The hows and whys of getting started in planning and building your own artist-driven archive.
Articles Tagged as Arts Administration
Traditionally artists have donated their archival materials to institutional repositories once they reach the final stages of their careers. But with the advent of technology, the change in archival institutions and funding, this model is beginning to shift as more artists see the value of holding onto their collections. Read on to learn why this generation of artists is seeking new ways to preserve their materials and how a few have initiated the process.
Michael Kaiser, the outgoing president of the John F. Kennedy
Center for the Performing Arts in Washington, D.C., talks
candidly about the state of the dance field, funding, American dance
challenges and perceptions, and his love of baseball and baking. In
September 2014, he leaves the Kennedy Center to bring the DeVos
Institute of Arts Management to University of Maryland
joining the College of Arts and Humanities’ Clarice Smith Performing
Arts Center, a leading national arts incubator. This is the second part of his conversation with Dance/USA.
Michael Kaiser, the outgoing president of the John F. Kennedy Center for the Performing Arts in Washington, D.C., talks candidly about the state of the dance field, funding, American dance abroad, challenges and perceptions, and his love of baseball and baking. In September 2014, he leaves the Kennedy Center to bring the DeVos Institute of Arts Management to University of Maryland joining the College of Arts and Humanities’ Clarice Smith Performing Arts Center, a leading national arts incubator.
While the River to River Festival in Lower Manhattan and on Governor’s Island offers artists who participate welcome exposure to the public, these performances, sponsored by the Lower Manhattan Cultural Council and its dance-loving president, Sam Miller, were also implicated in a real-estate scheme meant to lure culturally sophisticated (i.e., wealthy) audiences into parts of the city earmarked for development, but still blighted in the aftermath of Hurricane Sandy.
July 24, 2014 · 1 Comment
Working abroad holds an enormous catalogue of benefits for American artists and our nation: increased visibility; expanded marketplaces; enrichment of the art form through global exposure; decreased insularity; plus the more elusive contribution that dance enhances public diplomacy between our country and the world. While many dance organizations are eager to work abroad, lack of knowledge and resources can make it difficult to happen. Read on for more on bridging the passport divide.
Liz Lerman is a performer, choreographer, writer, educator, and speaker. She has been described as “the source of an epochal revolution in the scope and purposes of dance art” by The Washington Post. Her aesthetic approach spans the range from abstract to personal to political. This month Lerman receives the 2014 Dance/USA Honor Award during the organization’s annual conference in Minneapolis.
D. David Brown has had an illustrious career, first on stage and as a second act he spent two decades at Boston Ballet as production manager, general manager, and executive, before moving over to Pacific Northwest Ballet. At Dance/USA's 2014 annual conference, Brown will receive Dance/USA’s Ernie Award (named for Ian “Ernie” Horvath). The award is given to an individual working “behind the scenes” in the dance field to empower artists.
You might have heard the saying: “Those who can, do; those who can’t, teach.” In fact, if you’ve worked in the arts, not only have you most likely heard this, but you might also consider what I feel is the implied third part of this phrase, “Those who can’t do either, administrate.” This article is ultimately about arts administrators; read on for more.
The announcement in January by the Trey McIntyre Project that its performances June 25-29, 2014, at Jacob’s Pillow Dance Festival would be the company’s last sent both shockwaves and shrugs through the dance community. The shockwaves were because despite the company only being a full-time entity since 2008 (it had begun in 2005 as a summer pickup company); it seemed to be a model of success in a dance world that is constantly searching for new blood.