The work of artist Michael Richards, who was killed in the
September 11, 2001 attack, is an enduring symbol of the importance
of protecting the freedom of expression of artists whose work
uncompromisingly expresses justice and injustice in troubled
August 2, 1963 -- September 11, 2001
A Jamaican-American, Michael Richards was born in New York but
grew up in Kingston. After receiving his BA from Queens College in
1985 and his MA from New York University in 1991, Richards
completed the Whitney Museum Independent Study Program in 1993 and
went on to the Artists-in-the-Marketplace Program at The Bronx
Museum of the Arts the following year. He was an
Artist-in-Residence at The Studio Museum in Harlem, at Socrates
Sculpture Park, and at Franconia Sculpture Park. His work has been
Richards, a sculptor who was an artist in residence in the Lower
Manhattan Cultural Council's World Views -- a program which gave
artists windowed studio space in Tower One of the World Trade
Center -- was killed while working in his studio on the 92nd
In SWING LO', included in his 1996 installation ...TO CARRY ME
HOME at The Studio Museum of Harlem, a wheel is affixed to a
massive, ominous shape. Blue-tinged light emanates from a narrow
space underneath as if, from the vantage point of one whose life
is spent in chains, the chariot in the spiritual "Swing low
sweet chariot" represents a dim hope of escape from a life crushed
In TAR BABY VS. ST. SEBASTIAN, he reacted to the history of the
Tuskegee Airmen, the heroic World War II Air Force pilots at whose
alma mater black men were used for live experiments on syphilis.
The sculpture, which echoes Renaissance depictions of Saint
Sebastian pierced with arrows, consists of the artist's cast body
in the uniform of the Airmen -- brutally pierced with fighter
In ARE YOU DOWN? an in-situ work at the Franconia Sculpture Park,
in Shafer, Minnesota, Michael Richards created three lifesized
black figures -- downed aviators sitting slumped with their backs
to a large black-centered target which occupies the center of the
In the mixed media installation GREAT BLACK AIRMEN (TUSKEGEE),
like hunting trophies, the Airmens' helmets are mounted on a
thicket of poles.
The terrorists murdered over 3,000 people on September 11, 2002.
Honoring the body of work of one fallen artist among many victims
does not single out one individual but rather seeks to preserve an
important legacy which might otherwise be lost.
Michael Richard's work -- laden with flight-imagery and with the
vestiges of human oppression -- is remarkably potent in
relationship to the flight-induced devastation of The World Trade
Center. If this very applicability to the tragedy inhibits its
exhibition, then the terrorists have not only altered the
beautiful New York City skyline but have also succeeded in
extinguishing a universal voice.
As evidenced below, the web hosts quite a few web sites
in memory of Michael Richards and his work. However,
Arts Wire CURRENT has not yet heard of any exhibitions
of his work nor of plans to include his work in the art centers
proposed as a part of future plans for Ground Zero.
REMEMBERING MICHAEL RICHARDS (1963-2001)
IN MEMORY OF MICHAEL RICHARDS (1963 - 2001) --
MICHAEL RICHARDS --
MICHAEL RICHARDS - 1963 - 2001
Christine Y. Kim, Assistant Curator
The Studio Museum in Harlam and
Franklin Sirmans, Independent curator and critic
MICHAEL RICHARDS --
September 18, 2001
"An Artist Dead, a Downtown Arts Organization in Ruins
THE VILLAGE VOICE --
September 19 - 25, 2001
"For the Artist Michael Richards"
FRANCONIA SCULPTURE PARK --
NEW YORK ARTS RECOVERY FUND DISTRIBUTES OVER $4.6 MILLION
TO NEW YORK CITY-BASED ARTISTS & ARTS ORGANIZATIONS
NEW YORK, NY -- The New York Foundation for the Arts (NYFA) has
announced that the New York Arts Recovery Fund, created to
respond to the post-September 11 fiscal crisis for individual
artists and arts organizations, has distributed $4,635,000 to 135
organizations and 352 individuals in New York City.
The grants enable resumption of artistic work in New York City,
and were based on proof of measurable financial loss due to the
World Trade Center attacks, including loss of income, physical
loss/damage to property or health, relocation costs, or other
specific economic harm.
"Because of NYFA's ongoing support and services to artists and
arts organizations, we were aware that the needs of artists would
be unique after 9/11," said Theodore S. Berger, Executive Director
of NYFA. "In many cases, their tools -- canvasses, paints, video
cameras, tapes, and other materials -- are not considered
replaceable by other agencies. Artists also have live/work spaces
issues that confound bureaucratic agencies, no matter how well
Grants to nonprofit arts organizations were made up to $50,000
each; grants to artists/small businesses were made up to $10,000
Organizations receiving aid include Creative Time, Cuban Artists
Fund, Franklin Furnace, Bill T. Jones/Arnie Zane Dance Co, Dance
Theater Workshop, The Kitchen, Lower Manhattan Cultural Council,
Irish Arts Center, The Jewish Heritage Project, New York Stage and
Film Co., PEN American Center, Russian-American Cultural Center,
Troika Ranch, Visual AIDS, and World Music Productions.
Dance Theater Workshop (DTW) is transforming its building into a
multifaceted performing arts facility which will serve dance and
performance artists locally, nationally, and internationally.
On September 11, 2001, "Dance Theater Workshop was smack in the
middle of a $14 million Capital Campaign and had just begun
fit-out construction on its new performance facility," said
Director of Finance Rachel Pivnik. A two-week construction delay
(as construction workers were detailed to lower Manhattan)
resulted in an additional month of offsite rent and in legal costs
to renegotiate construction contracts. A delay in a large City of
New York grant forced them to take on more bridge financing.
"Our impact on less quantifiable terms is much greater," she
observed. "Our hopes were dashed for a sizable capital grant from
New York State agencies, and several foundation grants
were either less than we anticipated or did not transpire. We
estimate the potential grant loss at roughly $300,000."
The New York Arts Recovery Fund (ARF) grant helped DTW weather the
difficult period in the aftermath of September 11 by covering the
additional costs of the two-week construction delay and assisting
with the financing costs associated with the delay in City of New
Co-directed by Mark Coniglio and Dawn Stoppiello, the dance
theater company Troika Ranch creates live performances which
combine dance, music, theater and interactive digital media,
exploring "how we can maintain our most human attributes (our
emotions, our bodies, our passion) in a time of accelerating
change and growing physical disconnection."
"Troika Ranch had it's 2001 New York City season in Brooklyn on September
6-9 and 13-16. Obviously 9/11 came in between our two weekends,"
dancer Dawn Stoppiello told Arts Wire CURRENT. "We were all
affected on an emotional level and had to consider whether to
continue our run."
"We did continue, and the small audiences who attended the second
week (the first week was sold out every night) told us that it was
just what they needed -- a bit of beauty to briefly take their
minds off what had just happened to all of us," she observed.
But she added that "It was the most difficult performing that we
have ever done. We took a big risk in deciding to run for two
weeks. We had never done that before."
During those weeks, in addition to the fact that the audience was
only at about half capacity the second week, two of the three
video projectors that they were using in the show were locked in a
building next door to where the Trade Center had stood, Dawn
Stoppiello said in detailing the problems which September 11 caused
the company. "The projectors were on loan from the company that
Mark was working for at the time whose offices were at 30 W.
Broadway. When building 7 fell later in the day on 9/11, a portion
of Mark's former office building was shorn away. We were not able
to get in to get the projectors that we needed for the show and
had to rent two for the run."
"So the grant from ARF puts those tangible dollars back into our
account. But more importantly it is a reminder that all of us, no
matter our size, are a vital part of the arts world in NYC,"
She added that "Even though our dollar loss was relatively low,
($2880) we still count and we faced real loss and we were helped.
It really meant a lot to us. We will use the money to help support
the creation of our newest work THE FUTURE OF MEMORY, which will
premier in February 2003 at The Duke on 42nd Street Theater."
"....WE'RE PROUD THAT NYFA WAS SUCCESSFUL IN CHANNELING EMERGENCY
SUPPORT TO THE ARTS COMMUNITY, WHICH CONTRIBUTES SO MUCH IN
SHAPING OUR CITY'S UNIQUE CHARACTER" -- Margaret Ayers, Chairman
of NYFA's Board of Trustees
The Arts Recovery Fund began in November 2001 with leadership
gifts from The Rockefeller Foundation and the Robert Sterling
Clark Foundation, and grew dramatically with a $2.65 million grant
from The Andrew W. Mellon Foundation, which made similar grants to
the American Music Center and the Alliance of Resident
NYFA Executive Director Ted Berger emphasized that because of
NYFA's strong connections with the arts community, they were
immediately aware that artists and arts organizations were
enduring severe financial crises after 9/11. "Rather than wait
until all applications had been received by the April 30 deadline,
NYFA reviewed and acted on applications through an ongoing process
to disburse funds as quickly as possible. The earliest of these
went out in March, and all applications were read immediately upon
receipt to assist with financial emergencies," he said.
Margaret Ayers, Chairman of NYFA's Board of Trustees, praised the
speed and spirit among contributors that enabled the Arts Recovery
Fund to raise nearly $5.3 million. (Of the $5,268,000 raised,
seven percent was used per grantor instructions to provide
technical assistance to thousands of members of the arts community
through workshops and the publication of guides to relief funding,
and five percent was allotted for administration of the fund.)
"NYFA moved to ensure that the money raised was granted as quickly
as possible to the people who needed it the most," she noted.
"We're proud that NYFA was successful in channeling emergency
support to the arts community, which contributes so much in
shaping our city's unique character.
"THE ARF ALLOWED T&W TO CONTINUE SENDING WRITERS INTO SCHOOLS TO
WORK WITH STUDENTS AND TEACHERS. THAT'S THE PURE, SIMPLE ELEGANCE
OF THIS SUPPORT THAT CAME QUICKLY AND WAS DESIGNED TO HELP US KEEP
DOING WHAT WE DO. WE SAY A BIG 'THANK YOU' FOR THAT" - Nancy
Shapiro, Teachers & Writers Collaborative
Founded by a group of writers and educators who believed that
writers could make a unique contribution to the teaching of
writing, Teachers & Writers Collaborative brings writers and
"We had an Artists' Meeting at Teachers & Writers Collaborative
(T&W) shortly after the tragedy," said Director Nancy Shapiro. "At
the meeting the writers wrote and shared their writings. One poet
had had a miscarriage on September 11 and the internal and external
sadness tumbled out in the poem she shared -- one she had not
expected to write."
"Many were surprised at what came out in that short, quiet period
of reflection and sharing," she continued. "This experience was
repeated over and over for the writers during the year as they
went into the schools to work with students. I feel that T&W
writers and artists were in the 'rear guard' of the tragedy -- not
soldiers or rescue workers on the front lines, but rather coming
along behind to pick up the pieces and to try to help people make
sense of what happened. This is true, particularly, for the
children in NYC who needed time and opportunities to express their
ideas and concerns."
"The ARF allowed T&W to continue sending writers into schools to
work with students and teachers," Nancy Shapiro observed. "That's
the pure, simple elegance of this support that came quickly and
was designed to help us keep doing what we do. We say a big 'thank
you' for that."
"....THIS YEAR MANY PEOPLE GAVE TO THE DISASTER RELIEF EFFORTS AND
WERE THEREFORE NOT INCLINED TO SUPPORT THE ARTS OR OTHER TYPES OF
NON-PROFITS" - Dieu Donn Papermill
Dieu Donn Papermill is a not-for-profit hand papermaking studio.
On September 11, 2001, Dieu Donn Papermill was scheduled to
implement a kids education outreach program with PS234, a public
elementary school located on Greenwich Street in the shadow of the
World Trade Center. After 9/11, PS 234 had to abandon its
building due to structural damage.
"Since our project, the Papermakers Garden, was site specific, we
had to cancel the program and organize a substitute program for PS
234 in their temporary quarters," they note. "While we were
pleased to be able to meet our obligation to provide services we
did incur additional administrative expenses of $5,000."
They also lost about $20,000 because their FOR LOVE OR MONEY
BENEFIT AUCTION had to be postponed. And their annual appeal
letter did not generate as much revenue as they had budgeted for.
"There are several reasons for this," Dieu Donn Papermill observes. "One
is that we rescheduled our benefit to a date in December, and we
assume that this impinged on the fundraising capability of the
annual appeal. Second, of course, is that this year many people
gave to the disaster relief efforts and were therefore not
inclined to support the arts or other types of non-profits."
"We received $27,000 which we used to cover the added expenses for
our educational outreach program and to cover the shortfalls in
our budget due to the tragic events," said Co-Executive Director
A few of the other 135 ARF organizational recipients and their
missions are listed below:
- ARTSGENESIS creates and conducts arts accelerated learning
programs for students, teachers, administrators, parents, and
artists, creatively fusing multiple intelligences theory, arts
integrated curriculum, and humankind's quest for purpose and
- ASIAN AMERICAN ARTS CENTRE promotes the preservation and
creative vitality of Asian American cultural growth through the
arts and its historical and aesthetic linkage to other
communities. In performance, exhibition, and public education,
Asian American Arts Centre presents and interprets the ongoing
synthesis of contemporary American and Asian art forms.
- BOMB MAGAZINE has been publishing in-depth interviews between
artists about the creative process since 1981. The interviews --
with artists whose work encompasses art, literature, theatre,
film, and music -- focus on ideas rather than personalities.
- COMPANY APPELS is a modern dance company based in New York City.
Their work integrates poetry and the visual arts.
- DEEP DISH TV is a national satellite network which links access
producers and programmers, independent video makers, activists,
and people who support the idea and reality of a progressive
- DRUMSONGS PRODUCTIONS is a cultural arts organization which seeks
to provide general audiences with the experiences of Africans and
of Africans in the Diaspora -- introducing family and school
audiences to multi-disciplinary creative and interpretive artforms
and artists, such as The Akyene Baako Ensemble; Talking Drums -
the instrument of Africa; and The African Craftsman, traditional
- EXIT ART is a non-profit interdisciplinary laboratory for
contemporary culture which earlier this year hosted REACTIONS, a
global call for responses to the events of September 11th which
displayed over 1,000 reactions.
- HARVESTWORKS DIGITAL MEDIA ARTS CENTER is a non-for-profit
organization which cultivates artistic talent using electronic
technologies -- providing artists with production studios, grant
opportunities, education, communal lab practice and distribution.
- RUBI THEATER COMPANY is an ensemble of artists, writers, and
educators performing original works from within the company and by
other Latinos living in the United States.
- URBANGLASS is a not-for-profit international center for the
creation and appreciation of new art, design, craft, and
architecture made from glass. Programs include classes, UrbanGlass
Abroad, studio rental, The Bead Project, The Bead Expo, GLASS
Quarterly, Exhibitions, Awards Dinner, Auction Weekend, Open House
Sundays and the UrbanGlass Atelier.
This issue of Arts Wire Current closes with a complete list of
New York Arts Recovery Fund recipients. The names of individuals
are not being made public.
"....WE HAVE LEARNED, ONCE AGAIN, THAT MANY OF OUR APPLICANTS
LIVE ON WHAT HAS BEEN CALLED OR DUBBED 'THE EDGE'" - Penelope
Dannenberg, NYFA Director of Programs
"Throughout this process, we have had the opportunity to view a
cross-section of the personal lives of artists living and working
in the five boroughs," NYFA Director of Programs Penelope
Dannenberg noted. "We have learned, once again, that many of our
applicants live on what has been called or dubbed 'the edge.'"
She pointed out that artists find time to create their work by
putting together a part-time employment life of temporary jobs,
arts-in-education activities, and catering/wait staff gigs.
"When the catastrophe of September 11th occurred, it clearly affected
an already fragile economic situation in New York -- so that, the
first thing businesses did, according to our applicants, was to
cut all part-time and temporary help," she said. "At the same
time, the Board of Education pulled back on the money going to
arts-in-education activities and trips. The reality of this pull
back has been an extremely harsh employment environment for
"The NYARF recipients have communicated to us that the grants
they received have been lifesavers. While the review of these
applicants has been extremely difficult, the results have been
wonderful," Dannenberg emphasized.
The New York Arts Recovery Fund was created in cooperation with
American Music Center, A.R.T./New York, Arts & Business Council,
Asian American Arts Alliance, Association of Hispanic Arts, Harlem
Arts Alliance, New York City Arts Coalition, New York Foundation
for the Arts (NYFA), and the Nonprofit Finance Fund.
Although the Fund has now completed its mission, NYFA -- aware of
the continued fragility of small and mid-sized arts groups and the
tenuous state in which artists live -- is exploring how both
grants and professional training can be used to move the arts
community from recovery to rebuilding.
NEW YORK ARTS RECOVERY FUND --
"New York Arts Recovery Fund Distributes Over $4.6 Million to
City-based Artists & Arts Organizations"
THE NEW YORK FOUNDATION FOR THE ARTS --
Now in its 31st year, New York Foundation for the Arts (NYFA)
gives more money and support to arts organizations and artists of
all disciplines than any other comparable organization in the
country: nearly $11 million in grants and services annually.
Its Fellowships of $7,000 each go to as many as 160 New York State
artists every year from a field of 16 disciplines, covering the
visual, performing, media, and literary arts. NYFA also gives
grants and services to strengthen small arts organizations and
provides artists with career development support through
workshops, hotlines, and print and electronic publications.
NYFA's annual budget of nearly $12 million comes from individual,
corporate, foundation, and public sources, as well as NYFA's
fiscal sponsorship services for artists and emerging
NYFA ARTISTS' FELLOWSHIPS
The next deadline for Artists' Fellowships is October 1, 2002.
Application and Guidelines for the 2002-2003 cycle are now
Categories funded in the 2002-2003 cycle are: computer arts,
crafts, film, nonfiction literature, performance
art/multidisciplinary work, poetry, printmaking/drawing/artists'
September 11, 2002, 7:00 PM - 11:00 PM
The Bronx Museum of the Arts, 1040 Grand Concourse
POST 9/11 BRONX, NYC
"In a post-devastation environment first-time director Darrell
Wilks, who also produced and wrote the film, sets out to document
pragmatic viewpoints of several New York artists while preserving
the perspective of New York's hip-hop community."
The Bronx Museum of the Arts presents an evening celebrating the
spirit of urban communities that survived the pre- and post-Sept
11 environment. The event will include performances by hip hop and
spoken word artists, and a screening of the documentary HIP HOP
HOPE. Written, directed and produced by Darrell Wilks. Hip Hop
Hope focuses on the urban lives and accounts of artists from New
York City, their responses to the Sept. 11 tragedy, and viewpoints
on the challenges that confront their communities-racism,
corruption, and poverty.
Spoken word performances by the film's principals: Caridad "La
Bruja" De La Luz; Tanya "Flow" Fields; Baruch "Baba" Israel;
Jacquelyn "Dutchess" McClain; Alexander "Zander" Scott; Vernon
"Dyverse" Wooten; and DJ DP One spinning will follow the
screening. The evening will close with a community open-mic slam.
Post 9/11 Bronx, NYC is part of a national commemoration,
CELEBRATE AMERICA'S FREEDOMS: A DAY OF REMEMBRANCE --
http://www.aam-us.org -- developed by
the American Association of Museums and the Institute of Museum and
THE BRONX MUSEUM OF THE ARTS --
"...AN EFFORT TO ORGANIZE ARTISTS WHO ARE CAPABLE OF SHARING ART
IN TIMES OF GREAT SORROW"
In September 2001, Alan Lynes, Director of Education, Jamaica
Center for Arts and Learning, mobilized artists to work with the
families and loved ones of victims and with those involved in the
rescue and recovery effort -- as a way, he explained when the
ArtistCares project began, "of beginning an effort to organize
artists who are capable of sharing art in times of great sorrow."
A year later, he urges that as we look at rebuilding Ground Zero,
we consider another kind of rebuilding: "....building bridges
between communities (specifically the Arts and Healthcare
communities) and shoring up the architecture of our hearts."
THE GEOMETRY OF FORGETTING CANNOT BE JUSTIFIED
By Alan Lynes
One year ago this week, my heart launched ArtistCares. My words,
the love and encouragement of colleagues, and this website were
the vehicle which began an amazing journey which continues to
Along the way, there have been waves of emotion, struggles with
clarity and finances, and brilliant moments of inspiration.
ArtistCares has touched thousands of people, through direct
contact in workshops, conference presentations and
correspondence. The thought that the Arts and Healthcare
professions could (and must) be reunited has struck a chord with
While ArtistCares was born out of the helplessness we felt after
9/11, it has grown to encompass a whole lot more. The
project has a forward thrust with the specific intention of
inspiring compassionate action. Literally hundreds of artists,
therapists, art therapists and others have contributed to the
progress of this project.
Organizations of all sizes and in locations throughout the United
States have lent their support,time and encouragement. I would
like to especially thank Ted Berger and the New York Foundation
for the Arts. NYFA has been instrumental in bringing attention
and support to ArtistCares, including providing support for a very
important Forum between the Arts and Healthcare communities.
Foundations as disparate as the William T. Grant Foundation and
the Unbroken Chain Foundation (philanthropic arm of the Grateful
Dead) have lent their support in the crucial early stages of the
development of ArtistCares. I need to especially thank the core
team of people who have guided, nurtured and stroked this idea
from a small seed to a burgeoning sapling. Karen Fitzgerald,
Project Director, has worked tirelessly to set up a protocol of
excellence for the project. Her brilliant work in constructing
the workshop structure has paved the way for future
collaborations between the Arts, Education, Business and
Healthcare communities. Yvette Hyater-Adams, of Prime Directive
Consultants, has given us priceless organizational advice and
heartfelt commitment. Thanks also to Jamaica Center for Arts &
Learning for providing fiscal sponsorship, to Ellen Freed, Geo
Geller, Yossi Rosenboim, Ken Polotan and Seventhstorm, Susan
Schear of ArtisIn, Margaret Bodell of the Viewing Room, DiReggio
Advertising, Bob Bangiola of Materials for the Arts, Margie
Salvante of the Roundabout Theatre, Partnership for Afterschool
Education, Nate Moore of Newsday, the Society for the Preservation
of Modernism, Hoong Yee Lee Krakauer of Queens Council on the Arts
and numerous other friends who have contributed time, energy and
There has been so much discussion about what should be built
on the former World Trade Center site. Focus groups have
struggled with imagery, monuments, buildings and open space,
attempting to come to common ground on this former mecca for
commerce which is now sacred ground. Throughout the past year,
the ArtistCares team has grappled with another e,
however, that the professionals who become involved in this
crucial work must be paid and paid well. Until we get over that
hurdle, we, as a society, will not have made the true commitment
to this work. We truly must find a way to value the work of the
heart. This is the struggle ArtistCares faces now as we try to
find the funding to continue.
During this week when we will all be bombarded with
"anniversary" programming, I hope we can find the time to reflect
on just what is important to us - to do good work, to give of our
hearts and to continue to build bridges from helplessness to
action. These are the bridges that make up the solid
infrastructure of the human heart. This is the rebuilding we can
be a part of.
Through our action, our compassion, we assure ourselves as
well as those who follow us, that events as horrific as those of
September 11, 2001 will never be forgotten. We give of the power
we have as artists, healers and humans in order to construct a
solid future of hope and possibility.
(c) 2002 Alan Lynes - For permission to redistribute this
contribution, please contact him at
ARTISTCARES WEB SITE --
EXPRESS DIVERSITY! LEARNING MODULES CREATED BY VSA ARTS ADDRESS
CHALLENGES FACED BY SCHOOL CHILDREN WITH AND WITHOUT DISABILITIES
EXPRESS DIVERSITY! -- a series of learning modules which infuse
the topic of disability into the arts in such a way as to promote
discussion and new insights -- "recognizes and addresses the fact
that all school-aged children with and without disabilities are
faced with some of the same challenges," VSA Arts Explains. "The
program deals with a variety of subjects that all children are
faced with, including issues of self-esteem, diversity awareness
and sensitivity, and an understanding of the relationship of the
individual to the community and society as a whole."
VSA Arts created Express Diversity! in response to a need for
inclusive, comprehensive, and engaging lesson plans which speak to
the growing numbers of students with disabilities in the
classrooms. Into a series of easy-to-use art activities, the
curriculum weaves the guiding themes of
- Every individual is unique.
- Every individual has the right to basic fairness and basic
- Every individual has problems to solve.
The modules are written at the fifth-grade level, but are also
adaptable for kindergarten through twelfth-graders.
VSA arts is an International organization which creates learning
opportunities through the arts for people with disabilities. The
organization offers arts-based programs in creative writing,
dance, drama, music, and the visual arts -- implemented primarily
through an affiliate network in 39 states and the District of
Columbia, as well as collaborators in 10 states, and 70
international affiliates in 67 countries.
For more complete details about Express Diversity! visit
The site is currently hosting EXPRESSING FREEDOM, an online
exhibition in which young artists with disabilities contemplate
freedom in their lives.
MARTHA GRAHAM CENTER ENTITLED TO COPYRIGHT TO 45
DANCES CHOREOGRAPHED BY MARTHA GRAHAM, COURT RULES
NEW YORK CITY, NY -- United States District Judge Miriam Goldman
Cedarbaum has ruled the Martha Graham Dance Center and the Martha
Graham Dance Company are entitled to a declaration of ownership of
copyright to 45 dances choreographed by Martha Graham. The ruling
found that the plaintiff, Ronald Protas, is only entitled to a
declaration of ownership for the renewal term of copyright in one
dance, "Seraphic Dialogue", and that neither side has established
ownership of copyright in 24 dances. (some of which are in public
"We rejoice that the decision comes just as we are making plans
for our Joyce Theater season and tour," the NEW YORK TIMES quotes
Francis Mason, chairman of the Graham board, as saying. "We're all
wound up and ready. And this permits us to go ahead as we hoped we
Between 1956 and her death in 1991, Martha Graham was employed by
the Martha Graham Center of Contemporary Dance and the Martha
Graham School of Contemporary Dance, two not-for-profit
corporations that operated as a combined entity. During that
35-year period, Graham created many dances with the members of the
Martha Graham Dance Company and the students and teachers at the
Protas had sought to enjoin the Center from performing dances
choreographed by Graham which he, as her heir, claimed to own.
The Center argued that Graham did not own the dances because in
some cases the rights had been assigned to the Center and in
others Graham had choreographed them as "work for hire" while she
was an employee of the Center.
The 45 dances which the Martha Graham Dance Company can now
perform are: "Tanagra", "Three Gopi Maidens", "Harlequinade",
"Primitive Mysteries", "Serenade", "Satyric Festival Song",
"Dream", "Saraband", "Imperial Gesture", "Deep Song", "Every Soul
is a Circus", "El Penitente", "Letter to the World", "Punch and
the Judy", "Salem Shore", "Deaths and Entrances", "Eye of
Anguish", "Ardent Song", "Embattled Garden", "Episodes: Part I",
"Acrobats of God", "Phaedra", "Secular Games", "Legend of Judith",
"The Witch of Endor", "Part Real-Part Dream", "Cortege of Eagles",
"Plain of Prayer", "Mendicants of Evening", "Jacob's Ladder",
"Lucifer", "The Scarlet Letter", "O Thou Desire Who Art About to
Sing", "Shadows", "The Owl and the Pussycat", "Ecuatorial",
"Frescoes", "Judith", "Andromache's Lament", "Phaedra's Dream",
"Song", "Tangled Night", "Persephone", "Maple Leaf Rag", and "The
Eyes of the Goddess."
In another component of the case, in January of 2001, Protas
filed suit against the Martha Graham Center of Contemporary Dance
to enjoin the Graham Center from using the names "Martha Graham"
or "Martha Graham Technique", but last August, Judge Cedarbaum
affirmed the right of the Center and School to continue using
Graham's name and teaching Graham's technique as they have for
approximately 50 years.
THE MARTHA GRAHAM SCHOOL AND DANCE FOUNDATION, INC. and RONALD A.
PROTAS, individually and as Trustee of the Martha Graham Trust
Plaintiffs, OPINION vs MARTHA GRAHAM CENTER OF CONTEMPORARY DANCE,
INC. and MARTHA GRAHAM SCHOOL OF CONTEMPORARY DANCE, INC.
"Martha Graham Center Wins Rights to the Dances"
THE NEW YORK TIMES --
August 24, 2002
"Martha Graham Center and School Win Decision to Retain Use of
Martha Graham's Name"
Arts Wire CURRENT --
August 28, 2001
LOUIS OWENS (1948 - 2002)
"That's how I'd come to be in Arkansas, just a few miles from the
Oklahoma town where our Cherokee grandmother was born. I'd written
a novel about my brother. My second novel, The Sharpest Sight,
was born out of Gene's disappearance, out of the paradox of his
non-return from that war. 'The arrows of death fly unseen at
noon-day; the sharpest sight can't discern them,' the book's
epigraph read. It was a book about Mississippi, about my father's
Choctaw ancestors, about the mysteries of identity and story, but
most of all it was a book about a lost brother and a long pattern
of loss into which that one seemed to fit. I'd made a journey to
the black wall in Washington, D.C., and found the names of friends
who'd died in Vietnam, but I'd had no idea where my own brother's
name might be found, so I'd made a story out of what I did not
know." - Louis Owens, "Finding Gene", WEBER STUDIES
Louis Owens -- the author of the novels WOLFSONG, NIGHTLAND, THE
SHARPEST SIGHT, and BONE GAME and of the books MIXEDBLOOD
MESSAGES: LITERATURE, FILM, FAMILY, PLACE and OTHER DESTINIES:
UNDERSTANDING THE AMERICAN INDIAN NOVEL -- died last month in
Albuquerque, NM. of apparent self inflicted gunshot wounds.
He was a professor of English and Native American studies at the
University of California, Davis and headed the campus Creative
"His writing is really important in American literature, overall,"
the University quoted Native American poet Luci Tapahonso, who is
a professor of American Indian studies and English at the
University of Arizona, Tucson, as saying. "He challenged people to
rethink their approaches and touched on topics that hadn't been
In an obituary for Louis Owens, the University wrote:
"In his novels, Owens said he wrote to two audiences: mainstream
readers and his Choctaw and Cherokee relatives. He wove in layers
of Native American metaphor and myth through his complex mystery
plots, so that two stories were being told at the same time."
The University also observed that "Extraordinarily generous with
his time and attention to students, Owens was a dedicated teacher
who mentored and encouraged his students and other writers."
WEBER STUDIES --
Louis Owens, "Finding Gene"
UNIVERSITY OF CALIFORNIA AT DAVIS --
"Native American Critic and Novelist Louis Owens Dies"
LOUIS OWENS --
September 20-21, 2002
CORNELL WORKSHOP ON DIGITAL TERROR
Cornell University will host an international art and theory
workshop on "Digital Terror," sponsored by The Ruth Goldsen
Lecture Series in conjunction with CTHEORY Multimedia, the Visual
Studies Program, and the Cornell Library.
"The Workshop will discuss the broad spectrum of artistic
responses to digital terror, including work on surveillance,
digital artwork addressing the broad erosion of human rights via
digital means and machineries, as well as the counterpart of
ethnic anxieties in the wake of the expansion of the digital
divide. It will provide a forum for artists and theorists who
struggle to enhance the enigmatic value of language and
representational machineries that have been so sorely depleted
and threatened by governmental, institutional, and cultural
agents," they state.
Organized by Cornell Professor Timothy Murray, Departments of
Comparative Literature and English and Co-Curator of CTHEORY
Multimedia, the Workshop will double as a launch of the new issue
of CTHEORY Multimedia, "Wired Ruins Digital Terror and Ethnic
http://ctheorymultimedia.cornell.edu -- as well as an inauguration of
the Rose Goldsen Archive of Digital Multimedia Art to be curated by
Murray and housed in the Cornell Library's Division of Rare Books and
Participants will include:
Keith Piper, Carnegie Mellon University
Maurice Benayoun (Univ. of Paris)
Jordan Crandall, University of California, San Diego
Shadi Nazarian, University of Buffalo
Wendy Hui Kyong Chun, Brown University
Arthur and Marilouise Kroker, CTHEORY
Patricia Zimmermann, Ithaca College
Chris Csikszentmihalyi, MIT Media Lab
For further information, contact Timothy Murray, Director of the
Rose Goldsen Lecture Series, Cornell University firstname.lastname@example.org,
Funding/Opportunites for Organizations
NATIONAL ENDOWMENT FOR THE ARTS ANNOUNCES $850,000 IN AWARDS TO
NATIONAL DESIGN COMPETITIONS
Washington, DC -- The National Endowment for the Arts (NEA) has
announced $850,000 in awards to 13 grantees in its third annual
New Public Works initiative.
The Arts Endowment will provide up to $75,000 each to 13
organizations to help fund national design competitions for a
range of public projects. This year, particular emphasis was given
to the design of innovative schools with eight of the projects
involving elementary, secondary and university buildings.
"We focused on school design this year because of the crucial role
educational facilities play in a community as a component of
neighborhood revitalization," said Mark Robbins, NEA Director of
Design. "Also, school buildings create a physical and symbolic
center for communities by encouraging public use of their
facilities such as auditoriums, gymnasiums, and health centers."
"But perhaps as important, we hope this initiative will introduce
students and their communities to the highest quality of design in
their daily environments," he added.
In addition to school buildings, the Van Alen Institute (New York,
NY) was awarded $50,000 to support an open competition for the
perimeter and adjacent areas of the former site of the World Trade
Center. Competitors will be asked to design an Information Center,
as well as a way of orienting visitors to the site.
The winning competitions for school design include:
Other winners were ARCHEWORKS; (on behalf of the City of Chicago)
CITY OF TRENTON; (Trenton, NJ) GREATER FULTON HILL CIVIC
ASSOCIATION; (Richmond, VA) LOCAL INITIATIVES SUPPORT CORPORATION
(on behalf of Livable Places, Inc.; Los Angeles, CA) and
SALT LAKE CITY CORPORATION. (also known as YouthCity, Salt Lake
- THE FASHION INSTITUTE OF TECHNOLOGY (New York City) - $75,000
to support a limited competition for the design of a new building;
- UNIVERSITY OF CONNECTICUT (Storrs, CT) - $75,000 to support a
limited competition for the design of an interdisciplinary
educational facility on the Storrs campus. The building will unify
the various divisions and areas of the School of Fine Arts.
- FOUR SEASONS ARTS COUNCIL (on behalf of the Old Mill Steering
Committee, Hendersonville, NC) - $50,000 to support a limited
design competition for the conversion of an historic hosiery mill
into a performing arts space. The project will integrate
contemporary and historic architecture.
- KENT STATE UNIVERSITY URBAN DESIGN CENTER OF NORTHEAST OHIO
(Kent, OH) - $75,000 for the reconstruction of an elementary
school in the Slavic Village neighborhood of Cleveland
- EL PASO COUNTY DISTRICT #20 ACADEMY (Colorado Springs, CO) -
$75,000 to support a limited competition for the design of a K-12
educational facility. The designers will be asked to create a
fully accessible school that is part of a larger campus
- SAN JOSE STATE UNIVERSITY FOUNDATION (San Jose, CA) -
$50,000 to support an open, two-stage design competition for a
museum of contemporary art and design on the urban campus of San
Jose State University in San Jose, California.
- NATURE CONSERVANCY (Waipahu, HI) $75,000 to support an open,
two-stage design competition in the city of Kapolei on the Leeward
Coast of Oahu, Hawaii for the design of a sustainable building to
house a learning center for children. The facility will serve as a
learning and training tool connecting ecology with arts and
The roster of designers involved in the limited or hybrid
competitions include the offices of ShoP; Huff Gooden; Diller +
Scofidio; Smith-Miller + Hawkinson; Renzo Piano Building Workshop;
Zaha Hadid\Studio 9; Weiss\Manfredi; and Stamberg Aferiate.
Proposed jurors for the projects include Merril Elam; Sarah
Graham; Coleman Coker; Nasrine Seraji; Rodolfo Machado; Michael
Sorkin; and Shigeru Ban, among others.
"The New Public Works program was intended to develop the highest
quality of design in the public realm through the sponsorship of
national design competitions. It was targeted to the disciplines
of landscape architecture, urban planning, architecture, and
industrial design," the NEA notes.
They also advise that this is the final year of the initiative,
although applications for future design competitions may be
submitted in the NEA's Creativity category.
NATIONAL ENDOWMENT FOR THE ARTS --
"National Endowment For The Arts Announces Funding For 13 National
Artists Wanted: POSTCARDS FROM THE EDGE
Visual AIDS is inviting artists to participate in their fifth
annual POSTCARDS FROM THE EDGE benefit. The exhibition -- a
one-day event on Monday, October 28, 2002 -- will be held at
Sperone Westwater Gallery. They are looking for artists to create
and donate a 4" x 6" work on paper for the exhibition and sale.
Painting, drawing, photography, printmaking and mixed media are
Postcards from the Edge is a show and sale of original,
postcard-sized works on paper by established and emerging artists.
All artworks will be priced at $50 and sold on a first-come,
first-served basis. The works are signed on the back and exhibited
so that the artists' signatures cannot be seen. While the buyers
have a list of participating artists, they don't know who created
"A collector might end up with a work by a famous artist or
someone they don't know yet. Either way, they walk away with a
great piece of art while supporting Visual AIDS' important work.
All the proceeds support the programs of Visual AIDS," Visual AIDS
Artists who have participated in the past include: Vito Acconci,
Ricci Albenda, Carl Andre, Polly Apfelbaum, Ida Applebroog, Aziz +
Cucher, Donald Baechler, John Baldessari, Lynda Benglis, Ross
Bleckner, Chakaia Booker, A.A. Bronson, Aaron Cobbett, Renee Cox,
John Dugdale, Jeanne Dunning, Marcel Dzama, Nicole Eisenman, Joy
Episalla, Neil Farber, Tony Feher, Robert Flynt, Tom Friedman, Joy
Garnett, Milton Glaser, Robert Gober, Leon Golub, Gregory Green,
Harmony Hammond, Geoffrey Hendricks, Arturo Herrera, Jim Hodges,
Frank Holliday, Alfredo Jaar, Bill Jacobson, Joan Jonas, Roberto
Juarez, Nina Katchadourian, Barbara Kruger, Louise Lawler, Charles
LeDray, Zoe Leonard, Les Levine, Ann Messner, Marilyn Minter,
Carrie Moyer, Elizabeth Murray, Stefanie Nagorka, Chuck Nanny,
David Nelson, Yoko Ono, Tom Otterness, Shelia Pepe, Jack Pierson,
Carl Pope, William Pope L., Richard Prince, Ernesto Pujol, Tim
Rollins, Ruth Root, Betye Saar, Mark Sheinkman, Amy Sillman, Tom
Slaughter, Kiki Smith, Nancy Spero, Chryssanne Stathacos, Philip
Taaffe, Austin Thomas, John Waters, William Wegman, Lawrence
Weiner, Tom Wesselmann, Thomas Woodruff, Carrie Yamaoka and many
Artists interested in participating are asked to send a SASE to
Visual AIDS for a Postcards from the Edge package -- including
submission forms and a blank postcard from Canson-Talens.
The address is:
526 West 26th Street #510,
New York, NY 10001
The deadline is Friday, October 4, 2002.
Each artists is allowed one entry. Visual AIDS will send each
participating artist an invitation to the event and will follow-up
with the artist after the event. Any work that is not sold will be
returned upon request.
Visual AIDS effects change in the fight against HIV/AIDS through
exhibitions, events, and publications. The Visual AIDS' Archive
Project supports artists with HIV/AIDS with services including
free photo-documentation of artwork, a slide registry, material
grants, exhibition opportunities, career training, advice and
More information is available on their web site at
Details about these and other opportunities are available on Arts
Wire's Web Site at
To submit "calls" for either artists or organizations, send email
Deadline: October 2, 2002, Artist books, zines & pamphlets,
"BOOK,um?! Le Petit Versailles Garden, New York City, NY
Deadline: October 6, 2002, Visual artists - installation artwork,
performance pieces and works in new and experimental media,
John La Farge sanctuary at the historic Newport Congregational
Church, Rhode Island
November 1, 2002, Visual artists - painting, sculpture or glass,
The Anthrogallery, Tucson, AZ
November 4, 2002, Visual artists - Wood, fiber, metal, ceramic, stone,
installation, oil, acrylic, watercolor, pencil, photography,
illustration, The Adirondack Lakes Center for the Arts, in Blue
Mountain Lake, NY
CURRENT JOB LISTINGS
Details about these and other jobs are available on Arts Wire's
Web Site at
To submit jobs to Arts Wire, email them to
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.
INTEGRATIVE ARTS POSITION - tenure track, Penn State Altoona,
ASSISTANT PROFESSOR, University of Oregon Arts & Administration,
COMPANY MANAGER, Roxey Ballet, (Lambertville, NJ)
ASSOCIATE DIRECTOR, Imaging Research Center, (Baltimore, MD)
PROGRAM COORDINATOR, Learning By DesignNY, (New York City, NY)
LEADERS/SOLOISTS (SATB), Westwood Presbyterian Church, (Los
MALE PRINCIPAL DANCERS, Oakland Ballet, (Oakland, CA)
VISITING ARTISTS/ ART WORKSHOP FACILITATORS, Oyster Arts, (New
York City, NY)
TEACHING ARTIST, Algonquin Arts, (Manasqan, NJ)
COORDINATOR, SCHOOL AND EDUCATOR PROGRAMS, Whitney Museum of
American Art, (New York City, NY)
EDUCATION DIRECTOR, Young Audiences of New Jersey, (Princeton,
ASSOCIATE DIRECTOR, ARTS LEARNING MODEL GRANT, MHz Networks,
(Calls Church, VA)
ASSISTANT/ASSOCIATE CURATOR - DECORATIVE ARTS, The Nelson-Atkins
Museum of Art, (Kansas City, MO)
GALLERY INTERPRETATION SPECIALIST, The Nelson-Atkins Museum of
Art, (Kansas City, MO)
TEMPORARY ASSISTANT CONSERVATOR / FELLOW, OBJECTS, The
Nelson-Atkins Museum of Art, (Kansas City, MO)
ART CONSULTANT, (Art Gallery), (Rochester, NY)
REGISTRAR, Contemporary Art Gallery, (New York City, NY)
OPERATIONS MANAGER, Irish Repertory of Chicago, (Chicago, IL)
BUSINESS AND OPERATIONS MANAGER, The Midland Center for the Arts,
MEMBERSHIP COORDINATOR, The Studio Museum in Harlem, (New York,
MEMBERSHIP MANAGER, The Bruce Museum of Arts and Science,
DATABASE/TECHNOLOGY ADMINISTRATOR, Arbor Development Company,
(New Orleans, LA)
CIRCULATION ASSISTANT, Artforum International Magazine, (New
DIRECTOR OF COMMUNITY RELATIONS, Brooklyn Conservatory of Music,
ASSOCIATE, CAPITAL CAMPAIGN AND GOVERNMENT RELATIONS, Jazz at
Lincoln Center, (New York City, NY)
DEVELOPMENT MANAGER, Fundraiser for Foundation and Government
Relations, Jazz at Lincoln Center, (New York City, NY)
FUNDRAISER - (part-time), Stecher and Horowitz Foundation,
(New York City, NY)
DEVELOPMENT ASSISTANT, The Joyce Theater, (New York City, NY)
ASSOCIATE, DEVELOPMENT, Research and Foundation/Government
Funding, Jazz at Lincoln Center, (New York City, NY)
DEVELOPMENT ASSISTANT, Planning & Development Department,
Brooklyn Academy of Music, (Brooklyn, NY)
ASSISTANT, Capital Campaign, Jazz at Lincoln Center, (New York
ASSISTANT ACCOUNT EXECUTIVE, Resnicow Schroeder Associates, (New
OFFICE MANAGER/BOOKKEEPER, Learning By DesignNY, (New York City,
PORTER, Whitney Museum of American Art, (New York City, New York)
SENIOR SALES ASSOCIATE, Whitney Museum of American Art, (New
CITY CENTER CITYTIX* ASSISTANT MANAGER (Full-Time), City Center,
(New York, NY)
CITY CENTER CITYTIX* OPERATORS/CUSTOMER SERVICE (Part-Time),
City Center, (New York, NY)
INTERNSHIPS, Whitney Museum of American Art, (New York City, NY)
INTERN, (PBS series on African-American Spiritual Traditions),
(New York City, NY)
EDUCATIONAL INTERN, Learning By DesignNY, (New York City, NY)
DEVELOPMENT INTERN, Metropolitan Museum of Art, (New York City,
INTERNSHIP, Le Brun Library, Montclair Art Museum, (Montclair NJ)
ARTS WIRE JOB RESOURCES
A growing list of links to job resources for artists and arts
administrators is available on Arts Wire's Web Site at
ABU JAFAR - WHITE LETTER 2002
On Wednesday, August 14 at Trafalgar Square London UK, Abu Jafar
installed a work 50 meters long and 1.5 meters wide containing
letters, white fabric, and green leaves. The artist writes by
email that "During this exhibition, London Authority ban Jafar as
a Muslim artists not to use WAR & IRAQ in his art work at
Trafalgar Sq, London UK. And only two hours for to hand out the
information about the Installation to the public from 6pm -8pm
even though this Installation take place for exhibition around
He describes the work, WHITE LETTER 2002, in this way:
"It was a statement of the current conflicting world that we live
in, where millions of people are killed by the actions of a few
and some of them are going to kill more and more.... We want
peace not war and no killing of any human....We the peace loving
people do not like to see any inhuman UN embargo on any country.
War and Embargo both are crimes against humanity. This work is
for peace and friendship... It is white, green, black and silver
with 50 meters silent open space under the sky to take the message
around by the summer breeze to the people
... Peace! Peace!! Peace !!!"
NEW YORK ARTS RECOVERY FUND - ORGANIZATIONAL RECIPIENTS
- African Film Festival
- African Voices
- Afro Brazil Arts
- Anabella Gonzalez Dance Theatre, Inc.
- Andrew Janetti & Dancers
- Anthology Film Archives
- Art 21
- Art in General
- Art Resouces Transfer, Inc.
- Artemis & The Wild Things
- Artists Space
- Arts Resources in Collaboration, Inc.
- Asian American Arts Centre
- Avignon/New York Film Festival
- Ballet Hispanico
- Battery Dance Corporation
- The Blanco Performing Arts
- Foundation, Inc.
- BluePrint Productions
- Bomb Magazine
- Bronx Dance Theatre
- Brooklyn Arts Exchange
- Trisha Brown Dance Company
- Camera News, Inc
- Career Transition for Dancers, Inc.
- The Caribbean Cultural Institute
- Center for Traditional Music and Dance
- H.T. Chen Dance Company, Inc.
- Children's Arts Carnival
- Circuit Productions, Inc.
- Clememte Soto Velez Cultural & Educational Center, Inc.
- College of Staten Island - CUNY, Center for the Arts
- Coloquium Contemporary Dance Exchange
- Community Works New York City
- Company Appels
- Creative Time, Inc.
- Cuban Artists Fund
- Dance As Ever, Inc.
- Dance Collective
- Dance Forum Inc.
- Dance Rink
- Dance Space Center, Inc.
- Dance Theater of Nepal
- Dance Theatre Workshop
- Dances by Isadora
- Dancing with Horses
- Deep Dish TV
- Dieu Donne Papermill
- Dixon Place
- Downtown Arts Project
- Drumsongs Productions, Inc
- d.u.m.b.o. Arts Center
- The Early Stages Program, Inc.
- Earth Celebrations
- Elizabeth Streb/Ringside
- ENACT, Inc.
- Enrichment Through the Arts, Inc.
- Exit Art
- The Field
- Flushing Council on Culture and the Arts, Inc.
- Fly-By-Night Dance Theater, Inc.
- A Gathering of Tribes
- Foundation for Independent Video & Film, Inc.
- Fractured Atlas
- Franklin Furnace Archive, Inc.
- French Institute Alliance Francaise
- Gale Gates
- Global Action Project
- Hundred Grand Dance Foundation dba/ Bill Young
- and Dancers
- The Infinite Mind/Lichtenstein Creative Media
- Instituto de Arte Teatral Internacional, Inc.
- International Agency for Minority Artist
- Affairs, Inc.
- Irish Arts Center
- Jamaica Center for Arts & Learning
- John Jasperse Company
- JenniferMuller/The Works
- The Jewish Heritage Project, Inc.
- Bill T. Jones/Arnie Zane Dance Co.
- Kathak Ensemble & Friends
- The Kitchen
- Jose Limon Dance Foundation
- Lar Lubovitch Dance Co.
- Lower Manhattan Cultural Council
- The Macedonian Arts Council, Inc.
- Mad Alex
- Michael Mao Dance
- Manhattan Art Program
- Millenium Film Workshop
- Momenta Arts
- Monte/Brown Dance
- Muae Publishing, Inc.
- Multicultural Music Group, Inc.
- Museum of Chinese in the Americas
- Museum of Contemporary African Diasporin Arts
- The New American Cinema Group, Inc.
- The New York Baroque Dance Company, Inc.
- New Dance Alliance, Inc.
- New Dance Group
- The New Press
- New York Chinese Cultural Center, Inc.
- New York Fu Kai Cantonese Opera Training Center
- New York International Children's Film Festival
- New York Lesbian & Gay Experimental Film
- Festival, Inc. dba/ MIX
- New York Stage and Film Co.
- On Television, Ltd.
- Organization of Independent Artists, Inc.
- Pan American Musical Art Research, Inc.
- Parsons Dance
- PEN American Center
- Pentacle, Danceworks, Inc.
- Pink, Inc
- Poetry Society of America
- Portals of Wonder, Inc.
- Printed Matter, Inc
- Promote Arts Works, Inc.
- Rockaway Music & Arts Council, Inc.
- Rod Rogers Dance Co. & Studios
- Rubi Theater Company, Inc.
- Russian-American Cultural Center
- Shine, Inc.
- Snug Harbor Cultural Center
- Society of the Educational Arts, Inc.
- St. Ann's Center
- Teachers & Writers Collaborative
- Tribeca Performing Arts Center
- Triple Candie
- Troika Ranch
- Donna Uchizono Company
- Urban Glass
- Visual AIDS for the Arts
- Working Playground, Inc.
- World Music Productions
- Young Dancers in Repertory