The First Nations Composer Initiative, a program of American Composers Forum, is dedicated to serving the needs of American Indian, Alaska Native, First Nations, and Indigenous makers of new music throughout Indian Country.
The Common Ground initiative seeks applications from indigenous makers of new music (composers, performers, groups, sound artists, songwriters, etc.) from the United States and Canada to support creation, performance, and audience/community building activities involving native musical artists.
The goals of Common Ground are to support activities that boost traditional and contemporary indigenous creative musicians through commissions, residencies, performance and production, travel/study, and outreach.
Individual awards will range from $500 to $7,500. Grants are designed to give an immediate financial boost to makers of new music at a time when this help would have a significant career-enhancing effect.
Wednesday, January 7, 2009
ArtsCONNECT Guidelines Available From Mid Atlantic Arts Foundation
The Mid Atlantic Arts Foundation has announced the availability of guidelines for the 2009-2010 cycle of ArtsCONNECT, a program that supports performing arts tours through presenter consortia in the mid-Atlantic region.
ArtsCONNECT provides access to high quality live performing arts engagements to audiences across the mid-Atlantic region. The program also encourages a deeper understanding of artists' work through support of activities that enhance the concert experience. Participating presenting organizations must be located in Delaware, the District of Columbia, Maryland, New Jersey, New York, Pennsylvania, the U.S. Virgin Islands, Virginia, and West Virginia.
Only presenter consortia are eligible to apply to ArtsCONNECT. Each presenter partner in the consortium must be a legally incorporated nonprofit organization with 501(c)(3) status or a unit of government. The presenter consortium must include, at least, three presenting organizations from at least two mid-Atlantic states. ArtsCONNECT projects must utilize professional touring artists from the performing arts disciplines, including dance, music, opera, theater, jazz, and folk/traditional arts that have been touring at least two years. The proposed artist must reside out-of-state for a majority of the presenters within the consortium.
In 2008-2009, ArtsCONNECT provided $396,090 in support of 12 touring artists visiting 62 communities in the mid-Atlantic region.
The deadline for the program is March 30, 2009 for projects taking place between July 1, 2009 - June 30, 2010.
ArtsCONNECT provides access to high quality live performing arts engagements to audiences across the mid-Atlantic region. The program also encourages a deeper understanding of artists' work through support of activities that enhance the concert experience. Participating presenting organizations must be located in Delaware, the District of Columbia, Maryland, New Jersey, New York, Pennsylvania, the U.S. Virgin Islands, Virginia, and West Virginia.
Only presenter consortia are eligible to apply to ArtsCONNECT. Each presenter partner in the consortium must be a legally incorporated nonprofit organization with 501(c)(3) status or a unit of government. The presenter consortium must include, at least, three presenting organizations from at least two mid-Atlantic states. ArtsCONNECT projects must utilize professional touring artists from the performing arts disciplines, including dance, music, opera, theater, jazz, and folk/traditional arts that have been touring at least two years. The proposed artist must reside out-of-state for a majority of the presenters within the consortium.
In 2008-2009, ArtsCONNECT provided $396,090 in support of 12 touring artists visiting 62 communities in the mid-Atlantic region.
The deadline for the program is March 30, 2009 for projects taking place between July 1, 2009 - June 30, 2010.
Open Society Institute Seeks Proposals for Documentary Photography Distribution Grants
The Open Society Institute Documentary Photography Project is offering a grant to documentary photographers who have already completed a significant body of work on issues of social justice, to collaborate with a partner organization and propose new ways of using photography as a tool for positive social change.
All applicant photographers must work with another entity (such as a nonprofit, NGO, or community-based organization) to design an innovative distribution strategy that targets specific communities and advocates for social change.
The program will award grants of $5,000 to $30,000 each.
All applicant photographers must work with another entity (such as a nonprofit, NGO, or community-based organization) to design an innovative distribution strategy that targets specific communities and advocates for social change.
The program will award grants of $5,000 to $30,000 each.
National Film Preservation Foundation Offers Grants to Preserve Avant-Garde Films
The National Film Preservation Foundation is accepting applications for the Avant-Garde Masters Grants. These cash preservation grants, made possible through the support of the Film Foundation, support laboratory work to preserve significant examples of America's avant-garde film heritage.
The grant supports the preservation of a film or films by a single filmmaker or cinematic movement significant to the development of avant-garde film in America. Grants are available to public and nonprofit archives in the United States, 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. Works made within the last twenty years are not eligible, nor are materials originally created for television or video.
The grant must be used to pay for new laboratory work involving the creation of new film preservation elements (which may include sound tracks) and two new public access copies, one of which must be a film print. The program will fund several preservation projects ranging between $10,000 and $50,000 each.
The registration deadline is January 23, 2009; the application deadline is February 20, 2009. Complete program information is available at the National Film Preservation Foundation Web site.
The grant supports the preservation of a film or films by a single filmmaker or cinematic movement significant to the development of avant-garde film in America. Grants are available to public and nonprofit archives in the United States, 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. Works made within the last twenty years are not eligible, nor are materials originally created for television or video.
The grant must be used to pay for new laboratory work involving the creation of new film preservation elements (which may include sound tracks) and two new public access copies, one of which must be a film print. The program will fund several preservation projects ranging between $10,000 and $50,000 each.
The registration deadline is January 23, 2009; the application deadline is February 20, 2009. Complete program information is available at the National Film Preservation Foundation Web site.
Economic Crisis Forcing Museums to Make Tough Choices
As private and public sources of funding are squeezed by turmoil in the financial markets and a slowing economy, a growing number of museums are looking for ways to cut costs without compromising their missions, National Public Radio reports.
The Queens Museum of Art recently laid off about a tenth of its staff and extended an exhibition of contemporary Taiwanese art rather than open a new show in the same gallery. Meanwhile, the National Academy Museum and School of Fine Arts, on Fifth Avenue in Manhattan, resorted to more drastic measures, selling two paintings from its permanent collection for a total of $15 million. The museum, a neighbor to the Guggenheim and the Metropolitan museums, was facing a "monumental crisis" at the time, said director Carmine Branagan. "There wasn't money to pay the guards [or] buy ink cartridges," she said. "I actually worked gratis for many months."
That decision did not sit well with other museum directors. Because prices for art are so high, museums facing a funding crisis are sometimes tempted to sell works, said Graham Beal, director of the Detroit Institute of Arts. But selling off art, said Beal, is akin to chipping away at the institution. "The institution is there to safeguard the art. The art is not there to support the institution."
As a result of the sale, the American Association of Museums blacklisted the National Academy, which means other museums won't lend it works for special shows or cooperate with it in any way. Dismayed by the action, Branagan still believes that selling artworks, though lamentable, is sometimes necessary to save an institution and that "there are going to be a lot of institutions…brought to their knees by the current financial climate."
The Queens Museum of Art recently laid off about a tenth of its staff and extended an exhibition of contemporary Taiwanese art rather than open a new show in the same gallery. Meanwhile, the National Academy Museum and School of Fine Arts, on Fifth Avenue in Manhattan, resorted to more drastic measures, selling two paintings from its permanent collection for a total of $15 million. The museum, a neighbor to the Guggenheim and the Metropolitan museums, was facing a "monumental crisis" at the time, said director Carmine Branagan. "There wasn't money to pay the guards [or] buy ink cartridges," she said. "I actually worked gratis for many months."
That decision did not sit well with other museum directors. Because prices for art are so high, museums facing a funding crisis are sometimes tempted to sell works, said Graham Beal, director of the Detroit Institute of Arts. But selling off art, said Beal, is akin to chipping away at the institution. "The institution is there to safeguard the art. The art is not there to support the institution."
As a result of the sale, the American Association of Museums blacklisted the National Academy, which means other museums won't lend it works for special shows or cooperate with it in any way. Dismayed by the action, Branagan still believes that selling artworks, though lamentable, is sometimes necessary to save an institution and that "there are going to be a lot of institutions…brought to their knees by the current financial climate."
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