts in response to a budget crisis," said Ann Marie Miller, ArtPRIDE New Jersey. "Rowan University has an outstanding fine and performing arts program, and the Glassboro Center for the Arts serves, not only as one of southern New Jersey's most dynamic cultural facilities, but as a working laboratory for students in the performing arts. Closing this facility sends the wrong message to the student body and to the public regarding the value of the arts to higher education and to our quality of life. This is a huge loss to the current and future students of Rowan University, to southern New Jersey residents and to the entire state of New Jersey." University spokesman Joe Cardona told Arts Wire that because a state budget deficit, which will leave the University about $20 million short in FYI02/03, has caused layoffs and a 15% tuition raise for students, the University made the decision to close institutes which were not profitable or breaking even and which did not tie directly into the academic program. The Center for the Arts was never meant to make a profit and needed greater subsidies than other centers. Additionally Glassboro's events are held in Pfleeger Concert Hall, located in Wilson Hall which is in the midst of an extensive renovation project. During the renovations, Pfleeger Concert Hall will close for 18 months, so the University would have to rent other facilities. Cardona said that students were not attending events at the Glassboro Center for the Arts. But he added that students did interact with the performers in related events such as rehearsals and lectures. He also pointed to other theater venues in the area, for instance Salem College which hosts events through Appel Farm, as well as to the fact that the University is putting money into the arts in its renovation of Wilson Hall. [which in addition to Pfleeger Concert Hall includes Department of Music offices, a small gallery, rehearsal and practice rooms, classrooms, and a recital hall and will include a theater/dance wing in the remodel] "At the end of the renovation we will have an outreach program which will put more emphasis on students and faculty as well as include programs for local community. We will be focussing on faculty/student performances, put more money on those things rather bring in touring companies," Cardona explained. However, according to Director Mark Fields, The Glassboro Center for the Arts is the only professional arts organization in Gloucester County, (population approx. 254,000) a chronically underserved region of more-rural southern New Jersey. "As such, the Center meets a community need that no other organization currently does, nor is positioned to do so in the Center's absence, at least in the short term," Fields emphasized to Arts Wire. "Our matinee program performs to more than 15,000 school children annually, children in schools that have limited access to other arts centers. Consequently, many of these kids may no longer be exposed to the performing arts as a part of their school experience." Past artists have included Alvin Ailey American Dance Theatre; Donald Byrd/The Group; Carolyn Dorfman Dance Company; Gath Fagan Dance Company; Hubbard Street Dance Company; Judith Jamison Dance Project; Lakota Sioux Dance Theatre; Momix; Philadanco; Pilobolus; Philip Glass; I Solisti Italiani; the Kronos Quartet; New Jersey Symphony Chamber Orchestra; and Nexus Percussion Ensemble. "In recent years, we have been expanding our artistic outreach to the community with innovative new programs to introduce families and specific underserved populations to the performing arts," added Fields who has worked for the Center for 12 1/2 years and whose prior positions were in marketing with the American Music Theater Festival in Philadelphia, University of Tennessee Theatres in Knoxville, Santa Fe Opera, and the Indiana Repertory Theatre in Indianapolis. "In spite of the closure, we decided to proceed with the Deaf Theatre Initiative, a project that was funded by the Association of Performing Arts Presenters' Arts Partners program and the New Jersey Council on the Arts. The initiative will use the talents and experience of Cleveland Signstage Theatre, a professional deaf and hearing theatre company from Ohio, to teach local actors about the techniques of deaf theatre while also reaching out to the deaf/hard-of-hearing community to expand access. " IN A SERIES OF LETTERS TO THE PRESIDENT, THE CONSORTIUM OF EASTERN REGIONAL THEATRES CAMPAIGNS TO SAVE THE CENTER According to the Consortium of Eastern Regional Theatres, (ConsERT) which strongly disagrees with the University's decision, in the last 13 years more than 500,000 South Jersey residents attended performances by more than 400 nationally recognized theatre, dance, and music artists and ensembles at the Glassboro Center for the Arts. "Where will these artists and audiences go now?" asked Jessica A. Finkelberg, Vice President, Programming and Operations, John Harms Center for the Arts (Englewood, NJ) in an open letter to Rowan University President Donald J. Farish. "Southern New Jersey is already in need of more arts programming, not less and the state arts council is already struggling to service this region. By eliminating one of the primary outlets for all art forms, you have done an incredible disservice to thousands of people." She also praised the Center's operation and leadership. "Glassboro's stellar reputation has been built through the thoughtful creativity of administrators such as Mark Fields," emphasized Peter Lesser, Executive Director, The Egg (Albany, NY) "...I am confident that under the leadership of Mark Fields that the Glassboro Center will rise to the challenge of retaining its stature even if funding from the college is reduced." Noting that as the chief executive of a small management firm, "I understand the dire predicament that the University is facing. I too struggle with budgeting and financing issues every day," Jeannette Gardner, President of Gardner Arts Network (New York City) wrote in her letter to the University's president that "However, I can not even begin to fathom that a public institution of higher learning would even *contemplate* the complete closure of a vibrant and well respected art and culture program without at the very least exhaustively exploring all alternative solutions." Vivian Charlop, Director, Colden Center for the Performing Arts at Queens College in Flushing, NY, believes that the administration of Rowan University and its trustees have a responsibility to the college and the community to work with the director and the staff of the performing arts center to find a less drastic solution. "A performing arts center on a college campus adds luster to campus life and brings in a whole population to the campus to experience the joys of live performance, a population that may in turn, become students of the university or donors to it" she emphasizes, and she asks the university not to overlook the long term benefits of the performing arts center with short term, quick fix solution. Although the University is actively furthering the arts on the campus, the decision does limit access to the national and international arts in this rural area. Regina Paleau, Marketing Director, Center for the Arts, College of Staten Island emphasized that "The arts, culture and freedom of expression are three things which make our democratic society so enviable, and it is now more important than ever to support it....historically, one of the first, and most effective tools of corrupt & revolutionary regimes has been to stifle artistic expression and limit society's access to the arts." According to the Center's Director, Mark Fields, a delegation from the Leadership Board met with the president of the university on April 9 and presented a proposal which would separately incorporate the Center apart from the university but continue to operate in its facilities after some period of transition. Fields said that the President took the proposal to study but has not yet responded to the Board's initiative. "We strongly urge the university's administration to work with the Glassboro Center's administration and supporters to find an alternative solution that will preserve the program," states Numa Saisselin, President, Consortium of Eastern Regional Theatres. "The Consortium of Eastern Regional Theaters is willing to put its own resources at Rowan's disposal and provide the university and the Glassboro Center for the Arts with all the support and professional advice that 95 arts programmers and managers can bring to bear on this situation. A solution with less dreadful consequences for the entire South Jersey community must be found." Sources/resources; GLASSBORO CENTER FOR THE ARTS -- http://www.rowan.edu/centerarts/ ART PRIDE NEW JERSEY -- http://www.artpridenj.com/ CONSORTIUM OF EASTERN REGIONAL THEATRES -- Contact Numa Saisselin tel: 732-224-8778 X304
Robert Baxter
Robert Baxter
MUSIC ALIVE GENERATES SUPPORT BY SYMPHONY ORCHESTRAS FOR LIVING COMPOSERS AND THEIR MUSICNEW YORK CITY, NY - Beginning in the fall of 2002 and extending through spring 2003, ten American composers and seven orchestras are participating in residencies in the third season of MUSIC ALIVE - COMPOSERS AND ORCHESTRAS TOGETHER, a joint program of Meet The Composer and the American Symphony Orchestra League.Music Alive enables American orchestras of all sizes to have a composer-in-residence for periods of two to eight weeks to coincide with performances of their works. During Music Alive residencies, the orchestras and composers work together to develop and build audiences for new music. Composers guide their host orchestras' presentation of new music, assist in the performance of their own works, and serve as catalysts for new music within the organization by interacting with board members, musicians, administrative staff, and the community. "The Los Angeles Chamber Orchestra will be doing a piece of mine next season entitled LES ESPACES INFINIS. (the Infinite Spaces) As the title suggests, it's a slow, still, and quietly meditative work," explains composer Pierre Jalbert who will be in residence with the LA Chamber Orchestra in the 2002-03 season. The following season I'll write them a longer work, about 20-25 minutes in duration. I'll also be working with them on commissioning projects and I'll be going into local area schools to talk to kids about being a composer." This year's Music Alive orchestra/composer pairings also include Jonathan Bailey Holland in a three week residency at the South Bend Symphony Orchestra; John Mackey in a 4-week residency at Greater Twin Cities Youth Symphonies; Jeremy Gill in a 2-week residency at the Harrisburg Symphony Orchestra; Cindy McTee in a 2-week residency at the National Symphony Orchestra; Dan Coleman in 3-week residency at the Tucson Symphony Orchestra; and Derek Bermel, Ingram Marshall, Tobias Picker, and Melinda Wagner each with a one week residency at the Westchester Philharmonic. "Music Alive reaffirms our belief that in order for new music to become a permanent feature of orchestra repertoire and for this repertoire to consistently be refreshed, orchestras must draw on the creative strengths of living composers and engage them as true artistic collaborators," emphasizes Heather Hitchens, President of Meet The Composer. Music Alive residencies have already led to an increase in the programming of works by living composers, as well as an increase in audience receptivity to these new works, according to Jesse Rosen, Chief Program Officer of the American Symphony Orchestra League. "MY PLAN IS TO TAKE ADVANTAGE OF THE PERFORMANCE SPACE (ORCHESTRA HALL IN MINNEAPOLIS) BY PLACING SEVERAL (PROBABLY ABOUT A DOZEN) MUSICIANS (MOSTLY BRASS PLAYERS, AND PERHAPS SOME PERCUSSION) AROUND THE AUDIENCE IN THE BALCONY. THIS WILL CREATE A 'SURROUND SOUND' SORT OF EFFECT WHICH WILL MAKE THE EXPERIENCE OF HEARING THE PIECE LIVE MUCH MORE UNIQUE," - John Mackey In Washington, DC., the National Symphony Orchestra's Premiere performance of Cindy McTee's SYMPHONY NO. 1: BALLET is scheduled for September 19, 2002 at the Kennedy Center for the Performing Arts. "Music is said to have come from dance - from the rhythmic impulses of men and women," she writes on her website at the University of North Texas in Denton, TX where she is Regents Professor of Music Composition. "Perhaps this explains my recent awareness of the inherent relationship between thought, feelings, and action - that the impulse to compose often begins as a rhythmical stirring and leads to a physical response - tensing muscles, gesturing with hands and arms, or quite literally, dancing." She observes that Ballet for Orchestra "emerged out of a similar kinesthetic/emotional awareness and a renewed interest in dance music." In Minnesota, John Mackey will be composing two pieces for Greater Twin Cities Youth Symphonies. "One will be a straightforward piece that I'll likely just write on my own, although I'll probably tailor it to the specific abilities of the orchestra," he told Arts Wire. "My plan is to take advantage of the performance space (Orchestra Hall in Minneapolis) by placing several (probably about a dozen) musicians (mostly brass players, and perhaps some percussion) around the audience in the balcony. This will create a 'surround sound' sort of effect which will make the experience of hearing the piece live much more unique." The other piece will be much more collaborative. "I'll be working with students from Bolder Options, a program designed to keep juvenile offenders and high-risk youth away from crime," he explains. "These students will likely have very little or no experience with concert music, let alone a living (and young) concert composer, and I'll work with them to write a piece. We're planning to bring in a few members from the youth orchestra to show the Bolder Options students what sorts of things are possible, and together we'll create something." Hilary Field, Director, Artistic and Management Services the American Symphony Orchestra League, emphasizes that "The importance and uniqueness of the program stems from the fact that each residency, while shaped by the overall goals of the Music Alive program, is developed to fit the specific goals and situation of the particular orchestra and composer." For instance, during the 2001-2002 residencies, Derek Bermel's five-week residency with the Albany Symphony Orchestra (ASO) was spread over the course of five months. It included a performance of Bermel's clarinet concerto, VOICES, with the composer as soloist; a composition project, DYNAMIC DUOS, which paired ASO musicians with junior high and high school instrumentalists to compose and perform new works; numerous Caxixi workshops in which the composer taught elementary students how to make these Brazilian percussion instruments; a Clarinet Summit in which over 50 clarinetists from five area high schools joined to rehearse and perform Animal Jam; and lively pre-concert discussions. "The residency is also designed to set the foundation for a sustained, long-term institutional commitment to presenting new music and working with living composers effectively," Hilary Field noted. "To this end, the project directors and composers participate in a Planning and Orientation workshop with Music Alive staff and Richard Kessler, Executive Director of the American Music Center, during which both short and long-term goals, and residency plans are developed in a comprehensive manner." Orchestras seeking to host residencies should select a composer and apply to the program on his or her behalf. A panel comprised of composers, orchestra administrators, and conductors select the participating orchestras and comnd the music they perform. The MUSIC ALIVE program is made possible by a lead gift from The Andrew W. Mellon Foundation with additional support from the John S. & James L. Knight Foundation and the Aaron Copland Fund for Music. Sources/resources: Guidelines for MUSIC ALIVE's 2003-2004 season are now available on the web sites of MEET THE COMPOSER -- http://www.meetthecomposer.org and the AMERICAN SYMPHONY ORCHESTRA LEAGUE -- http://www.symphony.org Further information may also be obtained by contacting Mark Trevino at Meet The Composer (212-787-3601, ext. 101) or Hilary Field at the American Symphony Orchestra League (212-262-5161, ext. 227). CINDY MCTEE -- http://courses.unt.edu/cmctee/bio.htm
EventsNEW YORK CITY, NYMay 2, 2002 - 8:00 PM Miller Theatre, 2960 Broadway at 116th St FOURTH ANNUAL PEOPLE'S COMMISSIONING FUND CONCERT "The uncompromising, do-it-yourself, envelope-pushing new music collective Bang on a Can returns to the Miller Theatre to celebrate its Fourth Annual People's Commissioning Concert. The Bang on a Can All-Stars have gained an international reputation for their extreme performances that take virtuosity to a new level and create an unparalleled atmosphere, powered by their unique combination of clarinet, cello, electric guitar, piano, bass, and percussion." The All-Stars perform world premieres by Eve Beglarian, John King, and Matthew Shipp -- commissioned through an innovative membership program, the People's Commissioning Fund, a partnership between artists and audiences to support new music. "In a time when funding for individual artists is under attack and institutional support for risk-taking art is dwindling, Bang on a Can is taking matters into its own hands," Bang on a Can notes. "Through the People's Commissioning Fund, Bang on a Can is able to commission new works every year, pooling the contributions of hundreds of people who have joined in as member-commissioners with contributions ranging from $5 to $5,000." Tickets are free and first-come, first-served. Sources/resources: BANG ON A CAN -- http://www.bangonacan.org MILLER THEATRE -- http://www.millertheatre.com EVE BEGLARIAN -- http://www.evbvd.com JOHN KING -- http://www.johnkingmusic.com MATTHEW SHIPP -- http://www.matthewshipp.com
Funding/Opportunites for OrganizationsDORIS DUKE CHARITABLE FOUNDATION AND THE SURDNA FOUNDATION INVEST MORE THAN $3.5 MILLION TO SUPPORT SECOND ROUND OF TALENTED STUDENTS IN THE ARTS INITIATIVENEW YORK, NY - With a shared commitment to quality training in the arts and access to that training, the Doris Duke Charitable Foundation and the Surdna Foundation have announced a joint investment of more than $3.5 million over three years to fund Round II of a major initiative supporting the performing arts programs and endowments of leading national arts training institutions. After researching the needs of outstanding institutions that train gifted performing arts students, they joined forces to accomplish collectively what neither could accomplish alone. Combining Duke's expertise in how performing artists create new work and arts institutions build endowments and Surdna's arts education programming knowledge, they collaboratively created the Talented Students in the Arts Initiative. (TSAI) Under TSAI, national arts training institutions will benefit from multi-year program support from the Surdna Foundation and endowment support to be matched, from the Doris Duke Charitable Foundation, to support similar programs in perpetuity. All selected arts training institutions include intensive training for teens in their programming. The arts training institutions receiving grants are
The TSAI grantees were selected by a peer review panel on the basis on the strongest combination of artistic and educational excellence, ability to carry out the program, potential impact of this grant on the institution and students, and the capacity to meet the 1:1 endowment match. The Initiative will be completed in 2003 with the announcement of two additional grantee organizations to be named at that time. In total, the Foundations will have invested more than $16 million, including five grants to public performing arts high schools. The Foundations will not be accepting additional applications. The mission of the Doris Duke Charitable Foundation, which was established in 1996, is to improve the quality of people's lives by nurturing the arts, protecting and restoring the environment, seeking cures for diseases and helping to protect children from abuse and neglect. The Surdna Foundation, a national family foundation established in 1917, helps support organizations in five program areas: Environment, Community Revitalization, Effective Citizenry, the Nonprofit Sector, and Arts. Its Arts Program themes aim to improve the artistic capabilities of teens. Sources/resources: DORIS DUKE CHARITABLE FOUNDATION -- http://www.ddcf.org THE SURDNA FOUNDATION -- http://www.surdna.org
Opportunities for ArtistsPS122 GALLERY CALLS FOR PROPOSALSPS122 Gallery, a not for profit exhibition space dedicated to providing exhibition and support services to emerging artists, invites artists and curator to submit proposals for two-person or group exhibitions. Individual artists are also encouraged to apply. They will be paired with another artist by the jury. (Applications from students are not accepted). This year's panel includes Valerie Smith, Director of Exhibitions at the Queens Museum; Fay Hirsh; (critic) Marco Breuer; (artist) and Omar Lopez-Chahoud. (curator, PS122 Gallery Advisory Board member) Artists selected by the jury will be given the opportunity to exhibit their work for approximately three weeks, announcement cards, press materials and guidance from the gallery director. "Last year's jury (which included Larry Rinder from the Whitney Museum) selected a wide range of work in a variety of media," says Director Susan Schreiber in describing the program. "Our current show features PRAXIS (Brainard Carey and Delia Bajo) with an installation and a video (they are also performing in the Whitney Biennial) and the artist William Crow. (with a painting installation) Other artists exhibited this year include Lynn Koble and Richard Silberman, Eri Morita and Miggy Buck, Ralph Bourque and Wong Dowling, and Nancy Cohen and Robert Gutierrez. Participants from previous years include MicK O'Shea, Michael Ashkin, Glenn Ligon and Byron Kim - among many others." The deadline for receipt of proposals is May 19, 2002. Proposals may be hand delivered to the gallery during gallery hours (Thursday - Sunday, 12-6) or mailed to 150 First Avenue, NYC 10009. Applications are available in the gallery or send a self addressed stamped envelope. For further information, please call 212-228-4249 or email ps122gallery@earthlink.net Deadline: May 1, 2002, Visual artists, TRIANGLE ARTISTS' WORKSHOP 2002, New York City Auditions: May 4, 2002, Asian American poets, musicians, and performers, MEDIA ACTION NETWORK FOR ASIAN AMERICANS AWARDS DINNER/10TH ANNIVERSARY CELEBRATION, Los Angeles, CA Deadline May 13, 2002 - (extended 2 weeks) Photographers of all Asian and Pacific heritages, ASIANLENS - NYC Deadlines: May 15, 2002; July 1, 2002, Artists - oil, fabric art, works on paper, Exhibitions, (EMPATHY and DETACHMENT) International Society, Tremont Gallery, Boston Deadline: May 15, 2002, (deadline extended) Representational art honoring any sacred religious and spiritual tradition, SACRED ART FROM THE HEART HONORING WORLD RELIGIONS AND CULTURES, Lloyd's Art Center, Fort Collins, Colorado Deadline: May 17, 2002, Public artists, City of West Palm Beach, Florida - COLEMAN PARK PROJECT Deadline: June 15, 2002, Photo-based and new media work, TRUTH & LIES, REALITY & FABRICATION IN NARRATIVE GENRES, SF Camerawork, San Francisco, CA Deadline: June 15, 2002, Los Angeles area-based artists, 18TH STREET ARTS COMPLEX RESIDENCIES Deadline: June 20, 2002, (deadline extended) Experimental and independent films/videos of all lengths and genres, MADCAT WOMEN'S INTERNATIONAL FILM FESTIVAL Deadline: July 15, 2002, Photographers whose works reflects their environment, travels, experiences, EXHIBITION - INDEPENDENT CURATOR Deadline October 1, 2002, Fiction, poetry, essays and art, TERRA NOVA BOOKS Deadline: Ongoing, Original monologs, GALLERY 304, Great Barrington, MA
JOB OPPORTUNITIES
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 - relisted with changed information,The American Recorder Society,(Shaker Heights, OH) EXECUTIVE DIRECTOR, Suzuki-Orff School for Young Musicians,(Youngstown, OH) DIGITAL/MULTIMEDIA ARTIST, Youngstown State University, (Youngstown, OH) PROGRAM DIRECTOR, Queens Council on the Arts, (Woodhaven, NY) MANAGING DIRECTOR, Pratt Fine Arts Center,(Seattle, WA) DIRECTOR OF ARTS IN EDUCATION, Bradford County Regional Arts Council,(Towanda, PA) MANAGING DIRECTOR, Second Generation,(New York City, NY) MANAGING DIRECTOR, Naked Angels,(New York City, NY) PRODUCTION MANAGER - Summer Season,Huntington Summer Arts Festival, (Huntington, NY) GALLERY DIRECTOR, Touchstone Gallery,(Washington, DC) ART HANDLER, Brooke Alexander Editions,(New York City, NY) COORDINATOR OF PUBLIC AND EDUCATIONAL PROGRAMS, (Tibetan Art Museum),(Staten Island, NY) DIRECTOR OF MARKETING AND COMMUNICATIONS, Washington Performing Arts Society, (Washington, DC) PRODUCTION COORDINATOR/LIGHTING DESIGNER, Dance Space Center,(New York, NY) DIRECTOR OF PUBLIC RELATIONS AND MARKETING, Contemporary Arts Museum, (Houston TX) EDITOR,(for manuscript) DIRECTOR OF DEVELOPMENT, New Jersey Symphony Orchestra, DEVELOPMENT ASSOCIATE, Studio in a School,(New York City, NY) DEPUTY DIRECTOR FOR FINANCE, ArtsConnection,(New York City, NY) COMPTROLLER, Montclair Art Museum,(Montclair, NJ) SPONSORSHIP MANAGER - PLANNING AND DEVELOPMENT DEPARTMENT, Brooklyn Academy of Music, (Brooklyn, NY) HR MANAGER FOR BENEFITS,Guggenheim Museum,(New York City, NY) ELECTRICIAN/BOARD OP,Helen Hayes Theatre Co, (Nyack, NY) ARTS ADMINISTRATOR, Engine 27,(New York City, NY) ADMINISTRATIVE ASSISTANT, Membership Department, American Folk Art Museum, (New York City, NY) ASSISTANT TO HEAD OF SOLE PROPRIETORSHIP, Arts Management Company, (Brooklyn, NY) ADMINISTRATIVE ASSISTANT, New Performing Arts,(Louisville, KY) PAID SUMMER INTERNSHIPS IN THE ARTS,(Museums, Film, Literary, Performing, Visual Arts, and Local Arts Agencies), (Los Angeles, CA) VOLUNTEER STUDENT INTERNSHIP,British Museum, (London, UK) VISUAL ARTS PR, MARKETING INTERNSHIP, Blue Medium,(New York City, NY) VOLUNTEER DOCENT POSITIONS,Chamber music in Historic Sites, (Los Angeles, CA) PRODUCTION AND OUTREACH VOLUNTEERS, The Da Camera Society, (Los Angeles, CA)
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
ELSEWHERE ON THE NETTENOR GREGORY WIEST INVITES SONG CYCLE SCORES"For my next recital of modern American songs I am looking for song cycles for tenor (soprano) and piano or tenor (soprano), piano and double bass, which were written after 1990 and run up to 15 minutes," writes Tenor Gregory Wiest. Texts should be in English and preferably from living poets. Send scores to Gregory Wiest, Tuerkenstr. 45, 80799 Munich, Germany or contact him at gwsings@gregorywiest.com
The deadline for submissions is November 30, 2002. For more
information, visit
http://www.gregorywiest.com |
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