October, National Arts and Humanities Month, is a time to celebrate artists and scholars and a time to remember the many ways in which the arts and the humanities contribute to our lives and communities.

"The arts enhance our lives, stimulate our creativity, and allow us to express our emotions, thoughts, and aspirations through countless forms of artistic expression," President George W. Bush writes in a statement available on the Americans for the Arts website. "Through the humanities we learn about ourselves, and about the important contributions of those who came before us."

He continues that:

"Across our country, people of all ages convey their values and their beliefs through artistic and intellectual works. These creative efforts communicate the ideas that shape lives. As we face the challenges of a new era, the arts and humanities will be vital to a future of innovation, opportunity, and hope."

In keeping with this year's theme of the importance of arts education for every child, in his statement, President Bush also points out the value of arts education in children's lives.

"During this month, I encourage all citizens to participate in activities that celebrate our rich artistic and intellectual heritage, and to learn more about the artists and scholars whose work continues to enrich our society, our Nation, and the world," he states.

Sources/resources:

AMERICANS FOR THE ARTS -- http://www.artsusa.org
_Americans for the Arts, which coordinates National Arts and Humanities Month events, has devoted a section of their website to information about the month-long celebration -- http://www.artsusa.org/services/visibility/nahm.asp

"Like professionals in other fields, artists need up-to-date, useful information to conduct their business and make the most of their talents," said Theodore S. Berger, Executive Director of NYFA. "Until now, there has never been one central location for artists to access all of the potential grants and resources available to them."

NYFA Source identifies more than 2,600 awards programs, 2,000 services, and 700 publications for artists in the dance, music, folk/traditional, theater, performance art, visual, design, media and literary arts -- from the Conrad Cantzen Shoe Fund of The Actors Fund of America; (granting a new pair of shoes to unemployed actors going on auditions) to the MacArthur Fellowship Program. (multi-year awards reaching $500,000)

An easy-to-use search engine will allow users to narrow queries by discipline, location, gender, age group, application deadline, and more. Searches can be as general -- cash grants for dancers; (239 opportunities yielded) -- or specific -- female ballet choreographer in Minnesota (1 opportunity yielded) - as desired.

NYFA Source was created in collaboration with the Washington, DC-based Urban Institute (UI) during as part of UI's study, INVESTING IN CREATIVITY. The Institute recognized that, while artists are an important creative force in American life, there was no comprehensive picture of how they are supported. A key element in determining this picture was to create a database documenting all of the current support mechanisms available to artists.

Carnegie Mellon University's Center for Arts Management and Technology was responsible for developing the programming and database that power both NYFA Source and the entire web site.

NYFA's success with its VISUAL ARTIST INFORMATION HOTLINE, a popular information service used by more than 38,000 visual artists each year, prompted The Institute to turn to NYFA to create the new database. The Urban Institute worked with NYFA to build on and incorporate the Hotline into a larger database which not includes all disciplines but also will be used by funders and researchers to provide information about patterns and trends in artists' support.

"NYFA Source is the largest and most comprehensive online resource of its kind in this country. It covers all disciplines for both originating and interpretive artists. It is our hope that when artists seek information, they will think NYFA Source. And significantly, it is available free of charge 24 hours per day, seven days a week," said Ted Berger.

NYFA queried more than 2,600 arts organizations nationwide in creating the database. As part of NYFA Source's ongoing development, the Urban Institute will produce analytical reports about the patterns of support represented in the database. Regular updating of information in the database by NYFA will enable the field to monitor trends over time.

"NYFA Source puts artists in touch with the resources they need to advance their work," said Maria-Rosario Jackson, Principal Investigator for the Urban Institute's Investing in Creativity study. "As important, it will enable us to see gaps in available aid, and allow us to track trends over time. This will give funders, researchers and others who care about artistic creativity and productivity an important new tool to improve programs, services and policies."

NYFA Source is just one facet of NYFA INTERACTIVE, an unprecedented arts portal designed to interact with and serve the needs of four distinct audiences: artists, art organizations, donors, and an audience not previously addressed on NYFA's former web site - the art-curious public.

At http://www.nyfa.org visitors will be able to find cultural news, events, and valuable resources for contemporary arts. "NYFA seeks to involve and educate members of the public who are interested in learning more about contemporary art, specific disciplines, or artists," the project notes.

NYFA is also creating an online gallery which will feature works by more than 3,000 NYFA grantees. NYFA grantees have included Laurie Anderson, Spike Lee, Billy Collins, David Henry Hwang, Andres Serrano, Shirin Neshat, Barbara Kruger, Alan Jay Kernis, Terry McMillan, and many others.

The design and launch of NYFA Interactive has been made possible by a generous grant from the Robert Sterling Clark Foundation.

Ongoing support of NYFA information services have been provided by Albert A. List Foundation, Basil H. Alkazzi, Andy Warhol Foundation for the Visual Arts, Elizabeth Foundation for the Arts, Independence Community Foundation, Joan Mitchell Foundation, Judith Rothschild Foundation, Lily Auchincloss Foundation, The Liman Foundation, Virginia Manheimer, Marie Walsh Sharpe Art Foundation, Pew Fellowships for the Arts, Pollock-Krasner Foundation, Richard A. Florsheim Art Fund, and Robert and Helen Gould Foundation.

Sources/resources:

NEW YORK FOUNDATION FOR THE ARTS -- http://www.nyfa.org Access information for NYFA SOURCE will be available in November when it launches.

The New York Foundation for the Arts (NYFA) provides more support to artists and arts organizations in all disciplines than any other private organization in the country nearly $11 million annually. NYFA's fellowships of $7,000 go to as many as 160 New York State artists from a field of 16 disciplines, covering the visual, performing, and literary arts. Small and mid-sized arts organizations, which artists so often depend on, are also supported by NYFA.

Since its founding in 1971, NYFA has worked in partnership with many private and public funding sources to create groundbreaking programs that serve particular needs in the arts community, taking a leadership role in field studies and advocacy, as well as funding.

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 organizations.

THE URBAN INSTITUTE -- http://www.urban.org
The Urban Institute is a nonprofit policy research organization created in 1968 to sharpen thinking about America's problems and efforts to solve them; improve government decisions and their implementation; and increase citizens' awareness about important public choices. The Institute's research agenda includes national, state, and local issues that reflect, respond to, and at times anticipate society's changing needs.

Investing in Creativity Funders are:
Allen Foundation for the Arts, Boston Foundation, Brown Foundation, Morris and Gwendolyn Cafritz Foundation, Chicago Community Trust, Cleveland Foundation, Community Foundation for the National Capital Region, Nathan Cummings Foundation, Richard H. Driehaus Foundation, Doris Duke Charitable Foundation, Durfee Foundation, Flintridge Foundation, Ford Foundation, J.P. Getty Trust, Wallace Alexander Gerbode Foundation, Greenwall Foundation, George Gund Foundation, William and Flora Hewlett Foundation, Houston Endowment, James Irvine Foundation, Jaech Family Fund, Joyce Foundation, LEF Foundation, Los Angeles Department of Cultural Affairs, John D. and Catherine T. MacArthur Foundation, Massachusetts Cultural Council, Andrew W. Mellon Foundation, Eugene and Agnes Meyer Foundation, John P. Murphy Foundation, National Endowment for the Arts, New York Community Trust, Ohio Arts Council, David and Lucile Packard Foundation, Pew Charitable Trusts, Prince Charitable Trusts, Rockefeller Foundation, Andy Warhol Foundation for the Visual Arts, and anonymous donors.

Demonstrating the extraordinary breadth of arts databases and digital preservation programs being developed around the country, in this year's round, many projects which facilitated online access to arts information were supported.

They include funding to support workflow management and software for the PEABODY DIGITAL AUDIO ARCHIVES PROJECT at Johns Hopkins University in Maryland and funding for the Pacific Film Archive (PFA) at the University of California at Berkeley to research securing copyright permissions for digital copies of film holdings for CINEFILES.

CINEFILES, PFA's database of reviews, press kits, festival program notes, newspaper articles, and other film-related documents, also includes materials on the films of nearly 100 directors whose works have been featured in PFA's exhibition program.

In the Library Museum Collaboration category, Cornell University Library in Ithaca, NY received funding towards developing and testing a metadata structure for the GLOBAL PERFORMING ARTS DATABASE.(GloPAD) This project -- which is designed to enable people throughout the world to explore the diversity and depth of the world's performing arts -- is developing Performing Arts Databases which provide access to performing arts works through images, sound and video clips, and detailed descriptions.

Project collaborators include the Museum of the City of New York; San Francisco Performing Arts Library and Museum; St. Petersburg State Museum of Theater and Music; (Russia) the Gertrude Stein Repertory Theater; and the University of Washington Libraries.

"At IMLS, we have a strong conviction that the primary characteristic museums and libraries hold in common is that both are agencies that support public education. When these institutions collaborate, the effect is formidable -- together they forge links to the world beyond their walls," IMLS Director Robert S. Martin stated in announcing the awards in Library Museum Collaboration.

In the Preservation or Digitization category, the University of Maine's Fogler Library in Orono, ME received funding towards THE MAINE MUSIC BOX. The University of Maine, in partnership with the Bagaduce Music Lending Library and the Bangor Public Library, will design and implement an interactive, multimedia digital music library linked to statewide public school music curriculum standards.

The Maine Music Box consists of images of scores with associated sound renditions, cover art, and lyrics. Viewers will be able too play, and print scores, and manipulate music by changing the key and instrument.

In the Museums Online category, the American Association of Museums (Washington, DC) received funding towards the creation of a NAZI-ERA PROVENANCE INTERNET PORTAL which will serve as a searchable registry of objects in U.S. museums -- both assisting museums in fulfilling their responsibility to make Nazi-era provenance information accessible and providing researchers and claimants with a central location from which to begin their research.

Other institutions receiving grants in the Museums Online category included the Art Institute of Chicago to launch the pilot phase of ART EXPLORER, an online educational tool to enable K-12 teachers to link interdisciplinary curricula to the museum's permanent collection; and the San Francisco Museum of Modern Art to create programs which will bring together traditional museum education and digital multimedia programs for adult museum visitors, students, and teachers of grades 9-12.

The project includes a statewide teacher training program which will train 600 teachers in using museum digital resources.

"The American public has much to gain from the use of technology by museums. It enables greater access to unique cultural, scientific, and artistic collections; to vast information and research resources; and to innovative educational opportunities for students of all ages," said IMLS Director Robert S. Martin.

This September, IMLS grants were also awarded in the categories of Native American Enhancement; General Operating Support; Museum Assessment Program; Native Hawaiian Library Services.

Among many others who received funding in these category were Fort Belknap Indian Community, Harlem, MT; ALU LIKE of Honolulu, a private non-profit organization serving the Native Hawaiian community; Everson Museum of Art, Syracuse, NY; Samuel P. Harn Museum of Art, Gainesville, FL; University of Michigan Museum of Art, Ann Arbor, MI; and the Marion Koogler McNay Art Museum, San Antonio, TX.

For complete information on grant recipients and on how to apply for IMLS grants, visit the IMLS website at http://www.imls.gov

Sources/Resources

THE INSTITUTE OF MUSEUM AND LIBRARY SERVICES (IMLS) -- http://www.imls.gov

CINEFILES -- http://www.mip.berkeley.edu/cinefiles/

GLOBAL PERFORMING ARTS CONSORTIUM -- http://www.glopac.org/

In the parts of the world where there is access, the World wide Web has become an integral part of the arts infrastructure. Its use is an integral part of our daily lives; its extraordinary inclusive gateway to diverse artworks and viewpoints, an important and worthy-of-protection resource in our culture.

Artists and the arts organizations who host their sites are exploring intelligent, active, and co-active viewer-centered experiences -- from the magical world of old toys and early cinematic devices which Zoe Beloff invokes in PHILOSOPHICAL TOY WORLD; to Fred Truck's the BADGE OF QUALITY CORPORATION web site where -- looking like the combination of a spinning space station and a contemporary Pinocchio figure -- Mr. Milk Bottle examines corporate morality in a series of prints and animations; to P.S.1's ANIMATIONS website, a component of the Animations exhibition, which in the gallery's words, focused "on the implications of living in an age where visual experience is informed by new technologies, and where the 'reality' of live action film and the imagined worlds of animation have blurred together."

The viewer who enters Zoe Beloff's Philosophical Toy World (commissioned by Turbulence) encounters an antique cinematic device projecting a flickering web-hosted image of a cowboy on a bucking bronco. An old projector with a lantern burning in its depths, projects film loops. In one, over and over a man pours a drink and another man drinks it; in another, situated in a desert landscape reminiscent of old cowboy movies, two men wrestle on the ground in a never-ending fight.

"The ideas expressed here have no wish to be well balanced, or even sane. They are a call to reinvest moving images with the marvelous, not through other worldly flights of imagery but through seeing the very production of the moving image in a new light. They are a cry for a multiplicity of 'cinemas', past, present and future," she states.

The website, she explains, is partially inspired by the education rebus books of the 19th century and by Walter Benjamin's descriptions of these books, and she tells the viewer that "Here conceptual constellations, will project you on a journey crisscrossing a host of parallel cinemas."

Artist Diane Fenster describes her role as a digital artist as that of "an alchemist, using digital tools to delve into fundamental human issues". Her digital prints of intertwined photographs and scanned images explore relationships between people, between people and memory, and between people and evolving medias: in one image, a hand touches a button appearing on the pages of a beautiful old book and the word "click" is unobtrusively integrated into the image; in another image, a sleeping woman, a hand, a page from an old magazine, a sofa and a chair are revealed, as if through the panes of a window.

"Early on I thought 'what a wonderful opportunity to show more people my work'", Fenster, who in addition to making art supports herself as a photoillustrator and graphic designer, told Arts Wire CURRENT. "If you have a gallery show you are lucky if 100 people go see it. On the web it's always up. People can contact you, and you can have dialogue. I've had wonderful conversations with people asking challenging, meaningful questions.

Her early work as an artist is available on ART ON THE NET, and her illustration and more recent fine art portfolio is available at her own domain dianefenster.com. She emphasizes the visibility which these web sites provide: "People go to Google and type in 'Diane Fenster', and they can find out all about my work. Almost every week I get contacted by a High School or College student who is doing a report about my work and that is how they found me, she notes. "I get emails -- very touching, very beautiful from people all over the world who have looked at my work in the web."

Additionally, for Diane Fenster, who is currently working on a series of illustrations for the Seattle Opera, the web is now also a core component in promoting her work as an illustrator. She advertises her work in artist source books for illustrators. In the past, if someone saw her work in this context, she had to ship them a portfolio book. "Now instead of my having to ship a portfolio, they go to my web site. That's what happened with Seattle," she explains.

In New York City, from October 14, 2001 - January, 2002, P.S.1 Contemporary Art Center hosted the exhibition ANIMATIONS. Included were works by Haluk Akakce, Peggy Ahwesh, Jeremy Blake, Angus Fairhurst, David Galbraith, Claudia Hart, Simon Henwood, William Kentridge, Alex Ku, Kristin Lucas, Christine Mackie, Jennifer & Kevin McCoy, Juan Munoz, Damian Ortega, Sven Pahlsson, Jenny Perlin, Liliana Porter, Possible Worlds, and Karen Yasinsky, among others. ANIMATIONS was curated by P.S.1 Senior Curator Carolyn Christov-Bakargiev with P.S.1 Associate Curator Larissa Harris.

To accompany the exhibition, web artist Paul Johnson designed a web animation room which featured a selection of web-based animation. Artists included Natalie Bookchin, Joshua Davis, Andy Deck, Xeth Feinberg, Alex and Munro Galloway, JODI, John Klima, Golan Levin and Casey Reas, Sebastian Luetgert, Panajotis Mihalatos, and Mouchette, among others.

Now -- giving the show a continuing life and not only hosting the web animations but also calling attention to the other artists in the show and to the ideas which shaped the show -- P.S.1's website continues to feature the web-based animations.

"As you can see, the website is fairly low-tech, with artist statements and bios, and then links to their sites," says P.S.1 Director of Education and Public Programs, Anthony Huberman who curated the web-hosted component of Animations. The site "enables the ideas to maintain a continuing presence," he emphasizes.

Among the works it hosts are Sebastian Luetgert's THE COILS OF THE SERPENT, an animated sequence of corporate logos. "The Coils of the Serpent is neither exactly affirmative not critical. Rather than a statement, it is an attempt to 'grasp the rough outlines of the coming forms' of the societies of control - the integrated spectacle of 'global' ethics and 'corporate' aesthetics," the artist writes in a statement on the web site.

An interactive animation by Mouchette presents the viewer with a buzzing fly and the opportunity to kill it. This reviewer did not want to do this, but in the statement on the website the result of the invited action is explained in this way:

"Once, on Mouchette's site, you killed a fly... It was just a button that you clicked, but then you heard some crying and sobbing and a text was being typed: little-fly-Mouchette - crying over her own death - was calling you a killer and asking: 'How can I write this since I'm dead?' You wrote an answer and sent it. Now your answer appears in the Lullaby for a Dead Fly with your name and the date you sent it, together with the answer of hundreds of other visitors. All these texts stream slowly by, downloaded from Mouchette's web server, and while you're reading them you fall into a deep meditation about death, the essence of writing, the internet and the short existence of flies. - K. Pettitt"

Anthony Huberman points out the idea-based component of the Animations show and the fact that its web site component helps place the work in a continuum of artists who work with animation.

"It looks at the various ways in which contemporary artists have addressed the aesthetics, imageries, techniques, or ideas behind animation as an artistic form. It places artistic interventions within, if you will, the collective memory of what animation has come to mean," he told Arts Wire CURRENT.

He also points out the web's importance in supporting all kinds of work, not just new media -- and specifically, for this show -- in placing the artists in the art historical lineage of artists working with the ideas of animation.

"It places them in the context of the history of animation, and not within a framework of new media art per se." The site represents "an important way in which animation has come to be understood and appropriated by contemporary artists, and not because they are new media," he comments. "So the website lives on by contextualizing people like John Klima and Golan Levin and Young Hae Chang alongside artists such as Juan Munoz, Damian Ortega, or William Kentridge, in the story of animation."

On the contemporary World Wide Web, music sites approach the web medium in a wide range of ways -- from the Vermont Contemporary Music Ensemble, which augments its program of performing and commissioning contemporary music by introducing audiences to new music via the program notes on its web site; to PAKISTANI MUSIC which provides access to both sound clips and lyrics; to Sarah Peebles, principal producer and member of the Toronto-based mixed-media trio, Cinnamon Sphere, whose site includes descriptions of and sound clips from her electroacoustic music and computer-assisted performance including information about and sound clips from her new work YESTERDAY IS NOW - THE WAR, 55 YEARS AFTER JAPAN'S SURRENDER. (video, 96 minutes; February, 2002)

San Francisco-based composer/performer and audio artist Pamela Z works primarily with voice, live electronic processing, and sampling technology -- creating solo works which combine operatic bel canto and experimental extended vocal techniques with found percussion objects, spoken word, "MAX MSP" on a PowerBook, and sampled concrete sounds triggered with The BodySynth, a MIDI controller which allows her to manipulate sound with physical gestures.

Her site includes information about her works -- such as VOCI (VOICES), an evening length, solo, multi-media performance work which explores the sonic, cultural, physical, and artistic worlds of the human voice. (featuring video work by Jeanne Finley and John Muse)

In addition to photographs, descriptions of her works and sound clips, Pamela Z's website also explains the technology she uses both in performance and in her studio. And visitors to her site can listen to works including BONE MUSIC; (Voice & 5 gallon water bottle) and GEEKSPEAK. (From PARTS OF SPEECH) (Sampled speaking voices)

Kyle Gann is a composer and a new music critic for the VILLAGE VOICE. He teaches music history and theory at Bard College and is the author of THE MUSIC OF CONLON NANCARROW (Cambridge University Press, 1995) and AMERICAN MUSIC IN THE 20TH CENTURY. (Schirmer Books, 1997)

His site leads the viewer to the notes about and audio samples from many of his works -- including his electronic cantata CUSTER AND SITTING BULL with its resonant core examination of duty to a corrupt government structure and violence versus moral responsibility and sped by the same corporation - Disney, or Time-Warner, or Viacom?"

And asking that we keep the Internet "free, unregulated, and outside the control of the corporations," he suggests that:

"The only effective action we have left in this context, for the moment, is self-publishing. Suppose you do manage to gain a following, and become well-known enough that your views and ideas interest people. If your work runs counter to the commercial mainstream, any publisher you turn it over to will bury it, tie up your copyright, and prevent your distribution under the mendacious excuse, 'Well, this isn't going to sell well enough for us to waste money promoting it.' If you truly represent a message alternative to the ruling corporate powers, then the bigger the publisher or record company you go to, the more your work will be hidden, neutralized, kept in boxes in a storehouse to diminish your threat to the status quo. If you want to have an impact, go to the smallest publisher, the smallest record company you can find, those few people left who do their jobs out of idealism and altruism with no regard for the 'bottom line' or 'professional consensus.' Even better: publish your own books, make your own CDs. The fact that the internet and digital technology make this possible is our only immediate hope."

Next week this web report will continue with sites devoted to writing, and theater including DRUNKEN BOAT, edited by poet Ravi Shankar; and The Alley Theater in Houston among others. An essay on dance web sites is also scheduled in this continuing series.

Sources/resources:

P.S.1 -- http://www.ps1.org ANIMATIONS
Installations: http://www.ps1.org/cut/animations/install.html
On the Web: http://www.ps1.org/cut/animations/web.html
The Animations exhibition will travel to Berlin, at Kunst-Werke, this winter.

ZOE BELOFF -- http://www.zoebeloff.com

PHILOSOPHICAL TOY WORLD -- http://www.turbulence.org/Works/illusions/#

TURBULENCE -- http://www.turbulence.org

FRED TRUCK -- http://www.fredtruck.com

DIANE FENSTER -- http://art.net/~fenster/ritofab_Home/fenster3.html
http://www.dianefenster.com
New photographic works by Diane Fenster will be on exhibition in YOUR DREAMS AND OMENS REVEALED
October 17-December 1, 2002
(Opening reception October 17th 6-9 PM)
at Blue Room Gallery, 2331 Mission Street, San Francisco, CA 94110
(415-282-8411)
"Drawing on inspiration from early 20th century dream interpretation books produced to advertise patent medicines, Fenster uses both digital and traditional photographic techniques to produce her Dreams and Omens as 20"x24" Polaroid Image transfers printed onto window curtains."
The works will be online after October 17th at http://www.dianefenster.com

DECORDOVA MUSEUM -- http://www.decordova.org
WEB RACKET: CONTEMPORARY INTERACTIVE WEB ART -- http://www.decordova.org/decordova/exhibit/webracket/Default02.htm

VERMONT CONTEMPORARY MUSIC ENSEMBLE -- http://vcme.org/

SARAH PEEBLES -- http://www.interlog.com/~speeb/

PAMELA Z -- http://www.pamelaz.com/

KYLE GANN -- http://home.earthlink.net/~kgann/
CUSTER AND SITTING BULL -- http://home.earthlink.net/~kgann/Custernotes.html
_"We are living in the new Soviet Union": a credo about censorship and the internet" http://home.earthlink.net/~kgann/statement.html

KALVOS & DAMIAN'S NEW MUSIC BAZAAR -- http://kalvos.org/
Contains extensive links to composer's websites

RHIZOME.ORG -- http://www.rhizome.org
_RHIZOME WEB HOSTING PROGRAM - Rhizome has initiated a Web Hosting Program. Details are available at http://rhizome.org/services/hosting_faq.php, or email hosting@rhizome.org
A chart showing their shared hosting plans and prices is available at http://rhizome.org/services/hosting_matrix.php

Opportunities for Artists

Two Franklin Furnace Programs which support artists in the performing arts are calling for applications. They are the FRANKLIN FURNACE FUND FOR PERFORMANCE ART 2003-2004 and THE FUTURE OF THE PRESENT 2004

Supported by Jerome Foundation and the New York State Council on the Arts, Franklin Furnace awards grants between $2,000 and $5,000 to performance artists, allowing them to produce major works anywhere in the State of New York. Artists from all areas of the world are invited to apply.

This year's fundwinners are Jess Dobkin, Laure Drogoul, Zlatko Kopljar, Mendi Lewis Obadike, James Scruggs, Alexander Viscio.

Franklin Furnace offers artists an honorarium (this year of $5,000) and a residency facilitated by Franklin Furnace, for two to four months at a physical or online venue appropriate to the proposed work. The future of the present 2004 will consist of three live art presentations which use the Internet as a venue and will be created during residencies that will take place from January to December 2004.

The future of the present 2003 artists are Brody Condon, Ricardo Miranda Zuniga, and Mouchette.

"Franklin Furnace has no curator; each year a new panel of artists reviews all proposals. We believe that this peer panel system allows all kinds of artists from all over the world an equal shot at presenting their work. All applicants are automatically considered for both categories of awards. Every year the panel changes, as the definition of 'emerging artist,' the notion of 'live art on the Internet,' and the definition of 'performance art' itself changes, so if at first you don't succeed, try again," they note.

The deadline is April 1, 2003.

For complete application details, visit the FRANKLIN FURNACE website at http://www.franklinfurnace.org

Details about these and other opportunities are available on Arts Wire's Web Site at http://www.artswire.org/current/calls.html To submit "calls" for either artists or organizations, send email to jmalloy@nyfa.org

Deadline October 15, 2002, Essays, features and reviews for a special issue that will explore the current state and future direction of visual studies, Afterimage

Deadline: 21 October 2002, Articles on love, M/C - A Journal of Media and Culture

Deadline: for October 19-20 event, Performers and Middle Eastern Music, Atlantic Avenue in Brooklyn

Deadline: October, 2002, Remake net art for a small prize, Remix/Remake/Remodel

Deadline: November 1, 2002, Public Artists, Tribute to those lost from Rockaway at the World Trade Center on September 11, 2001

Deadline: December 31, 2002, International artists who work in glass, Visiting Artist Fellowships, UrbanGlass, New York City

Deadline: January 15, 2003, Korean-American artists, Positions 38 Degrees Korean-American Crossings, Visual Studies Workshop, Rochester, NY

Deadline: January 15, 2003, Photography, film/video, and installation work, Curatorial proposals for its main gallery, Visual Studies Workshop, Rochester, NY

Deadline: when the war is over, Artists of all disciplines, "After the Fall Artists for Peace, Justice and Civil Liberties," The Arts Paper

Featured Job:
EXECUTIVE DIRECTOR: SAN FRANCISCO JEWISH FILM FESTIVAL

The SAN FRANCISCO JEWISH FILM FESTIVAL is seeking an Executive Director. The ideal candidate should have demonstrated experience in film, festival or large event fund raising and production, film programming, non-profit management, knowledge of the Jewish community and ability to manage a million-dollar budget.

The San Francisco Jewish Film Festival is committed to screening films which "explore relationships between Jews and other groups such as African Americans, Latinos, Arabs, Asians, Palestinians and others, and to exploring how we, as Jews, express our Arab and Latino(a) identities."

"....our programs reflect those traditions in Jewish thought and history that respect the human rights and dignity of all people, explore the nature of racial prejudice, generate thought provoking cross cultural dialogues with other ethnic communities and encourage audiences to question their deeply held values and beliefs, They write on their website at http://www.sfjff.org "Each year, our program is fresh, provocative, exciting, and fun. Our audiences are young and old, hold a wide range of political views, religious values and lifestyles. During the nineteen days of Festival screenings we create a special feeling of community spirit and surprise....."

In celebration of their 20th year, they have launched an ON-LINE LIBRARY OF INDEPENDENT JEWISH FILM. "This new service will provide a forum for engaging a broad audience in what it has meant and what it can mean to be a Jew today; it will promote Jewish learning for all those who visit the site," they write. The site includes articles about Jewish-subject film, reviews, interviews with filmmakers, directors and producers, and film synopses.

For more information, visit http://www.sfjff.org

Those interested in applying for the Executive Director job should send letters of interest and resumes by mail to:

Search Committee
San Francisco Jewish Film Festival
145 Ninth St. #200
San Francisco CA 94103

No phone calls or emails please.

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, San Francisco Jewish Film Festival, (San Francisco, CA)

ASSISTANT DIRECTOR, Masters Program in the History of Decorative Arts, Cooper-Hewitt, National Design Museum/Parsons School of Design, (New York City, NY)

ASSISTANT PROFESSOR/2-D STUDIO ARTIST (tenure-track), University of Washington, (Tacoma, WA)

ASSISTANT PROFESSOR (tenure-track), (primary strength in scene design), Department of Theatre Arts and Film, The University of Texas at El Paso, (El Paso, TX)

COMMUNICATION DESIGNER, University at Buffalo, State University of New York at Buffalo, (Buffalo, NY)

ADJUNCT FACULTY, (Fine Arts, Visual Arts, Occupational Safety and Health), Harry Van Arsdale Jr. Center for Labor Studies, (New York City, NY)

DIRECTOR, Steps on Broadway, (New York City, NY)

DIRECTOR, ODC Theater, (San Francisco, CA)

ARTISTIC DIRECTOR, Lincoln Center Institute, (New York, NY)

COMPANY MANAGER, Roxey Ballet Company, (Lambertville, NJ)

HOUSE MANAGER/FACILITY MANAGER, Helen Hayes Theatre Company, (Nyack, NY)

STAGE MANAGER/LIGHTING DIRECTOR, River North Chicago Dance Company, (Chicago, IL)

EDITOR OF AFTERIMAGE, Visual Studies Workshop, (Rochester, NY)

SCHOOL ADMINISTRATOR, Steps on Broadway, (New York City, NY)

MUSEUM EDUCATOR, The Lower East Side Tenement Museum, (New York City, NY)

SOUND SUPERVISOR, Mark Morris Dance Group, (New YOrk City, NY)

VOICE INSTRUCTORS, Hinsdale Center for the Arts, (Hinsdale, IL)

COMMUNITY ARTS COORDINATOR, The City of Mesa, (Mesa, AZ)

COMPANY MANAGER, Murray Spalding Movement Arts, (Brooklyn, NY)

ARTS MANAGEMENT CONSULTANT, Webb Management Services, (New York City, NY)

REGISTRAR/COLLECTION MANAGER, Richard L. Nelson Gallery & The Fine Arts Collection, University of California at Davis, (Davis, CA)

GALLERY ASSISTANT, Govinda Gallery, (Washington, DC)

PROGRAM ASSOCIATE, Young Audiences/New York, (New York City, NY)

PRODUCTION COORDINATOR, The Chamber Music Society of Lincoln Center, (New York City, NY)

DIRECTOR OF COMMUNICATIONS, Tudor Place Historic House and Garden, (Washington, DC)

COMMUNICATIONS ASSISTANT, Communications/Public Relations, The American Federation of Arts, (New York City, NY)

(VARIOUS JOBS), New York Public Library Performing Arts Project, (New York City, NY)

AUDIO TOUR MANAGERAntenna Audio, (Sausalito, CA)

EXECUTIVE ASSISTANT FOR TOURING THEATRE, Caravan StageBarge, (all around the world)

DEVELOPMENT MANAGER, Ann Arbor Summer Festival (AASF), (Ann Arbor, Michigan)

DIRECTOR OF DEVELOPMENT, The Forest Hills Educational Trust, (Boston, MA)

DIRECTOR OF DEVELOPMENT, Actors Theatre of Phoenix, (Phoenix, AZ)

DIRECTOR OF DEVELOPMENT, The Wolfsonian-Florida International University, (Miami Beach, Florida)

DEVELOPMENT DIRECTOR, The SITI Company, (New York City, NY)

PROGRAM DIRECTOR, Planning and Organization Development, Emc.Arts, LLC, (New York City, NY)

MARKETING MANAGER, The Reichhold Center, The University of the Virgin Islands, (St. Thomas, V. I.)

ASSOCIATE, FOUNDATION AND GOVERNMENT RELATIONS, Manhattan Theatre Club, (New York City, NY)

BUILDING USAGE COORDINATOR, The Egg, (Albany, NY)

FAIR ASSISTANT, (Twentieth Century decorative arts dealer), (New York City, NY)

REGISTRAR/OFFICE MANAGER, Steps On Broadway, (New York City, NY)

ADMINISTRATIVE ASSISTANT, New York City Ballet, (New York City, NY)

RECEPTIONIST, DeCordova Museum, (Lincoln, MA)

PROFESSIONAL SALES REP/PR PERSON, (artist), (Los Angeles, CA)

ART CONSULTANTS, (to book and host art shows), (Texas)

INTERNS, The New York Foundation for the Arts, (New York City, NY)

INTERN, Artist Studio, (New York City, NY)

INTERNS, Naked Angels, (New York City, NY)

EXECUTIVE ASSISTANT INTERNSHIP, Richard Frankel Productions, (New York City, NY)

TEACHING ARTIST INTERNS, City Lights Youth Theatre, (New York City, NY)

INTERN, (Solo performance artist), (New York City, NY)

INTERNSHIPS, Curatorial Department, Jersey City Museum, (Jersey City, NJ)

DEVELOPMENT INTERNSHIPS, Jersey City Museum, (Jersey City, NJ)

IMG ARTISTS INTERN PROGRAM - VOCAL DIVISION - relisted, IMG Artists, (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

CHICAGO, IL - Last week The John D. and Catherine T. MacArthur Foundation named 24 new MacArthur Fellows. Each will receive $500,000 in "no strings attached" support over the next five years.

"As the MacArthur Foundation approaches its twenty-fifth year, the announcement of the new class of MacArthur Fellows serves as a reminder of the importance of the creative individual in American society," said Jonathan F. Fanton, President of the MacArthur Foundation. "In all our programs, we are committed to nurturing those who are a source of new knowledge and ideas, have the courage to challenge inherited orthodoxies and to take intellectual, scientific, and cultural risks."

The MacArthur Foundation's website hosts a list of the fellows, their biographies, and a description of their works. Listed below are recipients who work in the arts and humanities and a brief excerpt from the Foundation's description of their work. Complete information is available at http://www.macfound.org

• KATHERINE BOO
  Journalist and Staff Writer The Washington Post
  Washington, DC
  "....Her Pulitzer Prize-winning series in the WASHINGTON POST published in 2000, 'Invisible Lives, Invisible Deaths,' exposed inadequate care too often provided to the mentally disabled in the Washington D.C. social service system. Her stories have catalyzed efforts to improve the quality of these support services...."

• KAREN HESSE
  Novelist
  Brattleboro, Vermont
  "....Her most recent verse novel, WITNESS, takes on the subject of the Ku Klux Klan and its influence on a small town in Vermont in the 1920s. The story is related in the voices of a variety of townspeople, some who become Klansmen, others who oppose the organization, and some who are victims of the Klan's violence. This work provides insight into the consequences of racism in the past and its impact on society today....."

• TOBA KHEDOORI
  Artist
  Los Angeles, California
  "....Khedoori uses traditional materials - wax, oil paint, and pencil - to create immense but delicate drawings on vast stretches of unframed paper. Her imagery represents urban or architectural elements - such as rows of windows in a facade, a corridor lined with closed doors, or bricks in a dislocated wall - that define our living space. While the work is realistic in its detailed representation of images, it is abstract in the isolation in which the artist places these images....."

• LIZ LERMAN
  Choreographer, Founder and Artistic Director Dance Exchange
  Takoma Park, Maryland
  "....Her most recent project, 'Hallelujah,' combines dance, music, and stories to reflect the character of each community - from Eastport, Maine, to Los Angeles, California. Lerman builds community, encourages personal insight, and choreographs dances that have been called visionary, profound, and revelatory....."

• GEORGE LEWIS
  Trombonist and Composer
  Professor of Music University of California, San Diego
  La Jolla, California
  "....His compositions bridge traditions of acoustic and electric, American and European, rhythmic and free form. He explores a wide variety of expressive modes, including text-sound collaborations with poets. Lewis has also been a pioneer in the application of computers to algorithmic improvisation. His performances, criticism, and scholarly analyses reveal profound insights into the unique expressive potential of improvisation and its critical role in the history and future of musical expression....."

• LIZA LOU
  Artist
  Los Angeles, California
  "....Inspired by the mosaics in Italy's basilicas, Lou spent five years creating her first major work, 'Kitchen' (1995). This installation is a three-dimensional, life-size, 168-square-foot replica of a typical American kitchen of the 1950s. It includes a kitchen sink, a cherry pie cooling on an oven rack, and dust balls under the refrigerator, all entirely covered in brightly colored beads...."

• EDGAR MEYER
  Bassist and Composer
  Nashville, Tennessee
  "....His music is a complex, intricate amalgam, creating a unique musical voice that broadens the technical potential of the bass and stretches the instrument's stylistic possibilities. His recent recording, "Bach: Unaccompanied Cello Suites Performed on Double Bass", transforms the bass into a solo classical instrument...."

• JACK MILES
  Literary Scholar and Critic Senior Advisor to the President J. Paul Getty Trust
  Los Angeles, California
  "....His Pulitzer Prize-winning book, GOD: A BIOGRAPHY, examines the evolution of the character of God as though a figure in a work of literature, providing a unique prism through which to consider the Old Testament. He employs a similar approach in his recent book, CHRIST: A CRISIS IN THE LIFE OF GOD, considering not the historical Christ, but the character depicted in the stories of the New Testament...."

• ERIK MUEGGLER
  Anthropologist
  Associate Professor of Anthropology University of Michigan
  Ann Arbor, Michigan "....In his book, THE AGE OF WILD GHOSTS, Mueggler draws on ritual, folklore, and memory to frame his analyses of community and justice in the township of Zhizuo. This work crosses the methodological boundaries of history and anthropology, bringing together such topics as the history of memory, culture and politics, poetry and material life, and production and reproduction...."

• STANLEY NELSON
  Documentary Filmmaker Director, Producer, Writer Firelight Media / Half-Nelson Films
  New York City, New York
  "....His award-winning film, THE BLACK PRESS: SOLDIERS WITHOUT SWORDS, synthesizes biography and history, bringing clarity and dimension to the often neglected role of black journalists in chronicling American history. In MARCUS GARVEY: LOOK FOR ME IN THE WHIRLWIND, Nelson examines an enigmatic African-American icon, illuminating character and cultural context....."

• CAMILO VERGARA
  Urban Archivist / Photographer
  New York City, New York
  "....Repeatedly photographing, sometimes over the course of decades, the same structures and neighborhoods, Vergara records both large-scale and subtle changes in the visual landscape of cities and inner cities in the United States..... Over the years, Vergara has amassed a rich archive of several thousand photographs that are a rare and important cache of American history. These images, monuments to the survival and reformation of American cities, are a unique visual study; they also inform the process of city planning by highlighting the constant remodeling of urban space....."

• COLSON WHITEHEAD
  Novelist
  Brooklyn, New York
  "...His more recent novel, John Henry Days, solidifies his position at the front ranks of the new generation of writers. This novel, about the life and myth of folk hero John Henry, is a complex, multilayered work of social commentary, folkloric analyses, historical criticism, and contemporary humor. It echoes and expands on the virtues of his first novel: original, descriptive prose, grand conception, each based on an African-American character surrounded by a threatening or potentially threatening white world...."

"No one may apply for the Fellowship, nor is there an interview process. To be considered, a person must be nominated by one of several hundred nominators appointed each year. Nominators, who serve anonymously, are chosen across many fields and challenged to identify people who demonstrate exceptional creativity and promise. A 12-member selection committee, whose members also serve anonymously, meets regularly throughout the year to review nominee files, to narrow the list, and to make final recommendations to the Foundation's Board of Directors. Typically, between 20 and 30 Fellows are selected each year. MacArthur Fellows are first notified in a telephone call from the Foundation. In most cases, the recipient will have no idea that he or she has been under consideration for the Fellowship."

Sources/Resources:

THE MACARTHUR FOUNDATION -- http://www.macfound.org "Twenty-four MacArthur Fellows for 2002 Announced by the MacArthur Foundation"
http://www.macfound.org/programs/fel/2002announce.htm