Cross-disciplinary arts

July 31, 2007 by giarts-ts-admin

New Year's Day, 1980, found Arlene Goldbard living in Washington, D.C. monitoring and reporting on our nation's de facto cultural policy. The fact that Arlene was doing this says a lot about the leadership role that many of us were counting on the federal government to play in leveling the field so that our many U.S. cultures would have an equal chance to express themselves, to develop, and, inevitably, to cross-pollinate. It was a substantial and beautiful vision then, and remains so today.

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July 31, 2007 by giarts-ts-admin

Artist Rene Yung's presentation of this paper generated lively discussion at a forum of the Arts Loan Fund of Northern California Grantmakers, in October 2006. It was written just as Arlene Goldbard's new book, New Creative Community, was published. Although Yung refers to an earlier publication (Creative Community: The Art of Cultural Development, by Don Adams and Gold-bard, 2001), she touches on many of the same themes discussed by the authors of "The Art of Social Imagination" (page 27 in this Reader) and reveals how the ideas have been adopted by an artist in practice.

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July 31, 2007 by giarts-ts-admin

Over the past forty years, several hundred legal frameworks have been established for cooperative action by governments on ecological issues — treaties such as the Biodiversity Convention, the Climate Change Convention, the Convention on Trade in Endangered Species, and the Ramsar Convention on Wetlands. How do these relate to art?

Outreach

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July 31, 2007 by giarts-ts-admin

Collaborative Circles: A Review

Frances Phillips

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April 30, 2007 by giarts-ts-admin

February 1998, appx. 40 pages, Arts International, 809 United Nations Plaza, New York, NY 10017, 212-984-5370, fax 212-984-5574, ainternational[at]iie.org

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April 30, 2007 by giarts-ts-admin

Landscape dominates Oregon. Its beaches, mountains, and rivers beckon Oregonians to spend their leisure time hiking, skiing, and fishing. Many Portland residents routinely exit the city on weekends, choosing outdoors over urban culture. It is within this enticing natural environment that Portland's arts and cultural institutions must engage their audiences and make their way as financially viable institutions.

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April 30, 2007 by giarts-ts-admin

National Arts Stabilization , 30 South Charles Street, Suite 1515, Baltimore, Maryland 21201, 410-332-1900, natarts[at[flash.net

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April 30, 2007 by giarts-ts-admin

I am a fan of peer panels and have always enjoyed serving on them. Coming from a dance/theater background I view them as a performance event rich with actors and drama, text and subtext. I particularly appreciate the transformation of a group of individuals into a temporary community of purpose. Panelists are introduced, size each other up, conduct negotiations, build consensus, argue and disagree, acknowledge their differences, struggle to find a common language, reach certain compromises, and finally come to a set of conclusions.

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April 30, 2007 by giarts-ts-admin

Wolf, Keens, and Company, 8 Francis Avenue, Cambridge, Massachusetts 02138

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April 30, 2007 by giarts-ts-admin

The following article is based on excerpts from a program examination by Arts Action Research.

Bimbo Rivas: Artist Profile

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