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News & Events
Notices for partners, news for artists, announcements from the field, job postings.
Real Art Ways is a vibrant multidisciplinary contemporary arts organization. Artists and community are central to its mission.
Programs include Visual Arts – solo exhibitions by emerging artists, thematic group exhibitions, commissioned public art projects, publications, artist talks; Cinema – independent and international films seven nights a week, filmmaker nights, self-produced festivals; Performing Arts – concerts, theatrical presentations, spoken word events; Education – panel discussions on timely topics, a summer program of art and music instruction for neighborhood children, school and community tour groups, classes in video-making
The key to Real Art Ways’ approach to presenting and supporting new artistic work is the creation of a dynamic social environment, where people across a range of experiences can come together in the context of new art and ideas.
Real Art Ways is located in a former typewriter factory in Hartford’s Parkville neighborhood; renovations since 1995 have created: a 155-seat cinema/theater (35mm, 16mm, video); 5,000 sq. ft. of beautifully renovated exhibition space with 3 separate galleries and a video screening room; the Real Room (a 900 sq. ft. exhibition and performance space); and the Loading Dock Lounge (a soft seating area and coffee bar.) Real Art Ways is an active participant in community affairs.
Visual Arts Manager
This is a position for someone who is excellent with details, who can keep several balls in the air at once (and relishes doing it), and who enjoys interacting with artists. The Visual Arts Manager will work with guest curators, juries, Real Art Ways’ staff, and will be responsible for the smooth running of the Visual Arts Program.
Qualities: Real Art Ways is an enthusiastic, hardworking, hands-on, open, non-profit environment. The Visual Arts Manager should enjoy working with other people, be flexible, thorough, energetic, self-motivated, intelligent, and inquisitive.
Requirements: Candidates must have a minimum of 2-years work experience, preferably in a gallery or museum; knowledge of and enthusiasm for contemporary art; experience and ease with software applications, including word processing, database, spreadsheet, and graphics programs; and good written, verbal and interpersonal communication skills. Candidates should be capable of handling basic installation tasks.
Hartford: Real Art Ways has been in Hartford, Connecticut for 37 years. While we present work by local, regional, national and international artists, much of our programming responds to, and benefits from, our connection to the city and the region. The most satisfied candidate will be one who has an expansive outlook, but who also engages with Hartford’s particular challenges and rewards.
Education: Masters or equivalent experience. Working artists are encouraged to apply.
Annual non-profit salary commensurate with experience. Health, dental, and retirement benefits. Three weeks paid vacation. EOE.
Please e-mail resume and interesting cover letter to: Mary Catherine McBrien; firstname.lastname@example.org
Or by U.S. mail to:
Visual Arts Manager Search
Real Art Ways
56 Arbor Street
Hartford, CT 06106
As part of the Micro-Fest USA initiative, the Network of Ensemble Theaters is inviting applications for the inaugural Micro-Fest Fellowship Program, a leadership development opportunity targeting artists and their community peers/collaborators who are collectively engaging in community development and creative placemaking.
The Fellowship opportunity is only available to artists and community members in Detroit, Appalachia (Knoxville, TN/Harlan, KY), New Orleans and Honolulu.
Over a 10-month period, a cohort of eight (8) Fellows will come together five times to discuss and explore the dynamics of arts-driven, cross sector collaborations (i.e. artists/arts organizations and other sectors). Activities will include explorations of collaboration models, intimate conversations with leaders in these practices, skill building, reflection and study of cross sector collaboration practices/challenges, support for individual projects, facilitation and organizing skills. NET will cover travel and lodging expenses during the Fellowship period to attend Fellowship events/meetings.
Three things to know about the application process:
Download a full description of the program and application MicroFest Fellowship App.
The Curtis R. Priem Experimental Media and Performing Arts Center (EMPAC) at Rensselaer Polytechnic Institute has an opening in the curatorial team for a curator with expertise in the area of time-based visual arts.
We are looking for a curator with experience at the intersection of contemporary art and contemporary technology; who can reflect on the relationship of tools, aesthetics and artistic goals; who enjoys exploration and collaboration; who sees an audience as essential to the arts; who seeks the challenge to contribute to a contemporary art program at the oldest engineering school in the US; and who is driven by what the arts can offer beyond streamlined entertainment.
See EMPAC’s website for a full job description and how to apply.
The Doris Duke Charitable Foundation is now accepting letters of inquiry for its Fund for National Projects program, which is the foundation’s only initiative in which producing or presenting organizations in the dance, jazz, presenting and/or theatre fields can apply for direct DDCF support.
The deadline to submit a letter of inquiry is July 2, and letters of inquiry must be submitted online. Full proposals are due approximately six weeks after receiving an invitation to submit.
To read a full description about the program and the guidelines for submission, click through to the DDCF website.
FY13 Community Fund and MLI guidelines and applications are available to NPN Partners. Please log in to the NPN Partner Portal to download. The application deadlines are:
Deadline: Friday, July 13, 2012 @ 5:00 p.m. CDT
For projects occurring between September 1, 2012 and June 30, 2013
Mentorship & Leadership Initiative
Deadline: Friday, July 20, 2012 @ 5:00 p.m. CDT
For projects occurring between September 1, 2012 and June 30, 2013
by Elizabeth Doud and Arnie Malina
In January 2012, the Performing Americas Program (PAP) curatorial team and staff traveled to Santiago, Chile to spend seven days at the Santiago a Mil Festival (http://www.santiagoamil.cl/es/). Held in January, the annual Festival boasts over two decades of providing the city with almost a full month of international and national offerings in music, dance and theater. The relationship between Santiago a Mil and PAP goes back almost to PAP’s beginning, and the festival’s director, Carmen Romero was the former president of La RED, NPN’s partner network in the program. One of the U.S. companies from to tour there, Universes, has been presented in the festival and the work of Guillermo Calderon and Teatro en el Blanco, a Chilean group commissioned by Santiago a Mil, has toured the U.S. through PAP. U.S. curators have been invited to participate in Santiago a Mil on three separate occasions, resulting in several successful trips by NPN Partners and colleagues to this truly impressive, city-wide festival that commands the use of dozens of stages and draws some of the most gorgeous and sought-out contemporary performance from Latin America and the world.
As one of Latin America’s largest and most established festivals, it really shows the power of culture to galvanize a city’s population in a festival setting: everyone is out for these events! Coming to expect the best and brassiest work, Santiago a Mil not only invites exciting new and renown work from abroad, but also works just as hard to support the presentation of local artist companies and to commission new works by Chilean artists. PAP gives Santiago a Mil a big thumbs up in serving audiences for all their work towards supporting new contemporary performance.
Arnie Malina, in his capacity as PAP curator on behalf of the Flynn Center for the Performing Arts, not only attended the Santiago a Mil festival in Santiago, but also accepted an invitation to extend his stay and travel to Patagonia to attend a new festival called Cielos del Infinito (www.festivalcielosdelinfinito.cl/), an initiative by young festival organizers to bring contemporary performance to the more remote areas of the Magellen region.
Arnie Malina shares his impression of his experiences in Chile:
One of the important parts of being a part of PAP is traveling to see work, networking in Latin America, and, in this instance, going to the Festival Internacional Santiago a Mil in Santiago, the cultural capital of Chile. It was good to see the programming work of festival director Carmen Romero, whom I had met a number of times at various NPN meetings. The U.S. curators were able to talk to her about the challenges of putting on such a large festival and get her recommendations for “not-to-be-missed” events as we put our lists together, because over the course of six days we would get to see around 15 events (mostly theater, but also some dance and music) out of over 60 possible presentations.
During PAP curatorial trips, we inevitably run into our colleagues from La RED, and it was great to reacquaint ourselves with Celso Curi, who is the current president of La RED and had so graciously hosted us when we attended the festival in Sao Paulo in 2011. Among the many other La RED colleagues we met there was former PAP curator Cuauhtemoc Najera of UNAM in Mexico City, who had invited the PAP team to Mexico City in prior years. Each of these international curators and administrators are friendly, hospitable, and informed. They love to engage in dialogue about the works we’ve all seen, which provides an ongoing back and forth about aesthetics, who’s up and coming, what works made an impact, and about U.S. equivalents. These encounters really help strengthen our ties to these colleagues and create a sense of international community.
Add to these Latin American presenters the colleagues from NPN and the international curators who come from literally all over the world (Montreal, Vancouver, Indonesia, Singapore, Korea, Japan and many European capitals) and you become part of a wide-reaching international web of presenters and that has much to offer on many levels.
In the ecosystem of a festival, there is also the camaraderie of figuring out your schedule, deciding on where to eat, getting up early to visit outlying destinations you’d been hearing about – like our day trip to Valparaiso, the historic port city with its multiple funiculars that take you to old neighborhoods high in the many hills surrounding the port. Real friendships get formed in these adventurous outings.
Of course, seeing work is what’s most important about attending a festival. In Santiago, there was a lot to choose from, not just from Chile, but from other Latin, European and Asian countries. As with most festivals, some of the work is stronger than others; occasionally you are left wondering about the value of the work, and some work you just don’t like, but there is also much stimulation, and occasionally something you will try to bring back to the States because you have been so moved and impressed. Some of the strongest pieces in this festival had to do, one way or another, with the complex politics and history of Chile, the idealism, violence, revolution and subversion, both the memory and complex reality of it.
Two standouts were Guillermo Calderon’s Villa + Discurso which was performed on-site at the Villa Grimaldi, one of the main centers of torture and disappearances in the Santiago area under the Pinochet dictatorship. This smart and ultimately visceral play brilliantly deals with real discussions held today about defending the memory of the victims. We watched this performance on tiers outside and towards the end of the play an actual earthquake tremor (minor) shook the audience – then at the end of this play, a theatrical bomb shatters glass. Another piece, directed by Lola Arias, En Ano En Que Naci (The Year I was Born) has young artists born under the dictatorship rebuild (and passionately argue about) their parents’ youth from photos, letters, tapes, used clothing, stories and forgotten memories.
One of the most pertinent and impressive museums in Santiago these days is the recently built The Museum of Memory, which has been elegantly and carefully designed. The Museum features powerful video footage from the Allende and Pinochet years as well as recorded testimony, photographs, stories, and artwork, from the living and the dead, of this history that still burns in Chile’s present. It’s difficult to describe how important it felt to be a witness to this exhibition, which was heart wrenching and victorious at the same time.
Attending NPN annual meetings where La RED curators and guests are present for PAP convenings always results in an irresistible invitation to visit our La RED colleagues in their home cities. At the 2011 Tampa NPN Annual Meeting, I met Lorena Alvarez who is the communications director of the Festival Cielos del Infinito, which takes place in a number of towns in Patagonia, including Punta Arenas and Puerto Natales. I had already started planning some vacation and hiking in Torres Del Paine, the exquisite national park in Patagonia, where I would go after the Santiago Festival. I was able to extend my trip for a few days and accepted Lorena’s gracious invitation to be a guest of the Cielos Festival – an experience that totally charmed me. The Festival was celebrating its fifth anniversary and they had a lot of reasons to be proud of it. Run on a shoestring, in towns that have no real theaters, the creators manage to bring some very fine work to people who don’t generally have access to it. A number of presentations, including the one mentioned above by Calderon, Villa + Discurso were also at this festival, and an earlier work by Teatro Milagros, a powerful, creative puppetry and film adaptation of Gogol’s El Capote (The Overcoat) were also programmed. An outdoor concert with a popular folkloric/rock band drew a crowd of nearly a thousand people.
Lorena and the two directors, Antonio Altamirano (artistic director) and Luis Guenel (development director) and their cadre of super volunteers and videographers (almost everything there was filmed, including me) were hard working, making it happen, and getting audiences to attend. They saved money by housing the volunteers in hostel/dormitory situations, and by feeding them home cooked meals (Luis’ mother hosted a lunch for us all in her home), and some provided by local restaurants. All the events were free to the public, and the directors scraped together what funding they could muster from various sources. Their idealism reminded me of my early years in Helena, Montana and the founding of the Myrna Loy Center (in a former jail). A number of their events actually took place in an abandoned prison, with tiers in three rows for audience and an empty floor for the stage, all surrounded by jail cells no longer occupied.
As a non-Spanish speaker, attending a festival where the theater is in Spanish is challenging in that many of the events don’t have English subtitles. Sometimes you lean towards the work that’s not too text heavy. You can sometimes sit with a Spanish-speaking colleague, who whispers translations in your ear, or just go with it and immerse yourself in a theatrical world you try to understand on a visual and dramatic level. Without the benefit of language, this approach can be a surreal, but a strangely meaningful experience, nevertheless.
The Contemporary Arts Center (CAC), located in the heart of the Arts District near downtown New Orleans, seeks a dynamic and creative director of education who will bring a renewed vitality to existing programs in the department while developing new arts education and outreach strategies for children and adults in our four-parish region.
The CAC is a multi-disciplinary arts center, dedicated to the presentation, production, and promotion of the art of our time through curated exhibitions, performances and programs; educating audiences; and encouraging collaboration among diverse artists, institutions, communities, and supporters.
Offering creative opportunities, the CAC’s education department’s education and outreach projects offer unique settings where students work together with professional artists in personal, interactive experiences at all levels and ages. The education department functions with 1 full-time, 3-7 part-time staff and 10-20 arts teachers/year.
The ideal candidate will possess knowledge of arts education practices throughout the world with a keen interest in multidisciplinary and cross-departmental interactions. A commitment to ongoing community dialog with outreach partners, artists and educators is especially crucial. Recognizing that our region’s unique cultural heritage is reflected in the full range of contemporary art disciplines is particularly important.
The director of education has primary responsibility for the design and execution of arts education and outreach programs at CAC, including supervision of education staff to accomplish departmental objectives. Working under and reporting to the artistic/executive director, the director of education curates and directs current and new education programs for diverse audiences, including K-12 children, artists, educators, community groups and the public.
Status: Full time, exempt position, evening and weekends as necessary
Salary: Commensurate with experience
Link to the CAC website for the full job description and qualifications. The deadline for application submissions is Friday, June 29, 2012.
The Coleman Center for the Arts (CCA) is seeking a creative and energetic Education Coordinator to join our team! We’re looking for someone passionate about connections between art education, social engagement and contemporary art issues who will design curricula and provide logistical support for the CCA’s year-round education programs. The Education Coordinator will collaborate with the CCA co-directors, local instructors and visiting artists to provide relevant and challenging opportunities for our community in rural Alabama. The Education Coordinator will also help support the capacity of the CCA office through general administration and development tasks, preparing for events and exhibitions, and working with visiting artists.
The CCA uses art to foster positive social change, answer civic needs, build local pride, and use creativity for community problem solving. Our mission is to integrate contemporary art into education, civic life, and community development throughout our region. To learn more about the CCA and our education programs, please visit colemanarts.org.
We’re looking for an Education Coordinator with excellent written and verbal skills who is good at working and connecting with people. Candidates should be familiar with graphic design programs, film editing programs or social media platforms. The Education Coordinator should have knowledge of and/or skills in the arts or design, and above all should have a willingness to learn and the ability to teach.
This is an AmeriCorps VISTA position. The Education Coordinator will receive a living stipend, health coverage, childcare assistance, and an end of service education award or service stipend.
Interested candidates should submit their applications on the AmeriCorps web site at https://my.americorps.gov/mp/listing/viewListing.do?fromSearch=true&id=31252
COLEMAN CENTER for the arts
630 Avenue A York, AL 36925