OPPORTUNITIES IN PUBLIC ART

For instance, in Rockaway Park, NY, with the collaboration of the Rockaway community, The Rockaway Partnership, a not-for-profit corporation of the Rockaway Chamber of Commerce, has received funding to construct a waterfront recreation park along Jamaica Bay in Queens County. They are seeking an artist to create a tribute to those lost from Rockaway at the World Trade Center. (The deadline for proposals is November 1, 2002.)

"The view from the park site is incredibly beautiful ....overlooking the waters of Jamaica Bay Wildlife Preserve, and in the distance, the Manhattan skyline is clearly visible," the project notes. A vacant and underutilized lot, transformed into a landscaped and tranquil park setting, will be the site of the Rockaway Peninsula tribute to the approximately 70 men and women the community lost on September 11, 2001.

In New York City, the Public Art Fund's IN THE PUBLIC REALM is seeking New York artists to create a public art project. Artists are invited to submit formal proposals beginning January 1, 2003. (Deadline: February 14, 2003)

"In the Public Realm is an opportunity for emerging New York artists to undertake the challenge of creating a temporary work in a public space," the program notes. "Artists selected through the program will make proposals, develop their work in relation to urban conditions, and ultimately, present their work in the complex arena of public life in New York City."

In Columbia, South Carolina, coordinated through the Cultural Council of Richland and Lexington Counties, public art submissions are sought "to bring a creative, interactive and stimulating experience" to the EdVenture Children's Museum. The Museum will be sited on the banks of the Congaree River, with a scenic view of both the river and the city's skyline. The target audience is children ages 12 and younger, and an attendance is expected to be more than 300,000 visitors annually. They are particularly seeking durable sculpture and kinetic designs, including those which incorporate water. (Deadline: January 3, 2003)

In Phoenix, Arizona, the Phoenix Arts Commission Public Art Program is seeking artists for projects which include Arizona Canal at 24th Street; George Washington Carver Sculpture; Branch Library at Chesar Chavez Park; Municipal Court Print Collection; Phoenix Sky Harbor International Airport Sculpture Garden Phoenix Sky Harbor International Airport; and Bus Placards.

For the George Washington Carver Museum and Cultural Center, they are requesting qualifications from professional artists to create a life-size figurative bronze sculpture of George Washington Carver to be located at the entrance to the George Washington Carver Museum and Cultural Center in central Phoenix. (Deadline: November 15, 2002)

For the Arizona Canal at 24th Street, they describe the commission in this way:

"The canal system in Phoenix has a rich history dating as far back as 100 B.C., when the Hohokam Indians began building what would become the most sophisticated irrigation system in pre-Columbian North America. Their 300 miles of canals have since given way to a less extensive, 181-mile modern network that brings water to Phoenix and its neighboring cities today. The Phoenix Arts Commission's Sunnyslope Canal Demonstration Project, completed in 2000, revitalized a 1.5-mile section of the Arizona Canal in north central Phoenix between Northern and Dunlap Avenues. The project includes landscape enhancements, sculptural installations, and specially designed rest areas. The Phoenix Arts Commission's Arizona Falls public art project, currently under construction, will also bring significant enhancement to the Arizona Canal. With the Arizona Canal at 24th Street Project, we are furthering our efforts to enhance Phoenix's canal corridors, creating unique outdoor spaces for educational, recreational and cultural experiences." (Deadline: November 15, 2002)

In Ohio, recent project calls have included works of public art for Cleveland State University; Columbus State Community College; Kent State University; Ohio Department of Mental Health; The Ohio State University; Ohio University; Sinclair Community College; University of Akron; University of Toledo. Artists nationwide are eligible to apply to the Ohio Arts Council's Percent for Art Program, but some projects are open to Ohio artists only. Artists are selected open competition, juried invitational or selection by curator. They are currently working on an on-line, searchable version of the Percent for Art Slide Registry.

Speaking about public art's intrinsic quality of bringing art out of the museum and into the everyday community, Jim Glenn, Public Art Manager at the Utah Arts Council, points out that "the process involves the culture, history and character of the community creating artworks as unique as the place they are incorporated into."

The Utah Public Art Program works with artists from Utah and all over the United States to insure a rich variety of media and views. "An open program enriches the art and general communities of Utah by bringing in artists from outside Utah and allows the Utah artist to participate equally within the national art community," Glenn notes. He also emphasizes that in Utah's percent-for- art projects, the architect of each project is always included as part of the art selection committee.

"In ideal situations the artist and architect develop an early and deeper relationship," he told Arts Wire Current. "The projects where the artist and architect understand each other and the services offered by the agency for which they are creating are the most successful and integrated."

In Colorado, The Denver Art in Public Places program has about 80 new projects in the planning stage. They are currently soliciting proposals for 18 new projects. (Deadlines November 1, 2002; January 31, 2003)

Their range highlights the interactive vitality which public art projects and the involvement of artists can bring to neighborhoods. They include art -- such as a fountain -- for the Police Administration Building Plaza; (Architect Louis O. Acosta Architects) and kinetic art for the Intersection of Broadway and Blake streets, "located in a breeze corridor created by the upsweeping landscape of the Central Platte Valley."

They also include artwork for the Denver Skate Park which opened in July 2001 after a public process in which the design was driven by input from the skater community.

"It is important to the Public Art Program to maintain that aesthetic and sensitivity to the main user group of the space," the program notes. "Continued involvement by the skate community will be expected within the Public Art process. In consideration of this culture, advanced graffiti artists are encouraged to apply." They also caution that "Artwork designed for this park must be highly durable, as skaters use all available surfaces and wear and tear is extensive."

Among other projects seeking artists are:

In the Rocky Mountains 15 miles West of Denver, Red Rocks Amphitheater -- described as "a unique, enigmatic place that combines a highly visible natural phenomenon with an innovative feat of architectural modification to create a venue of remarkable impact" -- was designed by architect Burnham Hoyt who incorporated the natural features of the landscape and the rocks. They are looking for artists to create nine individual works of art to be placed in the new lounge and museum area of Red Rocks Park's new Visitor Center. The architect is Sink, Combs, Dethlefs.

"The selection panel is interested in interpretations of the feeling of visiting Red Rocks, in whatever form artists may choose to pursue, whether choosing to address music, a certain visual experience, a certain historical perspective, or an abstraction of the interaction between human history and geologic time. There are also ways an artist could 'zoom in' and explore a single aspect of the Park that might lead to the viewer being intrigued about what else they can discover at this location," the program states.

The Rude Recreation Center is being rebuilt at 2855 West Holden Place. The architect is Roybal Architects. Located in a neighborhood of mixed ethnicities with a large concentration of Latino families, the recreation center is heavily used. Rude Center (pronounced 'ROO-dee') also conducts a hot-lunch program, in conjunction with Foodbank of the Rockies and has a well-developed deaf program to serve deaf constituents. They are seeking art for the gym and pool areas and for a large NorthWest exterior wall.

"The artist(s) commissioned for this project will be charged with working with the architect and neighbors in creating a work of art that speaks to diversity and augments a sense of pride for the neighborhood as a whole," the prospectus notes.

Denver's District Two Police Station, currently located at 3555 Colorado Blvd., will be relocated to a new facility at E. 38th Avenue and Holly Street. The Architect is Reseutek Design Group. The building incorporates traditional red Colorado brick, high-tech aluminum, and glass. It includes a windowed Community Room prominently placed at the front, and a symbolic 'arm' structure extending off the front atrium, "reaching out in a gesture of strength, intelligence and state-of-the-art service." The Project Evaluation Panel seeks innovative and visionary artists, who can think "outside the box" to create a significant work of original art.

"Denver's ongoing celebration of art in public places is integral to its development from a regional to an international center. The Public Art Program fosters an environment that continues to nourish our cultural diversity and enrich our interaction with the world community. We are grateful to the artists whose works grace our City and welcome those who will add their creative energy to our horizons and those places where we come together," the Program quotes Denver Mayor Wellington E. Webb as saying.

Serving a constituency of public art professionals, visual artists, design professionals, arts organizations, and communities planning public art projects and programs, The Public Art Network, (PAN) a program of Americans for the Arts, not only provides services to the field but also develops strategies and tools to improve communities through public art.

"Through our work, we promote art in the public arena and try to help bridge the gap between everyday public life and contemporary artistic practice," Mara Walker, Vice President of Programs and Services, Americans for the Arts, explains. "From large urban centers to small rural counties, public art engages thousands of Americans each year. Participatory and inclusive, public art places contemporary artists and their work into the fabric of everyday life."

She continues that "Our Public Art Network (PAN) is committed to ensuring that the work and ideas of artists are included within the civic framework, thereby increasing the audience for contemporary art and expanding the venues for expected participation in the arts and for the participation of the arts in the civic process."

PAN hosts a public website as well as a Listserv which serves as a platform for discussion about current public art issues.

The website features public art resources, opportunities, links, publications, and events nationwide as well as images of public art, summaries of the Public Art Preconference sessions, and highlights from the PAN Listserv.

The Listserv, which is available to Americans For The Arts members, "is often used by administrators to not only advertise public art opportunities, but also to discuss best practices in the field in terms of artist selection," explains Renee Piechocki, Public Art Network Facilitator. "There has been a lot of dialogue concerning RFP's vs. RFQ's, appropriate fees to pay artists for proposals, and the structure of artist selection panels."

PAN also publishes a directory which lists contact information and program detail for 347 public art programs across the country, including artist eligibility and slide registry information.

The 2003-2004 PAN PUBLIC ART PROGRAM DIRECTORY has just been updated, and is currently at the printer, Renee Piechocki told Arts Wire Current. "It is a perfect tool for artists who are seeking to expand their contacts, get into slide registries, and on mailing lists for opportunity postings."

This year, in order to more closely study artist selection practices, in addition to other public art program elements and structures, PAN has teamed up with Americans For The Arts' Research and Information department to produce a national survey of public art programs. "The survey will be sent to each public art program listed in the 2003-2004 Public Art Program Directory," Piechocki explains. "By next summer, Americans For the Arts will produce a report on the findings. Artist selection questions on the survey include panel composition, advertising methods, artist eligibility, proposal fees, and slide registry organization and availability."

Sources/Resources:

ROCKAWAY PARK SEPTEMBER 11 TRIBUTE -- Detailed information is available on Arts Wire Current's Archived opportunities page at http://www.artswire.org/current/morecall.html
exact url:
http://www.artswire.org/current/morecall.html#calls0930c

THE TOWN OF HUNTINGTON 9/11 MEMORIAL COMMISSION, HUNTINGTON, NY -- Detailed information is available on Arts Wire Current's Archived opportunities page at http://www.artswire.org/current/morecall.html
exact url:
http://www.artswire.org/current/morecall.html#call0902f

THE PUBLIC ART FUND -- http://www.publicartfund.org
IN THE PUBLIC REALM -- http://www.publicartfund.org/pafweb/realm/realm_index.htm

CULTURAL COUNCIL OF RICHLAND AND LEXINGTON COUNTIES, SC Call for public art for the EDVENTURE CHILDREN'S MUSEUM Detailed information is available on Arts Wire Current's Archived opportunities page at http://www.artswire.org/current/morecall.html
exact url: http://www.artswire.org/current/morecall.html#call0422j

PHOENIX ARTS COMMISSION PUBLIC ART PROGRAM -- http://phoenix.gov/arts/artprogr.html
Phoenix opportunities are listed at http://phoenix.gov/arts/pap_calltoa.html
The City of Phoenix's excellent public art program also hosts an extensive list of National Public Art Opportunities at http://phoenix.gov/arts/pap_artop.html

OHIO ARTS COUNCIL -- http://www.oac.state.oh.us
OHIO ARTS COUNCIL PERCENT FOR ART -- http://www.oac.state.oh.us/percentforart

UTAH ARTS COUNCIL -- http://www.arts.utah.org/
Public Art Programs http://arts.utah.gov/publicart/index.html

DENVER ART IN PUBLIC PLACES PROGRAM -- http://www.denvergov.org/artculturefilm
Updates: http://www.denvergov.org/Public_Art_Program/template2906.asp Information is also available on Arts Wire Current's Archived opportunities page at http://www.artswire.org/current/morecall.html
exact urls:
http://www.artswire.org/current/morecall.html#call1007f
http://www.artswire.org/current/morecall.html#call1007h

AMERICANS FOR THE ARTS -- http://www.americansforthearts.org
The PUBLIC ART NETWORK is accessible by clicking on a box with that name on the lower right hand side. (after entering the main site)

NATIONAL ASSEMBLY OF STATE ARTS AGENCIES (NASAA) -- http://www.nasaa-arts.org

NEW HAMPSHIRE STATE COUNCIL ON THE ARTS http://www.state.nh.us/nharts/index.html
ARTIST SERVICES http://www.state.nh.us/nharts/aboutus/artistservices.html

KANSAS CITY MUNICIPAL ART COMMISSION (KCMAC) SLIDE REGISTRY -- http://www.kcmo.org/pubworks.nsf/web/opportunities?opendocument

MIAMI-DADE ART IN PUBLIC PLACES -- http://www.co.miami-dade.fl.us/publicart/

RENO CITY COUNCIL 2002 PUBLIC ART MASTER PLAN -- http://www.cityofreno.com/com_service/arts/artplan.html

Since the first PERCENT FOR ART IN NEW YORK CITY artist selection panel convened in March 1984, almost 200 projects have been initiated and 165 projects have been completed -- by artists including Vito Acconci, Stephen Antonakos, Tomie Arai, Alice Aycock, Frank Bigbear, Andrea Blum, Bill and Mary Buchen, Amy Cheng, Mel Chin, Jackie Ferrara, Walton Ford, Phillip Galgiani, Susan Gardner, Jose Rafael Guzman, Robin Holder, Wopo Holup, Noah Jemisin, Komar and Melamid, Joyce Kozloff, Gregg Lefevre, Ora Lerman, Donald Lipski, Mike Mandel & Larry Sultan, Matt Mullican, Anna Valentina Murch, Lorenzo Pace, Tim Rollins, Christy Rupp, Toshio Sasaki, David Saunders, Lane Twitchell, Anton Van Dalen, Carrie Mae Weems, and Nina Yankowitz, among many others.

An artists registry, consulted by the architects, panelists, and City agencies for each project, is at the core the Percent for Art Program selection process. The registry is open to any professional visual artist. There is no residency requirement for a Percent for Art Commission.

The PERCENT FOR ART IN NEW YORK CITY website -- http://www.ci.nyc.ny.us/html/dcla/html/pahome.html -- provides an excellent overview of projects as well as access to information about artists and to information about the program and its associated slide registry.

Each artist/project -- such as Alice Adams' AFRICAN GARDEN at P.S. 12 in Brooklyn; Siah Armajani's LIGHTHOUSE AND BRIDGE ON STATEN ISLAND at St. George's Ferry Terminal; Rolando Briseno's FAMILY LIBRARY TABLE at Cypress Hills Library in Brooklyn; Douglas Hollis' WEATHER PAVILION at P.S./I.S. 217 in Manhattan; Arlan Huang's glass sculpture AMERICAN ORIGINS, at P.S. 152 in Brooklyn; Marina Gutierrez' SUSPENDED ALUMINUM SCULPTURE at Julia de Burgos Latino Cultural Center in Manhattan; and Ann Gillen's MEDB'S CROWN at North Hills Branch Library, Queens -- is represented by a page with a photograph, a description of the project including the architect, biographical information about the artist, and in some cases, a quote from the artist about the project.

The information is easily accessible, and the project descriptions are clear and well written:

"Janet Zweig's interactive installation at Walton High School is comprised of twelve bronze boxes placed on the two marble walls flanking the opening of one of the school halls. Each of these boxes is engraved with one of the following words: wishes, fears, dreams, secrets, problems, opinions, worries, suggestions, fantasies, complaints, obsessions, ideas. Students are encouraged to respond to these concepts and drop their notes into the boxes. The notes are printed and distributed by a student editorial group and compiled annually for a larger publication placed in the school library." (Walton High School, Bronx; Architect: Lev Zetlin Associates)

"Tom Nussbaum's installation at E.C.C. #4 consists of twelve brightly painted, cast bronze sculptures located throughout the school, each standing in its own niche adjacent to the classroom doors. The sculptures depict small groups of children, adults, and animals in various relationships to each other. In one sculpture a woman holds a boy in her arms. In another a bear reads a story to a girl sitting on his lap. Mounted at child-eye level, where they can be freely touched, the pieces also serve as location markers for the children within the school." ( E.C.C. #4, Bronx; Architect: Castro Blanco Piscioneri)

Visit the site -- http://www.ci.nyc.ny.us/html/dcla/html/pahome.html -- both for further information about applying to the registry and for information about projects -- such as Mierle Laderman Ukeles's HONOR 2000 wall which consists of a ladder truck, two carved glass hands in relief, and the engraved names of all the Bronx firefighters who have fallen in the line of duty in the last century. (at the time the wall was made) Honor 2000 is described on the website in this way:

"....It expresses the relationship between citizens, especially people of the neighborhood, and firefighters, and serves as a tribute to their heroism. The ladder truck is a realistic life-sized depiction of the Ladder No. 33 truck - except that the ladder of the artwork's truck is always up and its bucket is a beacon always floating near the window. The hands on the wall are modeled from the hands of a father and his three-year-old daughter who were saved by firefighters of this firehouse...." (Engine Company 75 Firehouse, Bronx; Architect: Richard Dattner & Partners)

NEW YORK CITY, NY - Art in General -- which occupies the fourth and sixth floors of 79 Walker Street, a landmark building, constructed in 1868's and located in Lower Manhattan, where Tribeca, Chinatown, and SoHo meet -- has announced an open competition for artists, architects, designers, and/or collaborative teams to redesign their space.

Founded by artists in 1981, Art in General provides a laboratory-like environment for emerging artists as well as those underrepresented in museums and commercial galleries. They are looking for new design elements to reflect the space's growing local and international constituency. The facade must remain intact, but they are seeking imaginative visions for the interior gallery, residency, library, storage, and office spaces on the fourth and sixth floors, and for the lobby, elevator, roof, and street-level display window.

"What could this art center look like in the future?" they ask. "Ideally, Art in General's space would kinesthetically express the organization's commitment to experiential as well as intellectual learning."

Eight winners will participate in an exhibition of proposals in Art in General's Main Gallery in Spring 2003. Five of the winning project proposals will receive $2,000 for further project development. The process will culminate in one of the finalists being invited to help guide a major renovation project at Art in General, tentatively scheduled for 2004-2005.

The sponsors encourage artists, architects,and designers around the world to form teams. However, if any of the five award-winners are from outside New York, they must collaborate with a New York-based firm to produce final exhibition materials.

Submissions are due December 6, 2002

Sources/resources

ART IN GENERAL -- http://www.artingeneral.org
(click on "Resources for Artists" for more information about the Competition)
Currently, along Canal Street -- influenced by the sights, sounds, and smells of downtown Manhattan -- a series of commissioned public art projects have been created by an international group of artists for the exhibition ART IN GENERAL ON CANAL. Work includes GOTHAM_CITY_BLUES, a digital print of urban-situated superheroes by The PARbros (The Netherlands) which is mounted on the wall of Art in General; and Leo Villareal's (NYC) DOUBLE HEXAD, an Illuminated sculpture on the exterior of Industrial Plastics. Walking tours of the project sites, led by guest curators and critics will be held throughout the exhibition. Art in General on Canal, a two-part series of public art projects on Canal Street, was organized by Art in General Executive Director Holly Block and Elissa Levy and Andra Salerno, Project Coordinators.

BOSTON, MA -- Three teams of artists have been awarded $50,000 grants through the Art & Community Landscapes program, a partnership between New England Foundation for the Arts, the National Park Service and the National Endowment for the Arts. Established this Spring, the program, supports site-based public art -- such as installations, exhibitions, festivals, or other works informed by the sites and community members of the area -- as "a catalyst for environmental awareness, restoration, and action at the community level." Working closely with National Park Service Rivers and Trails staff, and local citizens and organizations throughout their one-year residencies, the selected artists will create artwork in New England, the Pacific Northwest, and Southern California.

The teams of artists receiving $50,000 Art & Community Landscapes grants this year are:

NEW ENGLAND
Artists: Evan W. Haynes, sculptor, North Yarmouth, Maine; Stephen Dignazio, poet, Bethlehem, New Hampshire; Ron Smith, furniture-maker/sculptor Bethlehem, New Hampshire
Project Site: THE NORTHERN FOREST CANOE TRAIL (NFCT) a historic trail once used by the Native Americans and now proposed recreationally for canoeists. The trail traverses 740 miles between the Adirondacks and the Maine/Canadian border.
"Folk art, poetry and sculpture are the art forms addressed in this artist team's work. As long time residents of northern New England, these artists express a commitment to the natural history and health of the wowith over 25 years of experience, Brookner and Steinman bring expertise in transforming distressed public areas into ecological, educational, economic, and recreational assets. With their Art & Community Landscapes grant, the artists propose creating 'visioning centers' where citizens will come together to discuss the natural, cultural and personal histories of their community through dialogue and art-making. In conjunction with the visioning centers, the artists propose environmental art installations and events, community-based videos, and educational river models and publications."

SOUTHERN CALIFORNIA
Artists: Kathryn Miller, sculptor/installation artist, Upland, California; and Andreas Hessing, installation artist, Altadena, California
Three Project Sites: (proposed to date) Arroyo Seco, Pasadena; Puente Hills Habitat Restoration, Puente Hills; Whittier Greenway, Whittier.
"This artist team will explore several themes in each project, including California history, water resource management, native vegetation, and geology. Proposed projects -- both temporary and permanent - will engage the community in several modes of environmental art making that utilizes on-site materials, and offers benefits to local ecology and wildlife."

Sources/resources:

THE NEW ENGLAND FOUNDATION FOR THE ARTS -- http://www.nefa.org is the lead administrator of the project. For more information about Art & Community Landscapes, visit http://www.nefa.org/culture/acl.html

NATIONAL PARK SERVICE RIVERS, TRAILS AND CONSERVATION ASSISTANCE (RTCA) PROGRAM -- http://www.ncrc.nps.gov/programs/rtca -- works at the grassroots level level with local citizen groups and State and local governments to restore nearby rivers, preserve valuable open space, and develop trail and greenway networks.

NATIONAL ENDOWMENT FOR THE ARTS -- http://www.arts.gov

The Art in Public Places Program of New Mexico Arts -- and approximately 80 sites located throughout the state with 1% for public art funds -- have announced the Emerging and Practicing Artists purchase program. Each participating site has funds for artwork, in various amounts equal to 1% of recent capital outlay appropriations for building construction or improvements.

The program's goal is to purchase existing artwork from New Mexico artists that is not site specific or theme related. All two and three dimensional media that is durable, permanent, low-maintenance and in compliance with ADA guidelines will be considered.

For complete information, visit http://www.nmarts.org/news.html#current_aipp_prosp

NEW MEXICO ARTS WEBSITE -- http://www.nmarts.org

ART TO START:
INTERDISCIPLINARY AND INTERNATIONAL APPROACHES TO URBAN REGENERATION

"As New York faces both economic challenges and major opportunities for positive change, art's potential to be integral rather than marginal to urban projects is under discussion throughout the five boroughs. International examples of projects that successfully incorporated art at the start rather than the finish of urban regeneration come from disparate cities: Sydney, Australia, which turned preparations for the 2000 Olympics into a citywide program of cultural renewal; Pittsburgh, Pennsylvania, as it moves forward with transforming its once-industrial waterfront to meet this century's needs; and Barcelona, Spain, which has led an aggressive program of art, architecture, and design since the 1992 Olympics, on to its plans for the 2004 Universal Forum of Cultures." - Van Alen Institute

THE ART TO START dialogue this October brings together artists, landscape architects, arts policy experts, and leaders from New York City planning and cultural agencies for a vigorous discussion of the potential for a renewed role for art in New York City -- from infrastructure renewal to the proposed Olympics to brownfield reclamation, to the revitalization of downtown.

This program initiates the URBAN DIALOGUES series for 2002-2003 of Van Alen Institute, a non-profit civic organization whose program in the past year has included a North American conference on urban design, as well as design competitions and exhibits on design ideas for Queens Plaza, Long Island City. Together with publications and ongoing programs, the Urban Dialogues are setting the groundwork for the Institute's major exhibition on new directions for public space which will open in May 2003.

Program speakers are:

Introduction:
AMANDA M. BURDEN, Director, New York City Department of City Planning, and Chair, New York City Planning Commission

Presentations and Discussion:

• DIANA BALMORI, Landscape Architect, Yale University Theodore S. Berger, Executive Director, New York Foundation for the Arts
• CHARLOTTE COHEN, Director, Percent for Art Program, New York City Department of Cultural Affairs
• TIMOTHY COLLINS, Artist, Carnegie Mellon University ANITA GLESTA, Artist
• PENNY LEE, Senior Planner for Long Island City, New York City Department of City Planning
• ELIZABETH MOSSOP, Landscape Architect, Editor, City Spaces: Art & Design, Graduate School of Design, Harvard University
• ANTONI REMESAR, Director of Polis, Public Observatory, University of Barcelona

The program includes a panel on "International and Interdisciplinary Approaches", moderated by Anita Glesta; a Roundtable on "Implications for New York and Beyond", moderated by Theodore S. Berger; and a concluding public discussion.

To attend, RSVP vanalen@vanalen.org or tel: 212-924-7000
Seating is limited

VAN ALEN INSTITUTE WEBSITE - http://www.vanalen.org

Creative Time Presents CONSUMING PLACES

"The architecture and design communities are debating and experimenting with the recent explosion of wireless networks, peer-to-peer software, and the extra-urban skin of media display on our City's buildings-elements of our technologically sophisticated culture which increasingly shape everyday life and experimental artistic practice. From private dwellings to public arenas, intimate personal exchanges to mass media marketing messages that dominate the urban landscape, the overlap of our public and private spheres continues to intensify. This provocative territory has resulted in a creative convergence of artistic fields and a shared language of production, both of which are facilitated by new software, rendering technologies, and network communications. With works that defy discrete disciplinary boundaries, the participants in Consuming Places embrace the pleasure and possibilities of new technologies while calling for deeper reflection and critical awareness." - Creative Time

For CONSUMING PLACES, an exhibition of technologically-mediated site specific public art, Creative Time invited architects, artists, and designers to use ephemeral technologies to activate three remarkable nineteenth century structures - the Tobacco Warehouse, Empire Stores, and the Stable at 16 Main Street.

Work includes:

• Asymptote Architecture
  FLUX 4.0: ASCAPE
  "....a visualization of velocity, projecting complex computer generated animations onto forms cast from molds of the 1960's Cobra race car. ...

• Bill Fontana
  FALLING ECHOES
  An acoustic mapping sculpture, Falling Echoes uses Meyer Sound Beam speakers to project recordings -- of the Brooklyn Bridge that were made during its centennial celebration in 1983, as well as sounds from the East River and New York Harbor -- into the former Tobacco Warehouse at the new Empire-Fulton Ferry State Park, generating multiple zones of reflected sound which juxtapose the ambient noise of daily life with the noises of the City's past.

• Greyworld
  TELESCAPES (1,2)
  The International public art group Greyworld focuses custom-built telescopes on the DUMBO landscape; visitors discover a soundscape of messages left for them by both the artists and the public via voice and email. "This interactive installation calls attention to how advances in cellular and wireless technologies contribute to the ubiquity of personal communications in public spaces, while illuminating the relationship between the built environment and the invisible networks that make these fleeting exchanges possible," the exhibition notes.

• Marjetica Potrc
  URBAN INDEPENDENT
  "What does India's Barefoot College have in common with the annual Burning Man gathering in the United States, the Dutch urban development project Leidsche Rijn, Jordan's East Wahdat Upgrading Program, and the Rural Studio in Alabama?" Slovenian artist Marjetica Potrc asks in the information/interactive discourse work Urban Independent which uses a website as the platform to investigate the active participation of individuals in designing, building, and implementing their architecture and infrastructure systems.

• 212box LLC
  ***BOX
  "....a prototype of a living space that is designed to be attached onto the sides of buildings. In future versions, the walls, embedded with pixilated glass panels, will be used for advanced media display technologies. Positioned ambivalently as a celebration of the visual pleasure of advertising and a critique of our expanding consumer culture, ***box is a utilitarian statement about the parasitic relationship between advertising and urban architecture...."

Consuming Places began this summer, and it concludes next week. For more information, visit http://www.creativetime.org/consumingplaces/artists.html

CREATIVE TIME WEBSITE -- http://www.creativetime.org

Fort Point Cultural Coalition:
CHANGING LIGHT PUBLIC ART IN A SEASON OF TRANSITION

"Members of New England's largest artist community make art among the moving shadows and tides of this very special neighborhood called the Fort Point Channel. The public art and events surrounding the Fort Point Open Studios are dedicated to all things uncertain, and to a neighborhood in a state of transformation."

This month The Fort Point Cultural Coalition (FPCC) presented CHANGING LIGHT PUBLIC ART IN A SEASON OF TRANSITION: a series of public artworks and events -- "a celebration of change, taking stock in the past and looking towards the future."

Public art pieces by 9 Fort Point Artists were installed throughout the Fort Point Neighborhood. They included:

• Harriet Casdin-Silver, Kevin Brown, and Daniel Ackere in collaboration with hologram fabricator John Perry
  WE ARE HERE!
  South Station Concourse (through October 22, 2002)
  "....a life-size hologram depicting the lives of three Fort Point Artists, including one who is pregnant. Accompanying the hologram will be a special audio dome, underneath which spectators will hear accounts by the artists about their experiences of living in Fort Point, their views of 'after the Big Dig' and their plans for the future. The artists portrayed are Lena Marchi, a former art teacher in Wellesley, who retired to Fort Point at the age of 65; pregnant Ri Anderson, who is currently the staff photographer at the DeCordova Museum; and Todd Gieg, who resides in Fort Point with his wife and baby and is a teacher and photographer...."

• Mike Tyrrell and Sandra Vieira
  CHANNEL LANTERNS PROJECT
  Children's Museum Wharf (enacted on October 18) Six lanterns -- of galvanized garden fence, painted Hoola Hoops, plastic scroll blinds, polyester tarp, shower curtain, zip-ties and aluminum plate, each lantern suspended by bungee cords to allow for wind resistance -- will be installed over the new lamps on the Children's Museum Wharf. Channel Lanterns are intended to "enliven the spatial characteristics of the Wharf and to offer a night idea that will attract visitors to the Wharf during evening hours" as well as to demonstrate the potential for a more permanent lamp design on the wharf.

• Jeff Smith
  TAKE AN ARTIST TO LUNCH FOUNDATION (TALF) promotional posters and video parody of starving artists appealing to benevolent corporate stereotypes

• Anna Crowley
  COMFORT/DISCOMFORT
  a series of cement pillows sited throughout Fort Point and the City, to bring attention to the loss of artist space in the City of Boston

• Shannon Flattery and Megan Hurst
  MAPPING FORT POINT
  a self-guided 'audiotimewalk' of sites in Fort Point where visitors hear stories and learn about the history of this neighborhood and its transformation from a predominantly industrial warehousing, light manufacturing zone to an area revitalized by artists and artistic production,to the new frontier of the Boston Redevelopment Authority and private developers of luxury condominiums, Class A office space and parking lots Mapping Fort Point An Audio Timewalk also includes a website at http://www.mappingfortpoint.com

• Chris Nau
  ENDANGERED SPECIES
  A series of information placards, similar to zoological information, about Fort Point artists

"FILLING IN THE GAPS began as a way to create a visual path through the neighborhood by directly responding to present features: cracks, potholes, etc by "tiling" them with china shards," she writes on the website. "I am interested in making pieces that reward someone's attentiveness to their surroundings with a visual discovery...."

The FPCC's Public Art Series is funded with support from the Fund for the Arts, a restricted fund of the New England Foundation for the Arts, and the Boston Foundation Arts Fund.

To verify times and places and for more information on the Fort Point Cultural Coalition's Public Art Series -- scheduled to coincide with Fort Point Open Studios visit http://www.saveourstudios.org

The John F. Kennedy Center for the Performing Arts is requesting proposals to implement mentoring programs for individuals with disabilities through the CAREERS IN THE ARTS INITIATIVE - MENTORING. (CAIM)

Proposals must be received by November 12, 2002. They may include a request for between $1,000 and $15,000 in support, and are for projects to be executed between January 2003 and December 2003.

MISSION: To support arts and arts service organization in creating experiential education opportunities through mentoring for individuals with disabilities interested in pursuing careers in the arts.

CAIM PROJECT INTENT: Through the CAIM project, arts organizations will offer individuals and students with disabilities, who are interested in exploring or advancing their careers in the arts, the opportunity to work in a professional arts or arts service environment and be mentored by a working arts professional. CAIM projects will create opportunities for the individual with a disability to partake in professional development opportunities, career enhancement opportunities, and to build experiences and resume credit which enhance their potential for future competitive employment in a career in the arts. These experiences can be in any field of the arts including but not limited to:

ADMINISTRATIVE: development, marketing, education, advertising, human resources, information systems/technology, retail operations, special events, box office, and programming.

PRODUCTION: stage management, stage crew, costuming, construction, directing, choreographing, design, museum practices including research, collections, management, and conservation.

DESIGN/ARTS: exhibits, costuming, sets, props, lights, sound, painting, sculpting, visual arts, film, graphics and multi-media.

PERFORMANCE: dancer, actor, and musician.

Qualifying art organizations must:

• Be a tax-exempt nonprofit 501-C-3 cultural arts organization, cultural arts service organization or a state/local government arts agency.

• Identify a full-time employee of the organization to mentor the individual with a disability.

• Select a qualified individual with a disability to be mentored (see definition of "qualified" below).

• Complete and return an application including a budget which accounts for the amount requested. Organizations may request from $1000 up to $15,000 in support for a CAIM project. No matching funds are required but organizations are encouraged to supplement their CAIM project with other funds.

• Experiential education mentoring projects may be up to nine months long but must be at least one semester long (approx. 4 months), 15 to 40 hours a week, and occur between January 2003 and December 2003.

• Submit a mid-term report within 90 days of receipt of funds.

• Submit a final report including completed evaluation tools provided by the Kennedy Center within 30 days of the completion of the CAIM project.

• Be undergraduate or graduate students, or within 2 years of graduation

• With any major (i.e. business, education, theater, English, performance, fine arts, graphic arts, etc.)

• Have a documented disability (Documentation of a disability includes but is not limited to letter or other documentation from a vocational rehabilitation agency, college or university office of disability services or a physician.)

• Be a U.S. Citizen or have a right-to-work permit

• Have a C+ G.P.A. (or higher)

  or

• Be at least 18 years of age
• Have a documented disability
• Be a U.S. Citizen or have a right to work permit
• Have three years of successful work and/or training experience in the arts (a combination would be accepted)
• Have demonstrated experience in the arts

Applicants should fill out an application form which can be obtained by emailing a request for an application to:
access@kennedy-center.org Please put "CAIM Application Request" in the subject field, and indicate in the email whether you would like the application emailed to you as an attachment, (PDF file) faxed to you, or mailed to you.

DEADLINE FOR RECEIPT OF PROPOSALS

Completed applications must be received by close of business on Tuesday November 12th, 2002 and may be submitted by:
Fax: 202-416-8802
Mail:
Accessibility Program
The Kennedy Center
P.O. Box 10808
Arlington, Virginia, 22210.

Applicants will be notified of whether or not they have received funding by December 16, 2002. Projects must be completed by December 31, 2003.

FOR ADDITIONAL INFORMATION CONTACT: The John F. Kennedy Center Accessibility Program by:
tel: 202-416-8727
fax: 202-416-8802
TTY: 202-416-8728
Email: access@kennedy-center.org

CAIM is an outgrowth of the recommendation to increase opportunities for people with disabilities to pursue careers in the arts through mentoring from the National Forum on Careers in the Arts held in June of 1998 at The John F. Kennedy Center for the Performing Arts and sponsored by the National Endowment for the Arts, US Department of Education, US Department of Health and Human Services, the Social Security Administration.

THE KENNEDY CENTER WEB SITE -- http://www.kennedy-center.org

Opportunities for Artists

Media artists (including visual, installation, performance art and composers) are invited to submit projects to produce a new work in HarvestWork's production studios. Sophisticated technical skills are not required. New works may include the recording and mastering of a surround sound piece; the creation of a new web art work; development and production of a CD-ROM or live interactive music performance system; recording and mastering an audio CD; editing a videotape; soundtracks for film/video, theater and/or dance. The projects should reflect a production schedule with a minimum of 20 hours and a maximum of 60 hours studio time.

There are up to 12 residencies available with two alternates selected in the event any resident artists cannot participate. The residencies will take place at Harvestworks and will include access to three suite professional studio, full time engineer, tape and other materials. Priority will be given to the creative use of the Harvestworks' production facility and the innovative use of sound and/or picture. Two of these residencies will be in collaboration with Engine27 for the creation of new multi-channel sound installation works.

Upon completion and presentation of the project the resident artists receive a $700 stipend.

The Artist in Residency (AIR) program is designed to assist individual working artists and their collaborators. Groups and ensembles are not eligible. Only new work proposals are accepted. Proposals which document an existing work are not eligible. Students who are currently enrolled in a university are not eligible. AIR recipients from the past 2 years are not eligible to apply this year. Applicants must reside in the U.S.

Emerging artists and artists of color are encouraged to apply.

The deadline Friday, November 1, 2002. There is no application fee.

For additional information and an application form please visit their website at http://www.harvestworks.org

Questions can be directed to Hans Tammen 212-431-1130 Email: hanst@harvestworks.org

Located in SOHO, New York City, Harvestworks Digital Media Arts Center cultivates artistic talent using electronic technologies -- providing the artist with production studios, grant opportunities, education, communal lab practice and distribution and offering "a creative environment where artists learn new technologies, create art and exhibit new works in an integrated way."

Deadline: November 15, 2002, Artists Residencies, Custom House Artists Studios Limited, County Mayo, Ireland

Deadline: November 30, 2002, Musicians 21 years of age and younger, 2003 Sound Off! Experience music project, Seattle, WA

Deadline: December 6, 2002, Artists, architects, designers, and collaborative teams, Redesign space at Art in General, New York City, NY

Deadline: December 15, 2002, Photographers, 50/50 - 50 states, 50 photographers

Deadline: December 16, 2002, Artists - technologically-mediated work which celebrates, explores, challenges and re-imagines African-American History Month, SAC Gallery at Stony Brook University, Stony Brook, NY

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, Center for Art in Translation, (San Francisco, CA)

EXECUTIVE DIRECTOR, Arts Umbrella, (Vancouver, B.C. Canada)

EXECUTIVE DIRECTOR, Arcady Music Festival, (Veazie, ME)

ASSISTANT PROFESSOR DANCE/THEATRE, The Department of Dance & Theatre, Manhattanville College, (Purchase NY)

ASSISTANT/ASSOCIATE PROFESSOR GRAPHIC DESIGN, University of Wisconsin-Milwaukee, (Milwaukee, WI)

FOUNDATIONS DIRECTOR, University of Wisconsin-Milwaukee, (Milwaukee, WI)

ASSISTANT PROFESSOR FOUNDATIONS, University of Wisconsin-Milwaukee, (Milwaukee, WI)

MANAGING DIRECTOR, Tales & Scales, (Evansville, Indiana)

MANAGING DIRECTOR, Northwest Girlchoir, (Seattle, WA)

MANAGING DIRECTOR, The Bach Choir of Pittsburgh, (Pittsburgh, PA)

COMPANY MANAGER, Merce Cunningham Dance Company, (New York, NY)

MANAGER, CARNEGIECHARGE, Carnegie Hall, (New York, NY)

EDUCATION DIRECTOR, Westchester Philharmonic, (Hartsdale, NY)

EDUCATION AND MEDIA PROGRAMS COORDINATOR, New Museum of Contemporary Art, (New York, NY)

ASSISTANT EXHIBITION DESIGNER, The Brooklyn Museum of Art, (Brooklyn, NY)

ASSISTANT GRAPHIC DESIGNER, The Brooklyn Museum of Art, (Brooklyn, NY)

DIRECTOR OF EDUCATION AND OUTREACH, Art21, (New York City, NY)

EDUCATION PROGRAMS MANAGER, Rock and Roll Hall of Fame and Museum, (Cleveland, OH)

THE POINT PROGRAM MANAGER, International Center of Photography at The Point, (New York City, NY)

TECHNICAL CONSULTANT AND INSTRUCTOR - (part time), Bronx Council on the Arts, Longwood Cyber Residency and Exhibition Program, (Bronx, NY)

PUBLIC ART COORDINATOR, The City of Palm Desert, (Palm Desert, CA)

PRODUCTION STAGE MANAGER, Trisha Brown Dance Company, (New York City, NY)

HOUSE STAGEHAND/CARPENTER POSITION, The Kaye Playhouse, Hunter College, (New York City, NY)

VIDEO ARTIST - temporary, Horizon Theatre Rep, (New YOrk City, NY)

JUNIOR DESIGNER, Promotion Design Department, Parsons School of Design, (New York City, NY)

THEATRE AND FILM GURU, (performing arts bookshop), (New York City, NY)

CONTROLLER, (Contemporary Arts Organization), (New York City, NY)

COMMUNICATIONS DIRECTOR, UCLA Hammer Museum, (Los Angeles, CA)

WEB SERVICES/WEBMASTER/INTERNET, Jazz at Lincoln Center, (New Yoirk City, NY)

DATABASE COORDINATOR / ACCOUNTING ASSISTANT, The Museum of Modern Art, (New York City, NY)

MANAGER, FOUNDATION AND GOVERNMENT FUNDING, ASSOCIATE, DEVELOPMENT RESEARCH AND FOUNDATION & GOVERNMENT FUNDING, ASSOCIATE, CAPITAL CAMPAIGN AND GOVERNMENT RELATIONS, Jazz at Lincoln Center, (New York City, NY)

DEVELOPMENT ASSOCIATE, (media production company), (New York City, NY)

ASSISTANT DIRECTOR OF DEVELOPMENT, Norman Arts Council, (Norman, OK)

PARTNERSHIP MARKETING COORDINATOR - (part time temporary), Celebrate Brooklyn!, (Brooklyn, NY)

MUSIC AND DANCE ASSISTANT, Symphony Space, (New York City, NY)

ADMINISTRATIVE ASSISTANT, Department of Exhibition Design and Production, The Museum of Modern Art, (New York City)

INTERNSHIP EDITORIAL - ASSISTANT/ DESIGN ASSISTANT, Umbrage Editions, (New York, NY)

INTERNS, Group Motion Multi-Media Dance Theatre, (Philadelphia, PA)

INTERN, (television), (New York City, NY)

INTERNSHIP OPPORTUNITY, Lower Manhattan Cultural Council, (New York City)

DEVELOPMENT ASSOCIATE (GRADUATE STUDENT INTERNSHIP), Celebrate Brooklyn!, (Brooklyn, NY)

GRAPHIC DESIGNER, (donated time) Plasticene Physical Theater Co, (Chicago, IL)

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