June 16
Squeaky Wheel’s four-week International Artist-in-Residence program, funded by the National Endowment for the Arts, allows mid-career film and media artists the time, space, and equipment to expand their practice and learn new technologies. Inter-media, performance, and installation artists are also welcome to apply. Residents receive accommodations, travel, and a $1,000 stipend, and have access to the center’s cameras, production and post-production systems, editing software, and found-footage library. As part of the residency, each artist curates an evening screening of films or video and teaches a local media art workshop. To apply, mail the application form, typed response to the application questions, a one-page résumé or artist bio, and one or two clearly labeled work samples; see the downloadable PDF for acceptable submission formats and full details.
June 22
The JT3 Artist Awards, a program of the Jesse Thompkins III Foundation for Young People in the Arts, provides grants to talented, hardworking filmmakers living in Brooklyn who demonstrate real potential for growth. Artists must be between the ages of 18 and 30. At least one $2,000 JT3 Artist Award will be granted, as well as one or more other awards under $2,000. To apply, submit the application form, personal essay, resume, screenplay (short or feature length), short film of no more than 10 minutes written and directed by the applicant, proof of residency, and a list of any additional completed works or works in progress to be considered as part of your body of work (note that these do not need to be limited to screenplays and films).
June 24
The Field’s Artward Bound is a 10-day group artist residency which gives participants the opportunity to make new work, participate in Fieldwork (the Field’s mixed discipline workshops program), and focus on personal career development. This program is open to artists who create original work in dance, music, performance art, text, and theater. To be eligible, applicants must be members of the Field; based in the greater New York City area or be a Field Network administrator, facilitator, or program participant; have worked professionally for a minimum of three years; and have publicly presented at least 60 minutes of original material. The program is free, including lodging, meals, and transportation from New York City. To apply, complete the application with your personal information, work history, and production history, and submit by email by the deadline date. For full details, see the website or download the PDF Application Form.
June 26
NYFA’s statewide Fellowships Program is seeking designs for a poster and postcard to promote next year’s competition. The winner will receive $500 and have his/her design used on NYFA’s Fellowships materials; second- and third-place winners receive $300 and $100 each. Submissions must include two separate layouts, one for the poster (11 x 14 inches) and one for the postcard (4 x 6 inches), as well as the necessary Fellowships text. To apply, send an email by 5 p.m. on the deadline date with your name, address, phone number, and two JPEG attachments of your designs to contest@nyfa.org. Images should have a resolution of 72 dpi with maximum dimensions 700 x 700 pixels and maximum size 2 MB. Members of NYFA’s Staff, Board of Trustees, and Artists’ Advisory Committee are ineligible to apply. For further details, and the full text to include with each design, see here.
June 26
The annual frieze Writer’s Prize is an international award for discovering and promoting new writers in the field of arts criticism. Entrants should be emerging critics, with a maximum of three pieces on art having been published in any national or regional newspaper or magazine (previous online publication, however, is permitted). The winner receives ₤2000 and will be commissioned to write a review for the October issue of frieze magazine. To apply, submit by email one previously unpublished review of a recent contemporary art exhibition, approximately 700 words in length. The judges of this year’s award are critic and art historian James Elkins, novelist and critic Ali Smith, and coeditor of frieze magazine Jennifer Higgie.
July 1
A.I.R. Gallery, a nonprofit gallery space advocating for women in the visual arts since 1972, invites artists working in all media to submit artwork to be considered for its fall 2009 exhibition “Mother/mother.” Curator Jennifer Wrobleski is seeking work (by women and men) made during a pregnancy or within five years of the birth of the artist’s child. Submissions need not be specifically about parenting or childbirth, though the curator is particularly interested in work resulting from changes in artistic processes or new thematic concerns that arise out of pregnancy. Proposals must be postmarked or hand delivered to the gallery on or before July 1, 2009 at 6 p.m., and online submissions must be received on July 1 by 11 p.m.. A downloadable application is available here.
July 3
Obscureterrain is seeking artists, performers, and community members to participate in a multi-rooftop spectacle of performances and events on Saturday, October 17, 2009 from 2-7 p.m. Taking place in Gowanus, Brooklyn, on rooftops along the F train where it emerges from underground at 4th Avenue and descends at Carroll Street, this happening invites participants to harness the subway commute as an opportunity to lift fantasies and potentials out of the mundane, and invent/imagine alternative modalities for transforming the urban landscape. Submit a brief description (no more than 250 words) of the project you would like to contribute, including your name, phone number, and email address to: obscureterrain@dtek.net. You do not have to secure a roof prior to your submission.
July 15
Supporting Women Artists Project (SWAP), a nonprofit organization whose mission is preparing the next generation of women artists for successful and fruitful careers, offers a year-long Residency and Mentor opportunity to women artists. Free studio space is provided in exchange for mentoring and teaching art classes to NYC public school girls at the elementary, middle, and high school levels. The weekly commitment is two hours per week, as well as two enrichment programs per semester, which might include a gallery visit or a lecture. (Note that applicants must have prior experience with young people) More information and an application is available here.
July 15
The Experimental Television Center’s Artists in Residency Program of Oswego, NY, provides artists with time and space to create new work which approach media as a contemporary electronic and cinematic form. The self-directed environment also offers personalized instruction, access to the media library, and use of a unique imaging system. Artists have unlimited access to the studio during their stay, and are encouraged to explore the boundaries and intersections within narrative, documentary, and social-issue traditions as well as experimental forms. To apply, send a brief project description, a current bio or résumé, a prioritized set of dates for attending the residency between September 1, 2009 and January 31, 2010, and a sample of completed work. More information and an application are available at on the ETC website.
Ongoing NYFA is launching a new program, an affordable workspace opportunity to NYFA-affiliated artists and organizations. The program provides a desk station and office amenities in NYFA’s air-conditioned DUMBO offices, and is open to past and current NYFA fellows, SOS and BUILD recipients, Immigrant Artist Mentors and Mentees, and currently fiscally sponsored artists and emerging organizations (contract fees up-to-date). Program participants pay a discounted rate of $200 a month, and receive a private workstation in the NYFA space, high-speed wireless Internet access, meeting space available by appointment, free and discounted printing and copying rates, access to NYFA’s in-house library of art resources and publications, and a fully equipped kitchen with hot coffee, tea, and filtered water. Individual phone service is available for an additional fee. NYFA’s offices are located five minutes from the York stop on the F train in Brooklyn’s DUMBO arts district, a 10-minute ride from Manhattan. See here for pictures of the space and full details on program benefits, office hours, and submitting an application.
For thousands more deadlines and ongoing opportunities, visit NYFA Source, the most comprehensive database of programs for artists of all disciplines in the country.
Showing posts with label critics. Show all posts
Showing posts with label critics. Show all posts
June 11, 2009
April 29, 2009
GRANTS FOR ARTS WRITERS
Online application form opens — Monday, April 27, 2009
Application Deadline — Monday, June 8, 2009
www.artswriters.org
The Creative Capital Warhol Foundation Arts Writers Grant Program supports individual writers whose work addresses contemporary visual art through grants ranging from 3,000 to 50,000 USD.
Writers who meet the program’s eligibility requirements are invited to apply in the following categories:
articles
blogs
books
new and alternative media
short-form writing
We regret that due to legal constraints we can only fund U.S. citizens, permanent residents, and holders of O-1 visas. For guidelines and additional eligibility requirements, please visit www.artswriters.org.
ART WRITING WORKSHOP
The Arts Writers Grant Program is pleased to announce a new writing workshop offered in partnership with the International Association of Art Critics/USA Chapter. For more information, please visit www.aicausa.org
Application Deadline — Monday, June 8, 2009
www.artswriters.org
The Creative Capital Warhol Foundation Arts Writers Grant Program supports individual writers whose work addresses contemporary visual art through grants ranging from 3,000 to 50,000 USD.
Writers who meet the program’s eligibility requirements are invited to apply in the following categories:
articles
blogs
books
new and alternative media
short-form writing
We regret that due to legal constraints we can only fund U.S. citizens, permanent residents, and holders of O-1 visas. For guidelines and additional eligibility requirements, please visit www.artswriters.org.
ART WRITING WORKSHOP
The Arts Writers Grant Program is pleased to announce a new writing workshop offered in partnership with the International Association of Art Critics/USA Chapter. For more information, please visit www.aicausa.org
April 02, 2009
30th Annual LA Weekly Theatre Awards
The 30th Annual L.A. Weekly Theater Awards
Actors and chickens and bears, oh, my!
Actors and chickens and bears, oh, my!
By Steven Leigh Morris
Published on April 01, 2009 at 9:41pm
Published on April 01, 2009 at 9:41pm
View more photos in the 30th annual L.A. Weekly Theater Awards slideshow.
Dancing girls and impersonators joined co-hosts Jake Broder and Vanessa Claire Smith to transform the El Rey Theatre into the stage of Las Vegas’ Sahara Hotel, 1958, for the 30th annual L.A. Weekly Theater Awards on Monday night. Reprising their roles as lounge crooners Louis Prima and Keely Smith in their hit show Louis & Keely: Live at the Sahara (now at the Geffen Playhouse), Broder and Smith were supported by their production’s six-piece jazz band and a gallery of supporting players from Sacred Fools Theater Company. That show walked away with the Musical of the Year Award in a very tight vote with some very heady competition from Joe’s Garage at Open Fist Theatre Company and Lovelace: A Rock Opera at the Hayworth. For much of the evening, the raucous, overflow crowd of 700 treated the excellent production, nicely paced by director Jeremy Aldridge, as a backdrop to their drinking and socializing.
From the stage, Queen of the Angels recipient Frédérique Michel repeatedly told the revelers to shut up. The only performer who could command some silence was Gwendolyn the chicken, who appeared contentedly on the arm of Center Theatre Group artistic director Michael Ritchie, as he gave a mock, somber homage to our hard times, adding that he always wanted to appear onstage with his pecker in his hand.
(Gwendolyn had been eating birdseed for a solid hour before her performance, and Ritchie was hoping that she would complement his performance by unloading during the act, but the bird was too well brought-up for such low comedy.)
Adding to the Dada were the artistic directors of the Colony Theatre and Geffen Playhouse, Barbara Beckley and Gil Cates, who performed a duet of “Under My Skin,” to which the Los Angeles Stage Alliance’s executive director Terence McFarland performed a spirited interpretive dance.
County Supervisor Zev Yaraslovksy’s keynote address acknowledged that the smaller theaters (the purview of the Weekly’s Theater Awards) are where the future of the theater lies, and Career Achievement recipient Dakin Matthews appeared digitally from Singapore, where he’s performing with an international company, directed by Sam Mendes. (Matthews’ fellow cast members Simon Russell Beale, Sinead Cusack, Ethan Hawke, Roger Bean, Paul Jesson, Richard Easton, and Rebecca Hall also sent their greetings to L.A. from Southeast Asia.) Matthews closed his video with a nod to Shakespeare’s most famous stage direction — “Exit, pursued by a bear” _ for Antigonus, whom Matthews is currently playing in The Winter’s Tale. As Matthews spoke, a large bear head entered the scene.
AND THE RECIPIENT OF THE 2009 L.A. WEEKLY THEATER AWARDS ARE ...
PLAY WRITING
*Susan Johnston, How Cissy Grew, El Portal Forum Theatre
Dancing girls and impersonators joined co-hosts Jake Broder and Vanessa Claire Smith to transform the El Rey Theatre into the stage of Las Vegas’ Sahara Hotel, 1958, for the 30th annual L.A. Weekly Theater Awards on Monday night. Reprising their roles as lounge crooners Louis Prima and Keely Smith in their hit show Louis & Keely: Live at the Sahara (now at the Geffen Playhouse), Broder and Smith were supported by their production’s six-piece jazz band and a gallery of supporting players from Sacred Fools Theater Company. That show walked away with the Musical of the Year Award in a very tight vote with some very heady competition from Joe’s Garage at Open Fist Theatre Company and Lovelace: A Rock Opera at the Hayworth. For much of the evening, the raucous, overflow crowd of 700 treated the excellent production, nicely paced by director Jeremy Aldridge, as a backdrop to their drinking and socializing.
From the stage, Queen of the Angels recipient Frédérique Michel repeatedly told the revelers to shut up. The only performer who could command some silence was Gwendolyn the chicken, who appeared contentedly on the arm of Center Theatre Group artistic director Michael Ritchie, as he gave a mock, somber homage to our hard times, adding that he always wanted to appear onstage with his pecker in his hand.
(Gwendolyn had been eating birdseed for a solid hour before her performance, and Ritchie was hoping that she would complement his performance by unloading during the act, but the bird was too well brought-up for such low comedy.)
Adding to the Dada were the artistic directors of the Colony Theatre and Geffen Playhouse, Barbara Beckley and Gil Cates, who performed a duet of “Under My Skin,” to which the Los Angeles Stage Alliance’s executive director Terence McFarland performed a spirited interpretive dance.
County Supervisor Zev Yaraslovksy’s keynote address acknowledged that the smaller theaters (the purview of the Weekly’s Theater Awards) are where the future of the theater lies, and Career Achievement recipient Dakin Matthews appeared digitally from Singapore, where he’s performing with an international company, directed by Sam Mendes. (Matthews’ fellow cast members Simon Russell Beale, Sinead Cusack, Ethan Hawke, Roger Bean, Paul Jesson, Richard Easton, and Rebecca Hall also sent their greetings to L.A. from Southeast Asia.) Matthews closed his video with a nod to Shakespeare’s most famous stage direction — “Exit, pursued by a bear” _ for Antigonus, whom Matthews is currently playing in The Winter’s Tale. As Matthews spoke, a large bear head entered the scene.
AND THE RECIPIENT OF THE 2009 L.A. WEEKLY THEATER AWARDS ARE ...
PLAY WRITING
*Susan Johnston, How Cissy Grew, El Portal Forum Theatre
For more information about other winners and links to the slideshow:
January 21, 2009
exciting news!!!!
HOW CISSY GREW has received two nominations from LA Weekly's 30th Annual Theater Awards:
SUPPORTING MALE PERFORMANCE
Stewart W. Calhoun, How Cissy Grew, El Portal Forum Theatre
Mark Doerr, Lady, Road Theatre Company
Matt Kirkwood, Lady, Road Theatre Company
Matt Lutz, 1776, Actors Co-op
David Nadeau, Assassins, West Coast Ensemble at the El Centro Theatre
Christopher Neiman, He Asked for It, Theatre of NOTE
Skip Pipo, Mrs. Warren's Profession, The Production Company at the Chandler Studio Theatre Center
Paul Witten, Crime and Punishment, Actors' Co-op
PLAY WRITING
Susan Johnston, How Cissy Grew, El Portal Forum Theatre
Richard Martin Hirsh, The Concept of Remainders, The Production Company at the Chandler Studio Theatre Center
Robert Riechel, Jr. A.K.A. Eat the Runt, Hudson Guild Theatre
Dan Rothenberg, Regretosexual: The Love Story, Hudson Guild Theatre
Nick Salamone, Sea Change, Gay and Lesbian Center
For a full list of nominees and more information at the awards:
http://blogs.laweekly.com/ladaily/stage-news/stage-raw-la-weekly-theater-aw/
SUPPORTING MALE PERFORMANCE
Stewart W. Calhoun, How Cissy Grew, El Portal Forum Theatre
Mark Doerr, Lady, Road Theatre Company
Matt Kirkwood, Lady, Road Theatre Company
Matt Lutz, 1776, Actors Co-op
David Nadeau, Assassins, West Coast Ensemble at the El Centro Theatre
Christopher Neiman, He Asked for It, Theatre of NOTE
Skip Pipo, Mrs. Warren's Profession, The Production Company at the Chandler Studio Theatre Center
Paul Witten, Crime and Punishment, Actors' Co-op
PLAY WRITING
Susan Johnston, How Cissy Grew, El Portal Forum Theatre
Richard Martin Hirsh, The Concept of Remainders, The Production Company at the Chandler Studio Theatre Center
Robert Riechel, Jr. A.K.A. Eat the Runt, Hudson Guild Theatre
Dan Rothenberg, Regretosexual: The Love Story, Hudson Guild Theatre
Nick Salamone, Sea Change, Gay and Lesbian Center
For a full list of nominees and more information at the awards:
http://blogs.laweekly.com/ladaily/stage-news/stage-raw-la-weekly-theater-aw/
October 21, 2008
Variety Review: HOW CISSY GREW
How Cissy Grew
(El Portal Forum Theater; 99 seats; $40 top) A D-I-Y Project, in association with SeaGlass Theater, presentation of a play in one act by Susan Johnston. Directed by Casey Stangl.
Butch - James Denton
Darla - Erin J. O'Brien
Cissy - Liz Vital
The Guy - Stewart W. Calhoun
Susan Johnston examines the jagged shards of a dysfunctional family's sorrowful history, offering compelling if arbitrary glimpses into the aftermath of a horrific event in "How Cissy Grew." Featuring a finely tuned four-person ensemble, play looks at the frailty of human interactions that have been scarred beyond the possibility of empathy or forgiveness. Helmer Casey Stangl ably choreographs the 20-year flow of memory bits thrust forward in nonlinear disarray as each family member struggles to find redemption and salvation.
Covering 1988 to the present, this one-act legiter offers a free-form kaleidoscope of moments in the lives of West Virginia blue-collar laborer Butch (James Denton), his common-law mate Darla (Erin J. O'Brien) and their relentlessly misanthropic daughter Cissy (Liz Vital).
Cissy's brief abduction as an infant drives an ever-deepening wedge into Butch and Darla's relationship, crippling their lives as well as their daughter's. Johnston's insistence that this couple must wallow in their dysfunction in order to survive is not entirely believable, but is certainly made more viable by the perfs.
"Desperate Housewives" regular Denton offers an impressive, detailed outing as underachieving Butch, a former football star who cannot overcome the crushing guilt he feels, despite his attempts to anesthetize himself with drugs and alcohol. Denton's Butch effectively segues into a self-righteous born-again disciplinarian who still fails to win Darla's trust or Cissy's love.
O'Brien's Darla, a formerly lighthearted, foul-mouthed barmaid, becomes an open wound overflowing with anguish following her daughter's abduction. O'Brien gives veracity to Darla's inability move on once Cissy has been safely returned. Her perf is particularly noteworthy as Darla attempts to deal with Butch's rejection and her maturing daughter's lack of respect.
The highlight of the production is Vital's near-sociopathic Cissy, an amalgam of seething contempt and cold-blooded distain for her life and everyone around her. Yet Vital imbues Cissy with a compelling sensuality and keen awareness of her effect on others, as if she is waiting for someone to break through her facade and convince her that life is worth living.
Stewart W. Calhoun offers the closest thing to comic relief, competently wending his way through all the confused and defeated boys and men and in Cissy's life.
"How Cissy Grew" is complemented by the all-purpose modular sets of Laura Fine Hawkes, the mood-enhancing lighting of Trevor Stirlin Burk and the evocative sounds of C. Andrew Mayer.
Sets, Laura Fine Hawkes; costumes, Jennifer May Nickel; lighting, Trevor Stirlin Burk; sound, C. Andrew Mayer; music, Lauren Adams; production stage manager, Kimberly Van Luin. Opened, reviewed, Oct. 18, 2008. Runs through Nov. 23. Running time: 1 HOUR, 20 MIN.
Read the full article at:http://www.variety.com/story.asp?l=story&r=VE1117938782&c=33
LA Times article about How Cissy Grew
It seemed as if most of the neighborhood came out Saturday night for the opening of “How Cissy Grew” at the El Portal Forum Theatre in North Hollywood. Well, Wisteria Lane neighbors, anyway.
That’s because Susan Johnston’s new play about a child kidnapping and its aftermath features James Denton, who plays Joe the plumber — er, I mean Mike the plumber — on “Desperate Housewives.”
Among those on hand to cheer on Denton and cast were Teri Hatcher (please, Teri, eat something), Felicity Huffman (wearing specs and barely noticed in the back of the theater), Doug Savant (Tom on the show) and wife Laura Leighton, Marc Cherry (“Desperate Housewives” creator), Brenda Strong (the mostly unseen “Housewife”), Neal McDonough (this season's new guy), Shawn Pyform (who plays Bree’s kid), as well as William Fichtner (looking way hot — and not nearly as scary as the characters he plays), Carol Lawrence, “Uncle Frank” from the Jimmy Kimmel show and others.
The production is in the small space at the El Portal, so fans of Denton can see him up close — really close. Just know, however, that his wife, Erin J. O’Brien, also stars in this play. So even though Denton will be close enough to touch, you probably should keep your hands to yourself.
September 15, 2008
August 29, 2008
NPR chooses Party Favors for "Books We Like"
Books We Like by Lizzie Skurnick
Power, Politics — And Party Planning
http://www.npr.org/templates/story/story.php?storyId=94064968
Party Favors By Nicole Sexton and Susan Johnston
Hardcover, 256 Pages
The Lyons Press
List Price: $24.95
Read an excerpt.
NPR.org, August 29, 2008 · In an era when bookstores brim with memoirs, tell-alls and doorstopper biographies by politicos past and present, we still tend to think of the tart political novel as province of the Democrats. The Grand Old Party's tastes run strictly to Clancy-esque thrillers and mothballed war stories.
But we're in a bipartisan moment. If Nicole Sexton's Party Favors is any indication, the act of reaching across the aisle is spreading to the Barnes & Noble literature section.
Delightful works of political fiction, such as NPR host Scott Simon's Windy City and, of course, Joe Klein's seminal Primary Colors, traverse the minefield between a politician's public and private lives. Sexton, the former director of finance for the National Republican Senatorial Committee, illuminates a similar landscape. But, as befits a champion checkbook-wrangler and schmoozer, she and her co-author, playwright Susan Johnston, set a breezy how's-the-wife-and-kids tone that stops just short of handing the reader a cold drink.
Temple Sachet is a Southern belle on the deb track who gets pulled into politics after she organizes a run of local, record-breaking fundraisers. A devastating combo of brains, blondness and sheer will, she rockets, in just a few years, through county and state elections to rise to the position of second-most-powerful Republican fundraiser in the nation. "It took two gays and a bigot to put me there," Temple acidly remarks, "but apparently in the Republican Party, two parts homo-nepotism with just a splash of racist scandal equals a powerful new job."
Temple also blithely deconstructs other hypocrisies of her chosen trade, such as the strategic placement of donors into tiers ("Team Victory, Force GOP, the Patriots, and the Upper House. Each level had its own particular brand of fanaticism.") and the character-revealing cash-raking styles practiced by her colleagues ("Shark," "Professional," "Crash & Burner").
Had Sexton been a Democrat rather than a Republican at heart, Party Favors would have simply been an act of literary pandering. Still, her point isn't for right-wingers to fly the conservative coop. "I'm a good capitalist, I am," Temple tells us. "I spend. I earn. I love meeting people who came from nothing and now own half a city." Temple's quarrel isn't with the party's platform, but with its practices — how her colleagues skim 90 percent off the take, sexually harass interns and publicly scorn her gay mentors and colleagues, upon whom they all depend.
It's not about being Republican or Democrat. It's about not being greedy, ignorant or a hypocrite. "Why," Temple asks, "was I raising $95 million for senators without fully understanding their platforms?" In an election year, that's surely something we can all get behind.
Excerpt: 'Party Favors'
by Nicole Sexton and Susan Johnston
Party FavorsBy Nicole Sexton and Susan JohnstonHardcover, 256 PagesThe Lyons PressList Price: $24.95
NPR.org, August 28, 2008 · Prologue
Gray Two is So Not Tall
Everything about the dinner had to be absolutely 110 percent fantastic. First and foremost, I needed to look amazing, which I did, in my most conservative, but still va-va-va-voom, belted, black silk YSL suit accessorized with a stunningly bright turquoise Hermes scarf, since I'm Southern and able to pull off risky wardrobe choices with my colorful bursts of personality.
Second and even more important, my staff needed sharp eyes, fast hands, and tip-tip-tippy toes. Majority Leader Ivy's historic three-story brownstone was not only filled to the gills with one hundred of my top-tier Team Victory donors, it was also bursting at the seams with irreplaceable antiques curated by his refined, intelligent, and Parisian wife, Genevieve. I'd instructed my junior staffers to stay in service overdrive: "Donors will be drinking; sloppiness is bound to ensue. I need all eyes on the relics. Thank you." My pre-party pep talk had been taken to heart. The young ones were zipping around, unseen and unheard, effectively anticipating the accidental bumpings of Mrs. Ivy's precariously placed artifacts.
Third and most critical of all, I needed happy donors. A happy donor equaled cash money green. An unhappy donor equaled bye-bye Senate seat. These Team Victorys were my most privileged, most pampered, most jaded, and hardest to impress givers. They hadn't ponied up fifty grand per couple just to meet Majority Leader Ivy or his wife. Most already knew the six most powerful senators, those in Leadership, I'd secured specifically for the evening. They weren't even there to chat up President Gray or his grumpy, grumpy V.P. who cursed people under his breath and always showed up with a badly bonked head or sprained ankle. No, my Team Victorys weren't interested in handshaking. They paid to see the house.
Donors love themselves some houses. They will pay out their a-double-s to see if there's a hamper with dirty clothes, if the fridge is covered in family pictures. They will do everything in their power to sneak a glance at that marital bed. Nosy, nosy, nosy. Since taking the job that catapulted my career from little old me to Big Money Babe, I'd become D.C.'s version of Robin Leach, offering check-writers a glimpse of the Republican Senate's "champagne wishes and caviar dreams." For a hefty price, of course.
Big bucks meant big donors expected big parties to big-time rock-there'd better be A-list entertainment, free-flowing top-shelf booze, plentiful hors d'oeuvres plus a catered sit-down dinner, unfettered access to politicians, and there absolutely, no doubt about it, had to be a click line. Because clicks are donor crack.
Every donor, no matter the size of their wallet, wants a picture of themselves smiling with Someone Important. Even if they are Someone More Important and they already have fifteen identical pictures, they will stand in their cocktail dress or tux, waiting like an anxious kid braving a monster roller coaster.
The click line itself is just a cleaned-up carnie trick, a frenetic hurricane of pushing and smiling and shaking and flashing and clicking and pulling and pushing and smiling and go, go, go, go, go, go until every last donor has had their twelve seconds with a Hot Shot. It's ludicrous. Not the slightest bit glamorous. And yet, if I'd ever even suggested throwing a fundraiser in D.C. sans click line, I would have been run out of town as a heretic.
Which is why, in a house full of priceless museum treasures, I had one hundred donors and all my staff squeezed into the well-carpeted, less fragile, "books don't break when they fall" library. I'd vetoed the conventional, tacky blue velour pipe-and-drape backdrop and opted instead to put Majority Leader Ivy and Genevieve on a toe mark in front of their mahogany shelves filled with leather-bound tomes. My donors were beyond happy. They were click-crack wild, high from the unprecedented inner-sanctum access. Their clicks would appear more personal, more intimate, more real. They'd frame the photos and nonchalantly prop them on baby grand pianos, on mantles beside the obligatory posed "whole family wearing white on a Cape Cod beach" shot as if Ivy and his wife were just that: family. This was overdose material.
Despite the increasingly claustrophobic conditions in the library, my party was running like a well-oiled machine. I flitted about the room making sure donors had drinks, staffers were strategically placed, and the senators were schmoozing with civilians and not one another. All I needed was for President Gray to arrive. Where, oh where, was my little Gray Two?
Genevieve caught my eye and motioned me to her side. She whispered her forgetfulness softly in my ear, "J'ai oublié son nom," knowing my childhood in New Orleans afforded her both the discretion and privilege of her native tongue.
I whispered back, "His name is William, William Sifkin."
Genevieve nodded and greeted Mr. Sifkin like a long-lost friend. I stepped back slightly and wedged myself awkwardly into a tight hallway between two open pocket doors, discreetly whispering names when requested and smiling, always smiling. I had no idea I was standing in the Presidential Hold.
In a shuffle so swift I had no time to yelp, Advance jostled me backwards and slid the pocket door in front of me entirely shut. I spun to find myself tit-to-tat with Gray Two, the pocket door behind him already closed. And tit-to-tat isn't easily done with me. Though petite in stature, I am, as Mom politely describes in mixed company, "generously endowed."
From the light spilling under the doors, I could see President Gray smiling his shocking white toothy grin. He snickered nervously through his veneers, as seemingly startled by our inadvertent "Seven Minutes in Heaven" as I was.
"How are you tonight, Mr. President?" I hoped my question might lessen the outrageously uncomfortable physical awkwardness of being pressed together like sardines. Neither of us could even lift our arms to shake hands.
The president continued snickering. "I'm fine, Miss Sachet. And how are you?"
"I'm fantastic, sir." Which was such a lie. Just because Secret Service had no qualms about stuffing me in a closet with the leader of the free world didn't mean I had the time to stand around chit-chatting with the man. Outside our spontaneously constructed confinement, there were donors needing appeasement, senators sniffing out dollars, staffers expecting supervision. Heavens to Betsy, Genevieve needed names! I tried my best to remain calm as my brain overflowed with potential emergencies. "I hope they let us out of here soon."
President Gray shrugged and the movement pulled my suit sleeves up over my wrists, where they stayed since I could not readjust them. He said, "Welcome to my life," and we fell into a long, strained silence.
Stuck. Minute One.
It struck me odd. The president was so not tall. Maybe, maybe he had two inches on me. Yes, I'd met him before, numerous times, but never this up close and personal. It was always a walk-and-talk, or a nod in passing, or an approach while seated, or a surrounded-by-staff situation. I'd spent more time with his uncle, Gray One, when I was a Ray of Hope. His uncle had been a tall man, impressive. This Gray had amazing, TV worthy, shellacked helmet hair but wow, was he a shorty. His height, or rather lack of it, made him seem much less . . . well, presidential. I thought better of commenting aloud and bit my tongue.
Stuck. Minute Two.
The rhythmic inhalations and exhalations of the president's breathing lulled me into a much-needed meditative state. In the year since I'd moved back to D.C., I hadn't had two solid minutes of nothingness. Ever. I was always on the run, in chauffeured cars, dashing from meeting to meeting, party to party, while simultaneously typing e-mails, returning voice mails, and multitasking in a haze of utter distraction. Two minutes of stillness? That meant I was either asleep or dead. I closed my eyes and allowed my breathing to deepen and enter into my lungs not as hurried huffs but as long, slow draws of life.
Stuck. Minute Three.
Old memories and long-suppressed emotions bubbled up from my core; a molten brew of fiery anger, disappointment, and confusion. This president had tricked and used people I adored. This president had lied to the entire country just to save his own hind end. This president had built his entire career on a long series of shady deals and broken promises. What in the world was I doing locked in a closet with this awful man?
Stuck. Minute Four.
I could not stand one more second of my forced confinement. I gritted my teeth to stop the questions rising in my heart from spilling straight out of my mouth: How did I let myself get so deeply embedded? Why was I raising $95 million for senators without a full understanding of their platforms? When had I stopped believing in candidates and started counting chairs? Worse than that, when did I stop caring whether politicians were actually good people? Everything had moved so fast. I'd gone with the flow of life, and life had taken me to the top of the Hill. My values, my integrity, my personal beliefs, I'd pushed them deep into a closet and now I was literally standing in that closet, face-to-face with the blue-suited, helmet-haired, white-toothed shorty that symbolized my self-betrayal.
How did I even get here?
http://www.npr.org/templates/story/story.php?storyId=94064968
Power, Politics — And Party Planning
http://www.npr.org/templates/story/story.php?storyId=94064968
Party Favors By Nicole Sexton and Susan Johnston
Hardcover, 256 Pages
The Lyons Press
List Price: $24.95
Read an excerpt.
NPR.org, August 29, 2008 · In an era when bookstores brim with memoirs, tell-alls and doorstopper biographies by politicos past and present, we still tend to think of the tart political novel as province of the Democrats. The Grand Old Party's tastes run strictly to Clancy-esque thrillers and mothballed war stories.
But we're in a bipartisan moment. If Nicole Sexton's Party Favors is any indication, the act of reaching across the aisle is spreading to the Barnes & Noble literature section.
Delightful works of political fiction, such as NPR host Scott Simon's Windy City and, of course, Joe Klein's seminal Primary Colors, traverse the minefield between a politician's public and private lives. Sexton, the former director of finance for the National Republican Senatorial Committee, illuminates a similar landscape. But, as befits a champion checkbook-wrangler and schmoozer, she and her co-author, playwright Susan Johnston, set a breezy how's-the-wife-and-kids tone that stops just short of handing the reader a cold drink.
Temple Sachet is a Southern belle on the deb track who gets pulled into politics after she organizes a run of local, record-breaking fundraisers. A devastating combo of brains, blondness and sheer will, she rockets, in just a few years, through county and state elections to rise to the position of second-most-powerful Republican fundraiser in the nation. "It took two gays and a bigot to put me there," Temple acidly remarks, "but apparently in the Republican Party, two parts homo-nepotism with just a splash of racist scandal equals a powerful new job."
Temple also blithely deconstructs other hypocrisies of her chosen trade, such as the strategic placement of donors into tiers ("Team Victory, Force GOP, the Patriots, and the Upper House. Each level had its own particular brand of fanaticism.") and the character-revealing cash-raking styles practiced by her colleagues ("Shark," "Professional," "Crash & Burner").
Had Sexton been a Democrat rather than a Republican at heart, Party Favors would have simply been an act of literary pandering. Still, her point isn't for right-wingers to fly the conservative coop. "I'm a good capitalist, I am," Temple tells us. "I spend. I earn. I love meeting people who came from nothing and now own half a city." Temple's quarrel isn't with the party's platform, but with its practices — how her colleagues skim 90 percent off the take, sexually harass interns and publicly scorn her gay mentors and colleagues, upon whom they all depend.
It's not about being Republican or Democrat. It's about not being greedy, ignorant or a hypocrite. "Why," Temple asks, "was I raising $95 million for senators without fully understanding their platforms?" In an election year, that's surely something we can all get behind.
Excerpt: 'Party Favors'
by Nicole Sexton and Susan Johnston
Party FavorsBy Nicole Sexton and Susan JohnstonHardcover, 256 PagesThe Lyons PressList Price: $24.95
NPR.org, August 28, 2008 · Prologue
Gray Two is So Not Tall
Everything about the dinner had to be absolutely 110 percent fantastic. First and foremost, I needed to look amazing, which I did, in my most conservative, but still va-va-va-voom, belted, black silk YSL suit accessorized with a stunningly bright turquoise Hermes scarf, since I'm Southern and able to pull off risky wardrobe choices with my colorful bursts of personality.
Second and even more important, my staff needed sharp eyes, fast hands, and tip-tip-tippy toes. Majority Leader Ivy's historic three-story brownstone was not only filled to the gills with one hundred of my top-tier Team Victory donors, it was also bursting at the seams with irreplaceable antiques curated by his refined, intelligent, and Parisian wife, Genevieve. I'd instructed my junior staffers to stay in service overdrive: "Donors will be drinking; sloppiness is bound to ensue. I need all eyes on the relics. Thank you." My pre-party pep talk had been taken to heart. The young ones were zipping around, unseen and unheard, effectively anticipating the accidental bumpings of Mrs. Ivy's precariously placed artifacts.
Third and most critical of all, I needed happy donors. A happy donor equaled cash money green. An unhappy donor equaled bye-bye Senate seat. These Team Victorys were my most privileged, most pampered, most jaded, and hardest to impress givers. They hadn't ponied up fifty grand per couple just to meet Majority Leader Ivy or his wife. Most already knew the six most powerful senators, those in Leadership, I'd secured specifically for the evening. They weren't even there to chat up President Gray or his grumpy, grumpy V.P. who cursed people under his breath and always showed up with a badly bonked head or sprained ankle. No, my Team Victorys weren't interested in handshaking. They paid to see the house.
Donors love themselves some houses. They will pay out their a-double-s to see if there's a hamper with dirty clothes, if the fridge is covered in family pictures. They will do everything in their power to sneak a glance at that marital bed. Nosy, nosy, nosy. Since taking the job that catapulted my career from little old me to Big Money Babe, I'd become D.C.'s version of Robin Leach, offering check-writers a glimpse of the Republican Senate's "champagne wishes and caviar dreams." For a hefty price, of course.
Big bucks meant big donors expected big parties to big-time rock-there'd better be A-list entertainment, free-flowing top-shelf booze, plentiful hors d'oeuvres plus a catered sit-down dinner, unfettered access to politicians, and there absolutely, no doubt about it, had to be a click line. Because clicks are donor crack.
Every donor, no matter the size of their wallet, wants a picture of themselves smiling with Someone Important. Even if they are Someone More Important and they already have fifteen identical pictures, they will stand in their cocktail dress or tux, waiting like an anxious kid braving a monster roller coaster.
The click line itself is just a cleaned-up carnie trick, a frenetic hurricane of pushing and smiling and shaking and flashing and clicking and pulling and pushing and smiling and go, go, go, go, go, go until every last donor has had their twelve seconds with a Hot Shot. It's ludicrous. Not the slightest bit glamorous. And yet, if I'd ever even suggested throwing a fundraiser in D.C. sans click line, I would have been run out of town as a heretic.
Which is why, in a house full of priceless museum treasures, I had one hundred donors and all my staff squeezed into the well-carpeted, less fragile, "books don't break when they fall" library. I'd vetoed the conventional, tacky blue velour pipe-and-drape backdrop and opted instead to put Majority Leader Ivy and Genevieve on a toe mark in front of their mahogany shelves filled with leather-bound tomes. My donors were beyond happy. They were click-crack wild, high from the unprecedented inner-sanctum access. Their clicks would appear more personal, more intimate, more real. They'd frame the photos and nonchalantly prop them on baby grand pianos, on mantles beside the obligatory posed "whole family wearing white on a Cape Cod beach" shot as if Ivy and his wife were just that: family. This was overdose material.
Despite the increasingly claustrophobic conditions in the library, my party was running like a well-oiled machine. I flitted about the room making sure donors had drinks, staffers were strategically placed, and the senators were schmoozing with civilians and not one another. All I needed was for President Gray to arrive. Where, oh where, was my little Gray Two?
Genevieve caught my eye and motioned me to her side. She whispered her forgetfulness softly in my ear, "J'ai oublié son nom," knowing my childhood in New Orleans afforded her both the discretion and privilege of her native tongue.
I whispered back, "His name is William, William Sifkin."
Genevieve nodded and greeted Mr. Sifkin like a long-lost friend. I stepped back slightly and wedged myself awkwardly into a tight hallway between two open pocket doors, discreetly whispering names when requested and smiling, always smiling. I had no idea I was standing in the Presidential Hold.
In a shuffle so swift I had no time to yelp, Advance jostled me backwards and slid the pocket door in front of me entirely shut. I spun to find myself tit-to-tat with Gray Two, the pocket door behind him already closed. And tit-to-tat isn't easily done with me. Though petite in stature, I am, as Mom politely describes in mixed company, "generously endowed."
From the light spilling under the doors, I could see President Gray smiling his shocking white toothy grin. He snickered nervously through his veneers, as seemingly startled by our inadvertent "Seven Minutes in Heaven" as I was.
"How are you tonight, Mr. President?" I hoped my question might lessen the outrageously uncomfortable physical awkwardness of being pressed together like sardines. Neither of us could even lift our arms to shake hands.
The president continued snickering. "I'm fine, Miss Sachet. And how are you?"
"I'm fantastic, sir." Which was such a lie. Just because Secret Service had no qualms about stuffing me in a closet with the leader of the free world didn't mean I had the time to stand around chit-chatting with the man. Outside our spontaneously constructed confinement, there were donors needing appeasement, senators sniffing out dollars, staffers expecting supervision. Heavens to Betsy, Genevieve needed names! I tried my best to remain calm as my brain overflowed with potential emergencies. "I hope they let us out of here soon."
President Gray shrugged and the movement pulled my suit sleeves up over my wrists, where they stayed since I could not readjust them. He said, "Welcome to my life," and we fell into a long, strained silence.
Stuck. Minute One.
It struck me odd. The president was so not tall. Maybe, maybe he had two inches on me. Yes, I'd met him before, numerous times, but never this up close and personal. It was always a walk-and-talk, or a nod in passing, or an approach while seated, or a surrounded-by-staff situation. I'd spent more time with his uncle, Gray One, when I was a Ray of Hope. His uncle had been a tall man, impressive. This Gray had amazing, TV worthy, shellacked helmet hair but wow, was he a shorty. His height, or rather lack of it, made him seem much less . . . well, presidential. I thought better of commenting aloud and bit my tongue.
Stuck. Minute Two.
The rhythmic inhalations and exhalations of the president's breathing lulled me into a much-needed meditative state. In the year since I'd moved back to D.C., I hadn't had two solid minutes of nothingness. Ever. I was always on the run, in chauffeured cars, dashing from meeting to meeting, party to party, while simultaneously typing e-mails, returning voice mails, and multitasking in a haze of utter distraction. Two minutes of stillness? That meant I was either asleep or dead. I closed my eyes and allowed my breathing to deepen and enter into my lungs not as hurried huffs but as long, slow draws of life.
Stuck. Minute Three.
Old memories and long-suppressed emotions bubbled up from my core; a molten brew of fiery anger, disappointment, and confusion. This president had tricked and used people I adored. This president had lied to the entire country just to save his own hind end. This president had built his entire career on a long series of shady deals and broken promises. What in the world was I doing locked in a closet with this awful man?
Stuck. Minute Four.
I could not stand one more second of my forced confinement. I gritted my teeth to stop the questions rising in my heart from spilling straight out of my mouth: How did I let myself get so deeply embedded? Why was I raising $95 million for senators without a full understanding of their platforms? When had I stopped believing in candidates and started counting chairs? Worse than that, when did I stop caring whether politicians were actually good people? Everything had moved so fast. I'd gone with the flow of life, and life had taken me to the top of the Hill. My values, my integrity, my personal beliefs, I'd pushed them deep into a closet and now I was literally standing in that closet, face-to-face with the blue-suited, helmet-haired, white-toothed shorty that symbolized my self-betrayal.
How did I even get here?
http://www.npr.org/templates/story/story.php?storyId=94064968
August 27, 2008
Party Favors becomes today's Punch Pick
Punch Pick: Party Favors by Nicole Sexton
Awhile back I had mentioned the new novel by former GOP fundraiser/turned international activist, Nicole Sexton, called Party Favors: A Novel of Politics and Greed. At the time, Ms. Sexton was in town promoting her book. Fortunately, I got to read it and unfortunately, it ended. Don’t you hate it when a good story comes to its close?
Party Favors is for sure a “Punch Pick”, especially with the conventions and race heating up.
Yes, it’s a juicy tell-all, but in the way of fiction of course. It’s a tale of a young up and coming party planner in New Orleans named Temple Sachet, who takes her sharp mind, quick wit, smarts and people skills all the way to the Hill to make millions for her Party, the Republicans. With graceful humor and candor, Ms. Sexton presents her readers every emotion she probably felt when she lived that life. But don’t think this is all about the professional life Temple lives. The book offers us a well-rounded view of work, romance, personal and family life when succumbing to a world that the heroine did not quite expect.
Yes, it’s a juicy tell-all, but in the way of fiction of course. It’s a tale of a young up and coming party planner in New Orleans named Temple Sachet, who takes her sharp mind, quick wit, smarts and people skills all the way to the Hill to make millions for her Party, the Republicans. With graceful humor and candor, Ms. Sexton presents her readers every emotion she probably felt when she lived that life. But don’t think this is all about the professional life Temple lives. The book offers us a well-rounded view of work, romance, personal and family life when succumbing to a world that the heroine did not quite expect.
Party Favors is found in most bookstores now and definitely online. Enjoy and share this Punch Pick.
August 22, 2008
arts writers grant
Creative Capital/Warhol Foundation Arts Writers Grant Program to Fund Work on Contemporary Visual Art
Deadline: September 22, 2008
The Creative Capital/Warhol Foundation Arts Writers Grant is an initiative of the Andy Warhol Foundation for the Visual Arts ( http://www.warholfoundation.org ) as part of its broader Arts Writing Initiative ( http://artswriters.org/initiative.php ) and is administered by Creative Capital ( http://creativecapital.org ).
Dedicated to supporting a wide range of writing on contemporary visual art -- from general-audience to scholarly -- the program awards project-based grants to individual authors. In its 2008 cycle, the program will fund approximately 20 projects, in amounts ranging from $3,000 to $50,000 each, in the following categories: books; articles; short-form writing; and blogs/new and alternative media.
To be eligible, an arts writer must be: an individual; an art historian, artist, critic, curator, journalist, or practitioner in an outside field who is strongly engaged with the contem- porary visual arts; a U.S. citizen, permanent resident of the United States, or possessor of an O-1 visa; at least 25 years old; and a published author (specific publication requirements vary depending on grant category).
Please note: Writers wishing to apply for book projects must first submit a Letter of Inquiry. The 2008 deadline for the Book LOI has already passed. Applicants who advanced to panel in previous years are eligible to apply without submitting an LOI. The program is no longer accepting applications for article series, only for individual articles.
Visit the program's Web site for complete program guidelines and application procedures. RFP Link: http://fconline.foundationcenter.org/pnd/15014738/artswriters
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
Deadline: September 22, 2008
The Creative Capital/Warhol Foundation Arts Writers Grant is an initiative of the Andy Warhol Foundation for the Visual Arts ( http://www.warholfoundation.org ) as part of its broader Arts Writing Initiative ( http://artswriters.org/initiative.php ) and is administered by Creative Capital ( http://creativecapital.org ).
Dedicated to supporting a wide range of writing on contemporary visual art -- from general-audience to scholarly -- the program awards project-based grants to individual authors. In its 2008 cycle, the program will fund approximately 20 projects, in amounts ranging from $3,000 to $50,000 each, in the following categories: books; articles; short-form writing; and blogs/new and alternative media.
To be eligible, an arts writer must be: an individual; an art historian, artist, critic, curator, journalist, or practitioner in an outside field who is strongly engaged with the contem- porary visual arts; a U.S. citizen, permanent resident of the United States, or possessor of an O-1 visa; at least 25 years old; and a published author (specific publication requirements vary depending on grant category).
Please note: Writers wishing to apply for book projects must first submit a Letter of Inquiry. The 2008 deadline for the Book LOI has already passed. Applicants who advanced to panel in previous years are eligible to apply without submitting an LOI. The program is no longer accepting applications for article series, only for individual articles.
Visit the program's Web site for complete program guidelines and application procedures. RFP Link: http://fconline.foundationcenter.org/pnd/15014738/artswriters
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
April 03, 2007
free theatre panels in nyc
SPF's Theatre Panel with the Mayor's Office:The Creation of Grey Gardens: The Musical
SPF's Salon Series:Only On Stage: Why Theatre Still Matters
Free SPF Theatre Panel on Saturday, April 14, Examines the Creation of Grey Gardens: The Musical
The Living Room for Artists / Summer Play Festival (SPF) and The Mayor's Office of Film, Theatre, and Broadcasting (MOFTB) will present its first panel of 2007 on Saturday, April 14. The panel is designed to focus on the process by which a musical is born, from its original source material, to its off-Broadway run, to its opening night on Broadway.
Grey Gardens: The Creation of a Musical
Saturday, April 14, 2007
Michael Greif (Director)
Randall Wreghitt (Producer)
Scott Frankel (Music)
Michael Koric (Lyrics)
Christic Evangelisto (Playwrights Horizons)
Katherine Oliver (Commissioner of the MOFTB - Moderator)
REGISTER NOW!
The free panel will take place at the Acorn Theatre at Theatre Row, at 410 West 42nd Street (between 9th and 10th Avenues) on April 14 from 10:00am to 11:30am. Guests should RSVP to message@film.nyc.gov by April 12.
This panel is the fifth in a series addressing careers in theatre management, theatrical production and development, producing, and acting.
Refreshments will be served. Please note that guests are subject to change.
SPF's Next Exclusive Salon Series
The SPF Salon Series is designed to provide a forum for discussion that provokes, informs and entertains while examining ideas and concerns of relevance to the theatre today. Moderated by Time Out New York theatre critics David Cote and Adam Feldman, each month will bring new guests and topics to the intimate 50-seat Studio Theatre at Theatre Row. Guests will have the opportunity to hear and talk with some of the industryÂ’s most interesting figures.
SPF's Salon
Monday, April 16, 2007
Jeanine Tesori - Composer, Caroline, or Change; Thoroughly Modern Mille
Michael Mayer - Director, Spring Awakening
Steve Cosson - Artistic Director, The Civilians
Keith Bunan - Playwright, The Busy World is Hushed
Adam Feldman - Theater Critic, Time Out New York (Moderator)
REGISTER NOW!
Tickets to the Salon Series are available free of charge, but are extremely limited. To reserve your seat, email us at events@spfnyc.com.
The Salons will take place from 7:30pm until 9:00pm at the Studio Theatre, Theatre Row at 410 West 42nd Street, between 9th and 10th Avenues.
Refreshments will be served. Please note that guests are subject to change.
SPF's Salon Series:Only On Stage: Why Theatre Still Matters
Free SPF Theatre Panel on Saturday, April 14, Examines the Creation of Grey Gardens: The Musical
The Living Room for Artists / Summer Play Festival (SPF) and The Mayor's Office of Film, Theatre, and Broadcasting (MOFTB) will present its first panel of 2007 on Saturday, April 14. The panel is designed to focus on the process by which a musical is born, from its original source material, to its off-Broadway run, to its opening night on Broadway.
Grey Gardens: The Creation of a Musical
Saturday, April 14, 2007
Michael Greif (Director)
Randall Wreghitt (Producer)
Scott Frankel (Music)
Michael Koric (Lyrics)
Christic Evangelisto (Playwrights Horizons)
Katherine Oliver (Commissioner of the MOFTB - Moderator)
REGISTER NOW!
The free panel will take place at the Acorn Theatre at Theatre Row, at 410 West 42nd Street (between 9th and 10th Avenues) on April 14 from 10:00am to 11:30am. Guests should RSVP to message@film.nyc.gov by April 12.
This panel is the fifth in a series addressing careers in theatre management, theatrical production and development, producing, and acting.
Refreshments will be served. Please note that guests are subject to change.
SPF's Next Exclusive Salon Series
The SPF Salon Series is designed to provide a forum for discussion that provokes, informs and entertains while examining ideas and concerns of relevance to the theatre today. Moderated by Time Out New York theatre critics David Cote and Adam Feldman, each month will bring new guests and topics to the intimate 50-seat Studio Theatre at Theatre Row. Guests will have the opportunity to hear and talk with some of the industryÂ’s most interesting figures.
SPF's Salon
Monday, April 16, 2007
Jeanine Tesori - Composer, Caroline, or Change; Thoroughly Modern Mille
Michael Mayer - Director, Spring Awakening
Steve Cosson - Artistic Director, The Civilians
Keith Bunan - Playwright, The Busy World is Hushed
Adam Feldman - Theater Critic, Time Out New York (Moderator)
REGISTER NOW!
Tickets to the Salon Series are available free of charge, but are extremely limited. To reserve your seat, email us at events@spfnyc.com.
The Salons will take place from 7:30pm until 9:00pm at the Studio Theatre, Theatre Row at 410 West 42nd Street, between 9th and 10th Avenues.
Refreshments will be served. Please note that guests are subject to change.
March 02, 2007
teaching in the arts jobs
* Associate Professor (Adjunct)/Professor (Adjunct) Yale School of Drama Yale University (Connecticut) (date posted: 2/26/2007) http://chronicle.com/jobs/id.php?id=0000496887-01&pg=e
* Associate Professor (Adjunct) of Dramaturgy and Dramatic Criticism Program Yale University (Connecticut) (date posted: 2/26/2007) http://chronicle.com/jobs/id.php?id=0000496872-01&pg=e
* Assisant Prfoessor in Composition and Theory Catholic University of America (D.C.) (date posted: 2/26/2007) http://chronicle.com/jobs/id.php?id=0000497402-01&pg=e
* Assistant Professor of Theatre Millikin University (Illinois) (date posted: 2/28/2007) http://chronicle.com/jobs/id.php?id=0000498734-01&pg=e
* Assistant Professor of Theatre Ball State University (Indiana) (date posted: 2/26/2007) http://chronicle.com/jobs/id.php?id=0000497189-01&pg=e
* Technical Director/Lighting Designer, Adjunct Assistant Professor of Theatr Arts, Technical Advior for the College Coe College (Iowa) (date posted: 2/26/2007) http://chronicle.com/jobs/id.php?id=0000496894-01&pg=e
* Assistant Professor of Dramatic Literature, Theory, and Criticism Colgate University (New York) (date posted: 2/26/2007) http://chronicle.com/jobs/id.php?id=0000498217-01&pg=e
* Theatre Technical Director; Music; Computer Science; Nursing; History; Psychology and Human Services; Physical Education and Hea Bethel College (Tennessee) (date posted: 2/27/2007) http://chronicle.com/jobs/id.php?id=0000498539-01&pg=e
* Instructor of Speech/Theater Southwest Tennessee Community College (Tennessee) (date posted: 2/27/2007) http://chronicle.com/jobs/id.php?id=0000498541-01&pg=e
* Fall 2007 Anticipated Full-Time Faculty Positions North Harris Montgomery Community College District (Texas) (date posted: 2/26/2007) http://chronicle.com/jobs/id.php?id=0000498279-01&pg=e
* Faculty - Arts and Sciences Abu Dhabi University (United Arab Emirates) (date posted: 2/27/2007) http://chronicle.com/jobs/id.php?id=0000498543-01&pg=e
* Associate Professor (Adjunct) of Dramaturgy and Dramatic Criticism Program Yale University (Connecticut) (date posted: 2/26/2007) http://chronicle.com/jobs/id.php?id=0000496872-01&pg=e
* Assisant Prfoessor in Composition and Theory Catholic University of America (D.C.) (date posted: 2/26/2007) http://chronicle.com/jobs/id.php?id=0000497402-01&pg=e
* Assistant Professor of Theatre Millikin University (Illinois) (date posted: 2/28/2007) http://chronicle.com/jobs/id.php?id=0000498734-01&pg=e
* Assistant Professor of Theatre Ball State University (Indiana) (date posted: 2/26/2007) http://chronicle.com/jobs/id.php?id=0000497189-01&pg=e
* Technical Director/Lighting Designer, Adjunct Assistant Professor of Theatr Arts, Technical Advior for the College Coe College (Iowa) (date posted: 2/26/2007) http://chronicle.com/jobs/id.php?id=0000496894-01&pg=e
* Assistant Professor of Dramatic Literature, Theory, and Criticism Colgate University (New York) (date posted: 2/26/2007) http://chronicle.com/jobs/id.php?id=0000498217-01&pg=e
* Theatre Technical Director; Music; Computer Science; Nursing; History; Psychology and Human Services; Physical Education and Hea Bethel College (Tennessee) (date posted: 2/27/2007) http://chronicle.com/jobs/id.php?id=0000498539-01&pg=e
* Instructor of Speech/Theater Southwest Tennessee Community College (Tennessee) (date posted: 2/27/2007) http://chronicle.com/jobs/id.php?id=0000498541-01&pg=e
* Fall 2007 Anticipated Full-Time Faculty Positions North Harris Montgomery Community College District (Texas) (date posted: 2/26/2007) http://chronicle.com/jobs/id.php?id=0000498279-01&pg=e
* Faculty - Arts and Sciences Abu Dhabi University (United Arab Emirates) (date posted: 2/27/2007) http://chronicle.com/jobs/id.php?id=0000498543-01&pg=e
numerous grants
1) Dieu Donné Papermill Invites New York State Emerging Artists to Apply for Workspace Program
2) National Film Preservation Foundation Invites Applications for Avant-Garde Masters Grants Program
3) Princess Grace Foundation-USA Announces Availability of Applications for Awards in Dance and Choreography
4) McKnight Foundation Invites Nominations for Minnesota Distinguished Artist Award.
5) Leeway Foundation Invites Applications From Women and Trans Artists in Delaware Valley Region
8) Enterprise Community Partners Announces New Frederick P. Rose Architectural Fellowship Opportunities
13) American Dance Festival Invites Applications for Arts Journalism Institute for Dance Criticism
14) American Theatre Magazine Invites Applications for Affiliated Writers Program
--------------------------<<>>-----------------------------
1) Dieu Donné Papermill Invites New York State Emerging Artists to Apply for Workspace Program
Deadline: May 15, 2007
New York City-based Dieu Donné Papermill ( http://dieudonne.org/ ) is a nonprofit artist workspace dedicated to the creation, promotion, and preservation of contemporary art in the hand papermaking process. In support of this mission, Dieu Donné collaborates with artists and the professional visual arts community. Dieu Donné Papermill's Workspace Program offers three annual residencies to emerging New York State artists to create new work in handmade paper. The program seeks to encourage emerging artists to explore the creative possibilities of handmade paper, help develop the art form, and promote the Workspace Program artists through exhibitions of their work produced at Dieu Donné.
Each artist will receive a $700 honorarium, advance preparation of materials, and professional assistance during a seven-day collaboration (days are non-consecutive). Emerging artists from all disciplinary and cultural backgrounds are encouraged to apply. No experience with handmade paper is required. Applicants must be New York State residents and must be U.S. citizens or permanent residents of the U.S. Students enrolled in undergraduate- or graduate-degree programs during the program year are not eligible to apply.
The Workspace Program 2007-08 application deadline is May 15, 2007. The online application form will be made available at the Dieu Donné Papermill Web site beginning April 2, 2007.
RFP Link: http://fconline.foundationcenter.org/pnd/10006432/dieudonne
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
--------------------------<<>>-----------------------------
2) National Film Preservation Foundation Invites Applications for Avant-Garde Masters Grants Program
Deadline: March 30, 2007 (Registration)
The National Film Preservation Foundation ( http://filmpreservation.org/ ) invites applications for the Avant-Garde Masters Grants. These cash preservation grants, made possible with funding from the Film Foundation ( http://www.film-foundation.org/ ), support laboratory work to preserve significant examples of America's avant-garde film heritage. Grants will support the preservation of a film or films by a single filmmaker or cinematic movement significant to the development of avant-garde film in America. Works made in the last twenty years are not eligible. Grants are available to public and nonprofit archives in the U.S., including those that are part of federal, state, or local government. The grants target avant-garde films made in the United States or by American citizens abroad and not physically preserved by commercial interests. Materials originally created for television or video are not eligible. The program will fund one or two preservation projects with grants ranging between $10,000 and $50,000 each.
Visit the National Film Preservation Foundation Web site for complete program guidelines and application procedures.
RFP Link: http://fconline.foundationcenter.org/pnd/10006433/filmpreservation
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
--------------------------<<>>-----------------------------
3) Princess Grace Foundation-USA Announces Availability of Applications for Awards in Dance and Choreography
Deadline: April 30, 2007
The Princess Grace Foundation-USA ( http://www.pgfusa.org/ ) has announced the availability of applications for the 2007 Princess Grace Awards in Dance for Performance and for Choreography. All types of dance performance are eligible for these awards. Princess Grace Awards in Dance: Performance take the form of scholarships and fellowships. Candidates must be U.S. citizens or have permanent resident status at the time of application.
To apply, an individual must be nominated by the artistic director of a nonprofit dance company or the dean or department chair of a professional nonprofit dance school. Scholarships provide tuition for professional training at a nonprofit school located in the U.S. where the applicant has been enrolled for at least one year. Fellowships provide salary assistance for a new member in a dance company where the applicant has joined the company within the past five years. In addition, companies awarded fellowships will receive a small grant to be used for general operating expenses.
Typically, scholarships and fellowships have ranged from $5,000 to $25,000. Princess Grace Awards in Dance: Choreography provide fellowships to recognize America's most promising young choreographers. To participate, the choreographer must be nominated by the artistic director of a nonprofit professional dance company within the U.S. Grants of $10,000 are disbursed to the dance companies toward the choreographer's fee and expenses associated with the commission. Because of the foundation's emphasis on new work, the Choreography Fellowship grant does not apply to the restaging of existing choreography. In addition, there must be public performances of the new work within the grant cycle. Companies awarded fellowships will also receive a small grant to be used for general operating expenses.
Guidelines, application instructions, and a list of past award winners can be found on the Princess Grace Foundation-USA Web site.
RFP Link: http://fconline.foundationcenter.org/pnd/10006434/dance/guidelines
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
--------------------------<<>>-----------------------------
4) McKnight Foundation Invites Nominations for Minnesota Distinguished Artist Award. Deadline: March 31, 2007
The McKnight Foundation ( http://www.mcknight.org/ ) invites nominations for its 10th Distinguished Artist Award in recog- nition of individual Minnesota artists who have had enduring and exceptional careers. The $40,000 award honors one artist each year for having made a substantial impact on the arts in Minnesota over a lifetime. A panel representing a variety of artistic disciplines considers first and foremost the quality of each nominated artist's work. Other considerations include the artist's commitment to his or her field, and ways the artist has enriched life for audiences and the community. Artists in all disciplines are eligible for nomination but may not apply for the award themselves. Although nominees must have worked in Minnesota much of their lives, they need not reside in Minnesota when they are nominated. The panel will not con- sider those from Minnesota who achieved most of their success elsewhere, and posthumous awards will not be made.
Visit the McKnight Foundation Web site for complete program information and nomination procedures. RFP Link: http://fconline.foundationcenter.org/pnd/10006435/mcknight
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
--------------------------<<>>-----------------------------
5) Leeway Foundation Invites Applications From Women and Trans Artists in Delaware Valley Region
Deadline: April 9, 2007
The Leeway Foundation's ( http://www.leeway.org/ ) grantmaking programs honor women and trans artists for their ability to create social change through their artistic and cultural work. The foundation's Transformation Award provides unrestricted annual awards of $15,000 to women and trans artists living in the Delaware Valley region who create art for social change and have done so for the past five years or more, demonstrating a long-term commitment to social-change work. Leeway will award at least twelve Transformation Awards in 2007. The award is unrestricted (not project-based) and open to women and trans people working in any art form, traditional or non- traditional. Applicants must be women or trans artists who create art for social change that impacts a larger group, audience, or commun- ity; have been creating art for social change for the past five years or more, demonstrating a long-term commitment to this work; have financial need and limited or no access to other financial resources; and have lived for the past two or more years in the Delaware Valley region (i.e., Bucks, Camden, Chester, Delaware, Montgomery, or Philadelphia County).
Visit the foundation's Web site for complete program information.
RFP Link: http://fconline.foundationcenter.org/pnd/10006436/leeway
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
--------------------------<<>>-----------------------------
8) Enterprise Community Partners Announces New Frederick P. Rose Architectural Fellowship Opportunities
Deadline: Various
The Frederick P. Rose Architectural Fellowship was established by Enterprise Community Partners ( http://www.enterprisecommunity.org/ ) to create partnerships between emerging architects and community- based organizations to direct the skills and passions of the architects in the service of low- and moderate-income communities. The fellowship is designed to promote the value of quality design and green building in affordable housing and encourages architects to become lifelong leaders in public service and community devel- opment. Applications are available for four new 2007 Rose Fellowships at the following locations and organizations: Bronx, New York -- the Fordham Bedford Housing Corporation; New Orleans, Louisiana -- Providence Community Housing; Woodburn, Oregon -- Farmworker Housing and Development Corporation; and Southwestern Minnesota -- the Southwest Minnesota Housing Partnership. To be eligible for the program, applicants must possess a pro- fessional degree in architecture from an accredited college or university, or expect to graduate from an accredited school of architecture before the fellowship begins.
Rose Fellows earn a modest stipend and receive health insurance and other benefits. Please note that the New Orleans Fellowship, sponsored by Capital One ( http://www.capitalone.com/ ), will begin as early as May 1, 2007, with applications due April 1, 2007. All other fellowships start on September 1, 2007, with applications due on April 15, 2007.
Visit the program's Web site for specific information on each fellowship opportunity and application procedures.
RFP Link: http://fconline.foundationcenter.org/pnd/10006439/rosefellowship
For additional RFPs in Community Improvement/Development, visit: http://foundationcenter.org/pnd/rfp/cat_community_development.jhtml
--------------------------<<>>-----------------------------
13) American Dance Festival Invites Applications for Arts Journalism Institute for Dance Criticism
Deadline: April 4, 2007
The American Dance Festival ( http://americandancefestival.org/ ) has announced the 2007 Arts Journalism Institute for Dance Criticism for professional print, electronic, radio, and television journalists with support from the New York Times Company Foundation. The program for writers will be held at the festival on the campus of Duke University in Durham, North Carolina from June 16 to July 9, 2007. The institute is specifically designed for professionals interested in further developing their analysis of dance while additionally shaping their personal writing style. The fellows will attend an extensive range of performances, write reviews, observe classes, take part in discussions with ADF guest speakers, teachers, choreographers, dance critics, and faculty, participate in movement sessions, and participate in panel discussions analyzing the function and possibilities of today's dance critic.
The fellowships cover tuition, room and board, and tickets to performances. See the American Dance Festival Web site for complete program information.
RFP Link: http://fconline.foundationcenter.org/pnd/10006444/americandance
For additional RFPs in Journalism/Media, visit: http://foundationcenter.org/pnd/rfp/cat_journalism.jhtml
--------------------------<<>>-----------------------------
14) American Theatre Magazine Invites Applications for Affiliated Writers Program
Deadline: April 30, 2007
Supported by the Jerome Foundation ( http://www.jeromefdn.org/ ), American Theatre magazine's Affiliated Writers Program for earlycareer arts writers is designed to foster the development of a corps of cultural journalists, feature writers, and theater critics who are knowledgeable about the field nationally; contri- bute to an increased public demand for serious criticism and in turn persuade editors nationwide of its importance; and work to enhance the viability of American Theatre magazine as a forum for the publication of high-quality critical writing that is national in scope.
The program is open only to writers based in Minnesota and New York City. The program will select two to four writers a year (with writers eligible to repeat the program). Each writer will receive an annual stipend of $3,000 in exchange for three to four articles, as assigned. Travel expenses for agreed-upon projects are also covered. Complete program information is available at the Theatre Communications Group Web site.
RFP Link: http://fconline.foundationcenter.org/pnd/10006445/tcg/writer
For additional RFPs in Journalism/Media, visit: http://foundationcenter.org/pnd/rfp/cat_journalism.jhtml
2) National Film Preservation Foundation Invites Applications for Avant-Garde Masters Grants Program
3) Princess Grace Foundation-USA Announces Availability of Applications for Awards in Dance and Choreography
4) McKnight Foundation Invites Nominations for Minnesota Distinguished Artist Award.
5) Leeway Foundation Invites Applications From Women and Trans Artists in Delaware Valley Region
8) Enterprise Community Partners Announces New Frederick P. Rose Architectural Fellowship Opportunities
13) American Dance Festival Invites Applications for Arts Journalism Institute for Dance Criticism
14) American Theatre Magazine Invites Applications for Affiliated Writers Program
--------------------------<<>>-----------------------------
1) Dieu Donné Papermill Invites New York State Emerging Artists to Apply for Workspace Program
Deadline: May 15, 2007
New York City-based Dieu Donné Papermill ( http://dieudonne.org/ ) is a nonprofit artist workspace dedicated to the creation, promotion, and preservation of contemporary art in the hand papermaking process. In support of this mission, Dieu Donné collaborates with artists and the professional visual arts community. Dieu Donné Papermill's Workspace Program offers three annual residencies to emerging New York State artists to create new work in handmade paper. The program seeks to encourage emerging artists to explore the creative possibilities of handmade paper, help develop the art form, and promote the Workspace Program artists through exhibitions of their work produced at Dieu Donné.
Each artist will receive a $700 honorarium, advance preparation of materials, and professional assistance during a seven-day collaboration (days are non-consecutive). Emerging artists from all disciplinary and cultural backgrounds are encouraged to apply. No experience with handmade paper is required. Applicants must be New York State residents and must be U.S. citizens or permanent residents of the U.S. Students enrolled in undergraduate- or graduate-degree programs during the program year are not eligible to apply.
The Workspace Program 2007-08 application deadline is May 15, 2007. The online application form will be made available at the Dieu Donné Papermill Web site beginning April 2, 2007.
RFP Link: http://fconline.foundationcenter.org/pnd/10006432/dieudonne
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
--------------------------<<>>-----------------------------
2) National Film Preservation Foundation Invites Applications for Avant-Garde Masters Grants Program
Deadline: March 30, 2007 (Registration)
The National Film Preservation Foundation ( http://filmpreservation.org/ ) invites applications for the Avant-Garde Masters Grants. These cash preservation grants, made possible with funding from the Film Foundation ( http://www.film-foundation.org/ ), support laboratory work to preserve significant examples of America's avant-garde film heritage. Grants will support the preservation of a film or films by a single filmmaker or cinematic movement significant to the development of avant-garde film in America. Works made in the last twenty years are not eligible. Grants are available to public and nonprofit archives in the U.S., including those that are part of federal, state, or local government. The grants target avant-garde films made in the United States or by American citizens abroad and not physically preserved by commercial interests. Materials originally created for television or video are not eligible. The program will fund one or two preservation projects with grants ranging between $10,000 and $50,000 each.
Visit the National Film Preservation Foundation Web site for complete program guidelines and application procedures.
RFP Link: http://fconline.foundationcenter.org/pnd/10006433/filmpreservation
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
--------------------------<<>>-----------------------------
3) Princess Grace Foundation-USA Announces Availability of Applications for Awards in Dance and Choreography
Deadline: April 30, 2007
The Princess Grace Foundation-USA ( http://www.pgfusa.org/ ) has announced the availability of applications for the 2007 Princess Grace Awards in Dance for Performance and for Choreography. All types of dance performance are eligible for these awards. Princess Grace Awards in Dance: Performance take the form of scholarships and fellowships. Candidates must be U.S. citizens or have permanent resident status at the time of application.
To apply, an individual must be nominated by the artistic director of a nonprofit dance company or the dean or department chair of a professional nonprofit dance school. Scholarships provide tuition for professional training at a nonprofit school located in the U.S. where the applicant has been enrolled for at least one year. Fellowships provide salary assistance for a new member in a dance company where the applicant has joined the company within the past five years. In addition, companies awarded fellowships will receive a small grant to be used for general operating expenses.
Typically, scholarships and fellowships have ranged from $5,000 to $25,000. Princess Grace Awards in Dance: Choreography provide fellowships to recognize America's most promising young choreographers. To participate, the choreographer must be nominated by the artistic director of a nonprofit professional dance company within the U.S. Grants of $10,000 are disbursed to the dance companies toward the choreographer's fee and expenses associated with the commission. Because of the foundation's emphasis on new work, the Choreography Fellowship grant does not apply to the restaging of existing choreography. In addition, there must be public performances of the new work within the grant cycle. Companies awarded fellowships will also receive a small grant to be used for general operating expenses.
Guidelines, application instructions, and a list of past award winners can be found on the Princess Grace Foundation-USA Web site.
RFP Link: http://fconline.foundationcenter.org/pnd/10006434/dance/guidelines
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
--------------------------<<>>-----------------------------
4) McKnight Foundation Invites Nominations for Minnesota Distinguished Artist Award. Deadline: March 31, 2007
The McKnight Foundation ( http://www.mcknight.org/ ) invites nominations for its 10th Distinguished Artist Award in recog- nition of individual Minnesota artists who have had enduring and exceptional careers. The $40,000 award honors one artist each year for having made a substantial impact on the arts in Minnesota over a lifetime. A panel representing a variety of artistic disciplines considers first and foremost the quality of each nominated artist's work. Other considerations include the artist's commitment to his or her field, and ways the artist has enriched life for audiences and the community. Artists in all disciplines are eligible for nomination but may not apply for the award themselves. Although nominees must have worked in Minnesota much of their lives, they need not reside in Minnesota when they are nominated. The panel will not con- sider those from Minnesota who achieved most of their success elsewhere, and posthumous awards will not be made.
Visit the McKnight Foundation Web site for complete program information and nomination procedures. RFP Link: http://fconline.foundationcenter.org/pnd/10006435/mcknight
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
--------------------------<<>>-----------------------------
5) Leeway Foundation Invites Applications From Women and Trans Artists in Delaware Valley Region
Deadline: April 9, 2007
The Leeway Foundation's ( http://www.leeway.org/ ) grantmaking programs honor women and trans artists for their ability to create social change through their artistic and cultural work. The foundation's Transformation Award provides unrestricted annual awards of $15,000 to women and trans artists living in the Delaware Valley region who create art for social change and have done so for the past five years or more, demonstrating a long-term commitment to social-change work. Leeway will award at least twelve Transformation Awards in 2007. The award is unrestricted (not project-based) and open to women and trans people working in any art form, traditional or non- traditional. Applicants must be women or trans artists who create art for social change that impacts a larger group, audience, or commun- ity; have been creating art for social change for the past five years or more, demonstrating a long-term commitment to this work; have financial need and limited or no access to other financial resources; and have lived for the past two or more years in the Delaware Valley region (i.e., Bucks, Camden, Chester, Delaware, Montgomery, or Philadelphia County).
Visit the foundation's Web site for complete program information.
RFP Link: http://fconline.foundationcenter.org/pnd/10006436/leeway
For additional RFPs in Arts and Culture, visit: http://foundationcenter.org/pnd/rfp/cat_arts.jhtml
--------------------------<<>>-----------------------------
8) Enterprise Community Partners Announces New Frederick P. Rose Architectural Fellowship Opportunities
Deadline: Various
The Frederick P. Rose Architectural Fellowship was established by Enterprise Community Partners ( http://www.enterprisecommunity.org/ ) to create partnerships between emerging architects and community- based organizations to direct the skills and passions of the architects in the service of low- and moderate-income communities. The fellowship is designed to promote the value of quality design and green building in affordable housing and encourages architects to become lifelong leaders in public service and community devel- opment. Applications are available for four new 2007 Rose Fellowships at the following locations and organizations: Bronx, New York -- the Fordham Bedford Housing Corporation; New Orleans, Louisiana -- Providence Community Housing; Woodburn, Oregon -- Farmworker Housing and Development Corporation; and Southwestern Minnesota -- the Southwest Minnesota Housing Partnership. To be eligible for the program, applicants must possess a pro- fessional degree in architecture from an accredited college or university, or expect to graduate from an accredited school of architecture before the fellowship begins.
Rose Fellows earn a modest stipend and receive health insurance and other benefits. Please note that the New Orleans Fellowship, sponsored by Capital One ( http://www.capitalone.com/ ), will begin as early as May 1, 2007, with applications due April 1, 2007. All other fellowships start on September 1, 2007, with applications due on April 15, 2007.
Visit the program's Web site for specific information on each fellowship opportunity and application procedures.
RFP Link: http://fconline.foundationcenter.org/pnd/10006439/rosefellowship
For additional RFPs in Community Improvement/Development, visit: http://foundationcenter.org/pnd/rfp/cat_community_development.jhtml
--------------------------<<>>-----------------------------
13) American Dance Festival Invites Applications for Arts Journalism Institute for Dance Criticism
Deadline: April 4, 2007
The American Dance Festival ( http://americandancefestival.org/ ) has announced the 2007 Arts Journalism Institute for Dance Criticism for professional print, electronic, radio, and television journalists with support from the New York Times Company Foundation. The program for writers will be held at the festival on the campus of Duke University in Durham, North Carolina from June 16 to July 9, 2007. The institute is specifically designed for professionals interested in further developing their analysis of dance while additionally shaping their personal writing style. The fellows will attend an extensive range of performances, write reviews, observe classes, take part in discussions with ADF guest speakers, teachers, choreographers, dance critics, and faculty, participate in movement sessions, and participate in panel discussions analyzing the function and possibilities of today's dance critic.
The fellowships cover tuition, room and board, and tickets to performances. See the American Dance Festival Web site for complete program information.
RFP Link: http://fconline.foundationcenter.org/pnd/10006444/americandance
For additional RFPs in Journalism/Media, visit: http://foundationcenter.org/pnd/rfp/cat_journalism.jhtml
--------------------------<<>>-----------------------------
14) American Theatre Magazine Invites Applications for Affiliated Writers Program
Deadline: April 30, 2007
Supported by the Jerome Foundation ( http://www.jeromefdn.org/ ), American Theatre magazine's Affiliated Writers Program for earlycareer arts writers is designed to foster the development of a corps of cultural journalists, feature writers, and theater critics who are knowledgeable about the field nationally; contri- bute to an increased public demand for serious criticism and in turn persuade editors nationwide of its importance; and work to enhance the viability of American Theatre magazine as a forum for the publication of high-quality critical writing that is national in scope.
The program is open only to writers based in Minnesota and New York City. The program will select two to four writers a year (with writers eligible to repeat the program). Each writer will receive an annual stipend of $3,000 in exchange for three to four articles, as assigned. Travel expenses for agreed-upon projects are also covered. Complete program information is available at the Theatre Communications Group Web site.
RFP Link: http://fconline.foundationcenter.org/pnd/10006445/tcg/writer
For additional RFPs in Journalism/Media, visit: http://foundationcenter.org/pnd/rfp/cat_journalism.jhtml
February 23, 2007
ny panel for critics
The SPF Salon SeriesThe Living Room for Artists / Summer Play Festival (SPF) is proud to present some exciting new programming for 2007.
The SPF Salon Series is designed to provide a forum for discussion that provokes, informs and entertains while examining ideas and concerns of relevance to the theatre today. Moderated by Time Out New York theatre critics David Cote and Adam Feldman, each month will bring new guests and topics to the intimate 50 seat Studio Theatre at Theatre Row. Guests will have the opportunity to hear and talk with some of the industry's most interesting figures.
Next Up:
Monday, February 26, 2007: Next Generation Critics: New York Theatre Critics Under 40
(Adam Feldman, Time Out New York, Moderator) Eric Grode - The New York SunJeremy McCarter - New York MagazineAlexis Soloski - The Village VoiceJason Zinoman – The New York Times
Register Now!
Tickets to the Salon Series are available free of charge, but are extremely limited.
To RSVP, please email mailto:info@spfnyc.com,
The Salons will take place from 7:30pm until 9:00pm at the Studio Theatre, Theatre Row at 410 West 42nd Street, between 9th and 10th Avenues.
Refreshments will be served.
The SPF Salon Series is designed to provide a forum for discussion that provokes, informs and entertains while examining ideas and concerns of relevance to the theatre today. Moderated by Time Out New York theatre critics David Cote and Adam Feldman, each month will bring new guests and topics to the intimate 50 seat Studio Theatre at Theatre Row. Guests will have the opportunity to hear and talk with some of the industry's most interesting figures.
Next Up:
Monday, February 26, 2007: Next Generation Critics: New York Theatre Critics Under 40
(Adam Feldman, Time Out New York, Moderator) Eric Grode - The New York SunJeremy McCarter - New York MagazineAlexis Soloski - The Village VoiceJason Zinoman – The New York Times
Register Now!
Tickets to the Salon Series are available free of charge, but are extremely limited.
To RSVP, please email mailto:info@spfnyc.com,
The Salons will take place from 7:30pm until 9:00pm at the Studio Theatre, Theatre Row at 410 West 42nd Street, between 9th and 10th Avenues.
Refreshments will be served.
February 02, 2007
spf festival in nyc - jobs & salon series
Production Positions
The Summer Play Festival is devoted to all emerging theater artists, not just playwrights. If you are an emerging director, designer, stage manager, or producer - we want to hear from you. Applications for SPF 2007 production positions are currently being accepted through March 1. Being involved in an SPF production is a great opportunity to work in a professional environment surrounded by hundreds of other emerging artists.
Want to direct, design, line produce, or stage manage? Applications can be found at the www.spfnyc.com. Attach the appropriate application with a resume and email it to info@spfnyc.com with the appropriate subject (DIRECTOR APPLICATION/DESIGNER APPLICATION/STAGE MANAGER APPLICATION/LINE PRODUCER APPLICATION).
All applications must be received by March 1. In person interviews will begin at the end of February. More information on Production Opportunities can be found at www.spfnyc.com.
Salon Series
The Living Room for Artists / Summer Play Festival (SPF) recently announced the creation of The SPF Salon Series. The Salon series is designed to provide a forum for discussion that provokes, informs and entertains while examining ideas and concerns of relevance to the theatre today. Moderated by Time Out New York theatre critics David Cote and Adam Feldman, each month will bring theatre professionals to Theatre Row on 42nd Street. SPF Members and invited guests will have the opportunity to hear and talk with some of the industry’s most interesting figures. The Salons take place at the Studio Theatre, Theatre Row at 410 West 42nd Street, between 9th and 10th Avenues.
Next Up:
Next Generation Critics: New York Theatre Critics Under 40
Monday, February 26, 2007
Eric Grode, The New York Sun; Jeremy McCarter, New York Magazine; Alexis Soloski, The Village Voice; Jason Zinoman, The New York Times; and Adam Feldman, Moderator
For reservation information, email info@spfnyc.com Tickets are free but limited.
Salon Series
The Living Room for Artists / Summer Play Festival (SPF) recently announced the creation of The SPF Salon Series. The Salon series is designed to provide a forum for discussion that provokes, informs and entertains while examining ideas and concerns of relevance to the theatre today. Moderated by Time Out New York theatre critics David Cote and Adam Feldman, each month will bring theatre professionals to Theatre Row on 42nd Street. SPF Members and invited guests will have the opportunity to hear and talk with some of the industry’s most interesting figures. The Salons take place at the Studio Theatre, Theatre Row at 410 West 42nd Street, between 9th and 10th Avenues.
Next Up:
Next Generation Critics: New York Theatre Critics Under 40
Monday, February 26, 2007
Eric Grode, The New York Sun; Jeremy McCarter, New York Magazine; Alexis Soloski, The Village Voice; Jason Zinoman, The New York Times; and Adam Feldman, Moderator
For reservation information, email info@spfnyc.com Tickets are free but limited.
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