ArtSake

November, upon us like a helping of heavily syrupped sweet potatoes, brings with it this bounty of news from our past Fellows/Finalists…

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In July 2011, Nathalie Miebach (Sculpture/Installation Fellow ’09) was a 2011 TEDGlobal Fellow, speaking in Edinburgh about her fascinating work transmuting weather data into sculptural and musical art. You can watch her TED Talk, above, or find in on the TED site.

Nathalie’s process involves gathering weather data, which she translates into dazzling sculptures using elements of basketry. The data also provides the basis for musical scores (some exhibitions of Nathalie’s work are accompanied by live performances of music from the project).

For the past three years, Nathalie has collaborated with pianist Elaine Rombola on the weather scores. For her most recent works, the artists are looking to collaborate with other composers.

From Nathalie’s call to composers:

We would like to commission (composers) to take my scores and create works based on them (less 10 minutes, for solo piano or piano with small ensemble and/or voice), with the final goal being to produce a series of concerts/sculptural exhibitions to be performed in a variety of venues across the country.

Find out more about the scores, and the collaboration. If interested or to find out more, contact the artist.

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Highly suggested: Think/Do/Experience one, some, or all of the following things in the next few days:

WEDNESDAY, OCT. 12 (tonight) Alice Bouvrie‘s (Film & Video Fellow ’11) film Thy Will Be Done (see a clip, above) screens at the Marran Theatre at Lesley University, 7 PM, free. This documentary tells the story of male-to-female transsexual Sara Herwig in her journey to ordination in the Presbyterian Church. The artist and cast will be on hand for discussion.

THURSDAY, OCT. 13 Nathalie Miebach (Sculpture/Installation Fellow ’09) speaks at the Newton Senior Center, hosted by the Newton Art Association, free, 7:30-9:30 PM, coffee/discussion begins at 7 PM. Nathalie, who was recently featured at the Fuller Craft Museum and was a Global TED Fellow, transmutes weather data into 3D woven structures and musical multi-media art. This chance to get a glimpse into her brain is not to be missed.

FRIDAY, OCT. 14-SATURDAY, OCT. 15 The Think Art Conference takes place at Boston University. The event, which is free and open to the public and is organized by Toni Pepe (Photography Finalist ’11), is an interdisciplinary conference that brings together scholars and artists. This year, the participants explore the manipulation of memory and how the individual (and society) remembers.

SATURDAY, OCT. 15 The Boston Book Festival is a free, day-long schedule of events, readings, workshops, and other bookish happenings at Copley Square. While it’s hard to pick out a favorite happening among the power-packed day, this is pretty super: The Drum, an audio literary magazine founded and edited by Henriette Lazaridis Power (Fiction/Creative Nonfiction Fellow ’06), is sponsoring PERAMBULIT. PERAMBULIT lets you experience a fictional narrative of the Boston Book Festival by listening to stories as you walk along the festival’s routes. Find out more about how you can hear stories by Ethan Gilsdorf, Jenna Blum, Daphne Kalotay, Matthew Pearl, Steven Brykman, Catherine Elcik, Becky Tuch, and Henriette Lazaridis Power, created especially for the Boston Book Festival’s Copley Square location.

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In September, past MCC fellows/finalists venture into imagined flora, faraway lands, outer space, the impermanent, the temporary, and the nearly not. (For starters.)

And now, we venture into our monthly round-up of the news of past awardees of our Artist Fellowships Program.

Karen Aqua (Film & Video Fellow ’11) will be honored by the Institute of Contemporary Art/Boston in a tribute program, on Sunday, September 25, 2011, 3 PM. Read more about the program on ArtSake.

Sally Bellerose (Fiction/Creative Nonfiction Finalist ’04) will read from her novel The Girls Club at Forbes Library in Northampton on Saturday, September 24, 2011, at 3 PM. The novel tells of the complicated, interconnected lives of three working class sisters in small town Massachusetts.

Congratulations to Alice Bouvrie (Film & Video Fellow ’11), whose documentary Thy Will Be Done now has a distribution partnership with New Day Films. The film will be appearing at Heart of England International Film Festival in the UK, September 7-18, 2011. The film, an excerpt of which won the artist an 2011 Artist Fellowship, will also be screening at the North Louisiana Gay & Lesbian Film Festival in Shreveport, LA on September 17 (12:30 PM) and September 20, 2011 (5:30 PM, followed by a panel discussion). Next month, along with a screening at the International Film Festival Australasia in Australia, the film will be shown at Lesley University‘s Marran Theater in Cambridge on October 12, 2011, at 7 PM.

Sarah Braunstein‘s (Fiction/Creative Nonfiction Fellow ’04) novel The Sweet Relief of Missing Children was shortlisted for the Center for Fiction’s Flaherty-Dunnan First Novel Prize.

John Cameron‘s (Crafts Fellow ’11) work is included in New Hampshire Furniture Masters 2011. The annual auction is on September 10, 2011, at the Currier Museum of Art in NH.

Cheryl Clark (Poetry Finalist ’10) will read her poetry on Saturday, September 24, 3 PM, at Outpost 186 in Inman Square, Cambridge, as part of the Unaffiliated Reading Series.

Shawn Cody‘s (Playwriting Fellow ’07) new music theater work The Water Dream will have a staged reading as part of Shakespeare & Company’s Studio Festival of New Plays. The performance features Broadway veteran Anthony Rapp and takes place Monday, September 5, 2011 at Shakespeare & Company in Lenox, MA. Read about the event in Playbill.

Rebecca Doughty (Painting Finalist ’10) has a solo show of new paintings, called Nearly Nots, at The Schoolhouse Gallery in Provincetown. The show runs September 2-21, 2011, with a reception on Friday, September 2, 7-10 PM.

Vico Fabbris (Painting Fellow ’06, Drawing Fellow ’00) will have an exhibition titled Floragenis at the Rice Polak Gallery in Provincetown from September 1 to September 15, 2011. Opening reception, with the artist, Friday, September 2, 2011 at 7 PM. An interview with Vico Fabbris on his Floragenis exhibition at the Rice Polak Gallery will appear in the Provincetown Banner on Thursday, September 1, 2011, written by art historian and art critic Susan Rand Brown.

Long time organizer of poetry and interdisciplinary programs in Massachusetts, Michael Hoerman (Poetry Fellow ’04) has created a brand new organization, The Temp Series Project, to advocate and promote writing and art in the Commonwealth. Based in culture-rich Lowell, MA, The Temp Series Project will create interdisciplinary events, develop commissions, and host special showcases that highlight Massachusetts artists and promote their appreciation. Projects in the works include a temporary reading series, pocket poetry festival, and temporary public art. For more information, join The Temp Series Project on Facebook. The Temp Series Project was recently approved for fiscal sponsorship by Fractured Atlas.

Brian Knep (Sculpture/Installation Fellow ’11) is showing Healing 2 as part of the group show Building Expectation: Past and Present Visions of the Architectural Future at Brown University in Providence, RI. The show runs at the David Winton Bell Gallery September 3-November 6, 2011, with an opening reception and curatorial talk on Friday, September 9, 5:30-7:30 PM.

Jesse Kreitzer (Film & Video Finalist ’11) has launched a Kickstarter campaign to raise funds for his independent feature film, The Wake. The film, which was recently selected as a finalist for the 2012 Sundance Institute’s Screenwriter’s Lab, is the story of a grief-ridden social worker who cares for a dying woman in secrecy from his wife and two children.

Dawn Lane (Choreography Fellow ’10) will premiere a new work of dance, one potato, two potato, at the Doris Duke Theatre at Jacob’s Pillow on September 2, 2011 (8 PM) and September 3, 2 PM and 8 PM. The work draws on aspects of Irish culture & history (i.e. knitting, the famine and Irish dance) to explore perceptions of excess, wastefulness, having enough, or nothing. Dawn’s MCC Fellowship, as well as a Jacob’s Pillow Dance Festival Creative Development Residency, helped pave the way for the new work. One potato, two potato is presented in cooperation with Jacob’s Pillow Community Dance Programs and Community Access to the Arts. Read Dawn’s post about the development of one potato, two potato, on ArtSake.

Scott Listfield (Painting Finalist ’10) is among the artists with work in Lift Off: Earthlings and the Great Beyond at the Paul Robeson Galleries at Rutgers University in NJ. The exhibition is in the Main Gallery September 1, 2011-January 5, 2012, with an opening reception and catalog launch Thursday, September 15, 5-7 PM. Follow Scott’s new blog for more info on his upcoming solo show at the University Gallery at UMass Lowell, Astronaut: Paintings by Scott Listfield. That show will run November 7–December 2, 2011, artist talk & reception November 8, 3-5 PM. Finally, Scott is featured in a recently released book documenting the great Crazy 4 Cult art shows at Gallery 1988 in Los Angeles.

Christian McEwen‘s (Playwriting Fellow ’11) new book World Enough and Time: On Creativity and Slowing Down will be published by Bauhan Publising this month. The book reflects on how slowing down the pace of one’s life can have profound benefits, including on creativity.

Nathalie Miebach (Sculpture/Installation Fellow ’09) has two solo shows in Massachusetts, this month: Musical Storms is on exhibit at the Cushing-Martin Gallery at Stonehill College in Easton from September 22-October 31, 2011, with an opening reception October 5, 6-7:30 PM. Another solo show, Changing Waters, is on exhibit at the Arsenal Center for the Arts in Watertown September 30-November 30, 2011.

Anne Neely (Painting Finalist ’10) has a solo exhibit, Mopang: Recent Paintings on view at Lohin Geduld Gallery in NYC, from September 7 through October 8, 2011, with an opening reception September 8, 5–7 PM. A catalog with essay by Jonathan Franzen (who, incidentally, won our Artist Fellowship in 1986!) accompanies the exhibit.

Congratulations to Marlo Poras (Film & Video Fellow ’05), whose film-in-progress The Mosuo Sisters received a Chicken & Egg Pictures Liberty Grant.

Eric Henry Sanders‘s (Playwriting Fellow ’09) play Reservoir is being remounted at Theater 89 in Berlin (translated title: Haseks Heimkehr), following a successful production there in May. There was one performance in August, and upcoming performances September 9, 10, 16, and 17, 2011.

Tara Sellios (Photography Fellow ’11) is preparing for a solo show called Lessons of Impermanence at The New England School of Art & Design, this November 2011.

Peter Snoad‘s (Playwriting Fellow ’09) short play My Name is Art was staged at Artists Exchange in Cranston, RI, August 19-28 as part of their Black Box Theatre’s annual one-act festival.

Julia Story‘s (Poetry Finalist ’10) poetry was recently featured in TriQuarterly literary journal.

Steve Tourlentes (Photography Fellow ’11, ’05) currently has a piece in Night Vision, an exhibition on display at the Metropolitan Museum of Art in New York City through September 16, 2011.

Frank Ward (Photography Fellow ’11) gave two presentations in Central Asia, in August, first presenting his work in Tashkent, Uzbekistan, followed by a lecture in Ashgabat, Turkmenistan.

Jeff Warmouth (Sculpture/Installation Finalist ’05) has a solo exhibition at the SHOW Gallery and Performance Space in Staten Island, NY. The show, called SuperJeffuBurgerMarket, runs September 10-October, 29, 2011, with an opening reception Saturday, September 10, 5-8 PM.

Ellen Wineberg (Painting Finalist ’04) has work in two MA exhibitions this months: she has four pieces in 24 Solo Shows at Bromfield Gallery in Boston, August 31-October 1 (opening reception Sept. 9, 6-8:30 PM). She’s also part of a five-person show, Exquisite Corpse at Deerfield Academy. The show, with work ranging from minimal to real, runs September 22-November 17 (opening reception Sunday, Oct. 2, 2-5), at the school’s Russell Gallery.

Michael Zelehoski (Painting Fellow ’10) has a solo show at Sanford Smith Fine Art in Great Barrington, running through October 13, 2011.

Past Fellows Notes
Aug. 2011
July 2011
June 2011
May 2011
Apr. 2011
Mar. 2011
Feb. 2011
Jan. 2011

Are you a past fellow or finalist with an event, honor, or other bit of news you’d like to share? Tell us about it.

Images: Painting by Vico Fabbris, from the FLORAGENIS series; paintings by Rebecca Doughty, from the NEARLY NOTS series; Michael Hoerman’s digital rendering of Storehouse No. 1, a video installation proposed by The Temp Series Project in Lowell; cover art for Christian McEwen’s WORLD ENOUGH & TIME (Bauhan Publishing, 2011); Frank Ward, #3 (2009), Giclee print, 22X33 in.

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If you know a professional craft artist who suffered damage because of hurricane Irene, please let them know about the Craft Emergency Relief Fund (CERF). CERF provides support through grants, loans, and other assistance. Questions: info@craftemergency.org or 802-229-2306.

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The fiber revolution continues to evolve in the hands of Elizabeth Whyte Schulze (Crafts Fellow ’09). If you look closely at her work, you’ll notice the influence of petroglyphs from the American Southwest, contemporary graffiti, and the cave paintings of Lascaux, a place that she actually visited firsthand (and we are all the better for it).

What artists’ work do you admire most but create nothing like? Richard Serra. I saw his installation The Matter of Time at the Guggenheim in Bilbao, Spain, and the experience was memorable.

Where do you get your pine needles and raffia? My husband’s family lives in Florida and is kind enough to gather up the pine needles and send them to me.

The unauthorized biography of your life is titled: It’s a Wrap.

What do you listen to while you create? Jazz.

What are you currently reading? Four Seasons in Rome by Anthony Doerr.

What famous person in history would you like to have met? Louise Bourgeois.

Why basketry? I arrived in Boston in the early 1970′s when the fiber revolution was taking place in the university art departments throughout the city. This development in the East and a similar one on the West coast changed the role of textiles as art. It was a stimulating time, as a new respect for the medium appeared, and in it I found my true interest in basketry.

All Things Considered VI: National Basketry Organization Biennial Juried Exhibition
July 30, 2011- December 4, 2011
Fuller Craft Museum, 455 Oak Street, Brockton, MA

The Vessel Redefined
August 2011
Mobilia Gallery, 358 Huron Avenue, Cambridge, Ma 02138
617-876-2109

Image credit: All images courtesy Elizabeth Whyte Schulze.

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Robbie Heidinger and the Hilltown 6.

It sounds like a bluegrass band. Or a gang of outlaws. And in fact, the Hilltown 6 is not without a similar, hill-based mystique.

The Hilltown 6 is a collection of nationally recognized clay artists who live and work in the hilltowns of Western Massachusetts. Among them is Robbie Heidinger, a ceramic artist who won an MCC Crafts Fellowship in 2009, and was a panelist in this year’s Artist Fellowships Program. She and a group of other hilltown artists and guests will open up their studios, kilns, and settings for an annual pottery tour and sale on Saturday, July 30 and Sunday, July 31, 2011, 10 AM to 5 PM.

The members of Hilltown 6 are Robbie Heidinger, Christy Knox, Michael McCarthy, Hiroshi Nakayama, Mark Shapiro, Eric Smith, Constance Talbot, and Sam Taylor.

You can see the artists’ work and work spaces, as well as demonstrations at several venues. Also, three of the studios will feature guest artists: Robbie Heidinger will host photographer David Leith; Mark Shapiro will host potter Jeffrey Lipton; and Christy Knox will host clay artist Karin Noyes.

For a map and more info, check out the Hilltown 6 site.

Images: plate by Robbie Heidinger; dancing vases by Christy Knox; vase by Constance Talbot; stoneware ceramics by Hiroshi Nakayama; Robbie Heidinger firing the soda kiln.

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Lisa Nilsson‘s Tissue Series, currently on exhibit at the Lavender Door Gallery in Stockbridge, depicts anatomical cross sections, created from rolled paper.

How did she come to make this work, this way? We asked the artist for a look into her work space, and into the history and process behind this enthralling series.

I was out “junking” and came across an antique quilled piece of religious art. It was a very fancy filigreed crucifix-gilt. I later learned that nuns and monks used edges of old bibles to make pieces like this. I incorporated the technique into some assemblages I had been making that contained many different found and made elements. Around this time I encountered a French hand-colored print of an anatomical cross section. I loved the colors and shapes and felt that the way paper behaves when rolled and shaped in quilling could work very well in representing what I saw in the anatomical print.

I started creating anatomical cross sections made of Japanese mulberry paper and the gilded edges of old books, using that same quilling (or paper filigree) technique.

Here I’m just getting started on a new piece. I build the work over an image or drawing, pinning parts to a piece of Styrofoam insulation (probably the single most useful and versatile material in my studio). I tend to work from the center out. When the piece is finished, I turn it over and brush the back with PVA (the white glue that book makers use) and the piece takes on enough strength and rigidity to hold its shape without pins.

I like to have several sources of reference material for each piece so that I can pick and choose elements from each that work to the piece’s advantage, and I can more fully understand what I am looking at.

This piece represents a cross section of hands in prayer position. The section passes through laterally at the level of the metacarpals (the bones of the main part of the hand).

I’ve partially made the bones of the thumb knuckles and some tendons.

This part of my studio was originally the laundry room, and is where I make the boxes that contain my pieces. I make them out of cherry wood and old glass and cover the outside with Japanese silk book cloth. It is beautiful stuff to work with. I’ve had the good fortune to have friends in the book arts that have taught me good paper and paste technique. It’s fussy, precise, clean work that I enjoy in a certain state of mind.

This piece represents a lateral section through the head at about nose level. It is life-size. I love how asymmetrical the body looks in cross section. We are so symmetrical on the outside and so asymmetrical on the inside and everything inside fits so perfectly. This is the connection I made to quilling. Rolled pieces of paper are amenable to being squeezed, shaped and shifted to fill a space. I use mulberry paper for its fabric-like strength and flexibility and the sophisticated color palette it is available in.

This piece represents a midsagittal section (the one that cuts through the center making a left half and a right half) of the head and chest. I employ a device of making all of the bones in my work from the gilded edges of old books. I do this for aesthetic reasons as well as a means of pulling the pieces away from the world of scientific specimens and a bit more in the direction of religious reliquaries. I like to emphasize the reverential and the precious; to have a look inside is such a privilege.

I continually challenge myself to increase my vocabulary of quilling shapes and textures while sticking to the inherent grammar of the technique. It is important to me that the viewer’s eye does not grow weary of looking at swirls.

I like for my works to read more as objects than as images. To that end, I show the lateral sections lying flat on shelves and the vertical ones, standing upright in an altarpiece-like fashion.

Lisa Nilsson’s Tissue Series: Anatomical Cross Sections in Paper will be on exhibit at the Lavender Door Gallery (37 Main Street, Stockbridge, MA), through August 24, 2011.

Lisa Nilsson is a graduate of the Rhode Island School of Design where she studied Illustration, and more recently of the McCann Technical School’s medical assisting program, where her life-long aesthetic interest in anatomy and cool-looking medical things grew a bit more informed. She lives in North Adams, Massachusetts.

All images courtesy of Lisa Nilsson.

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Are you in the mood to be intrigued, amused, possibly a bit frightened? Specifically, by animals masks? Even more specifically, by captivating, colorful animal masks made through an ingenious process using yarn crochet?

Well, good, because thanks to Huckleberry Delsignore and her yarn innovations, such masks exist. And in part due to the masks’ popularity, her career is on a roll. The trailblazing Pittsfield artist is selling her crochet creations at MASS MoCA and elsewhere, is just finishing up a museum residency in the Berkshires, and will soon see her unique masks on an episode of MTV’s Cribs.

We asked Huckleberry about her work, her secret origins as a super-crochet-er, and about how she balances “real life” with the fantastical realms of her art.

ArtSake: First – and you must hear this a lot – your masks are SO COOL. Can you trace their origin? Did the idea and your unique process hit you all at once, or develop over time?

Huckleberry: Gee, thanks! I started making masks about a year and a half ago. Before the masks, I used to make odd dolls. I was sitting around with a friend one night and we thought it would be so cool to make something like the dolls that a person could wear. I made the first one as an experiment, and haven’t been able to stop making them since. The process has become refined over time. The newer ones are technically much better than the earlier ones.

Over time I have realized how gratifying it is to have found an outlet that people, no matter what demographic, engage with. Children can’t stop themselves from putting the masks on, while adults are simultaneously horrified and intrigued when they see my art.

ArtSake: Do you create masks on commission, and if so, what would you say is the general ratio of commissioned work to work initiated independently?

Huckleberry: I love taking commissions. It is so much fun making something knowing it is going to be a part of somebody’s life. I get inspired by bringing pieces of a person’s imagination to life. Right now, I seem to make approximately the same number of commissions as additions to my own mask menagerie.

ArtSake: Artists can often list a long series of day jobs they’ve worked to support their art. But I was intrigued to learn that, as an emerging artist, you hitchhiked back and forth across the country, supporting yourself exclusively by selling your crocheted goods. How has that level of self-reliance impacted your art?

Huckleberry: It’s true, my youth was filled with wanderlust. When I was unable to support myself while going to college, I took to the road. I led a simplistic lifestyle, keeping my expenses very low. I crocheted in coffee shops and curious folks would strike up conversations with me about what I was up to. It was a great learning experience. Eventually I settled down and started a family (and started waitressing). By settling down I was able to take on bigger projects and form deeper connections with people in my community. As for my self-reliance, I have always been a very motivated and fiercely independent lady.

ArtSake: Can you describe your experience as Artist in Residence at the Berkshire Museum?

Huckleberry: I was so honored when the Berkshire Museum invited me to be an Artist in Residence this spring. I took the opportunity to make something bigger and more complex than before. After researching geodesic domes, forts, rock and mineral structures, I set off to create a faceted crocheted sculpture that one could go inside. The process of making the work was difficult. There were a lot of setbacks throughout and I was so proud when it was finally complete. Since on display, the exposure of being in The Berkshire Museum has been so flattering. I get a lot of positive feedback. The residency ends this week and I can hardly wait to have the work back and get to view it in different contexts.

ArtSake: You’ve also produced work as a film artist, and you’ve collaborated in theater and photography projects. What do you draw from working in multiple media?

Huckleberry: Life is experienced in multiple medias, and I love collaborating. For me, it is about being available to participate in inspiring projects.

ArtSake: On your blog, you mention that you did a film shoot for MTV in April. What was it for, and can you describe the experience?

Huckleberry: MTV approached friends of mine regarding filming an episode of Cribs at their beautiful and magical estate. They chose to go with a fairy tale theme and asked if they could use my masks for filming. The entire day was so enchanted. It is supposed to air sometime this summer. I can hardly wait to see it!

ArtSake: You have three daughters! How do you balance your family life with your creative career?

Huckleberry: My daughters are ages 3, 5 and 7. Balancing life as a single mother is complicated but they are proud of what I do and love playing with the masks.

I make art to preserve my sanity. I must been actively engaged in a creative project or I feel myself wilt. Fortunately, my work is easily transportable, so I am often crocheting at the park while they play. I also stay up very late and get a lot done while they are sleeping.

ArtSake: Share a surprise twist in the Huckleberry Delsignore story.

Huckleberry: I have no clue how to read a crochet pattern.

ArtSake: Can you point to any one decision you’ve made as an artist that has had the most impact on your career?

Huckleberry: A little over a year ago I lost my job. Little did I know at the time, it was the best thing that could happen to me. My children were in school full time and I had only one thing I needed to focus on: making my art career happen. I crocheted as much as possible, kept my web site fresh and up to date, and did my best to let people know what I was up to. A good web site is an amazing resource these days.

I guess the one decision was to take myself seriously as an artist and to work harder than I knew possible to make cool stuff happen.

ArtSake: This summer, you’re teaching a class on DIY art at IS183 and a weekly crochet class in your studio. What will you try to instill in your students?

Huckleberry: Through the IS183 class I hope to share the resources I have gathered in how to find your niche in the art community and how to get your art into the world. The weekly crochet class will focus on teaching the basics of using a hook and yarn and how to use your intuition to make just about anything.

Images: images courtesy of Huckleberry Delsignore. All photos are by Jay Elling, with the exception of AMORPHIUS BLACK (third from top), which is by Eric Korenman.

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The Massachusetts Cultural Council is honored to announce the 2011 MCC Artist Fellowship awards in Crafts, Film & Video, and Photography. Twenty artists will receive fellowships of $7500 and another 19 will receive $500 finalist awards. See a complete list of this year’s fellows and finalists.

The awards are anonymously judged, based solely on the artistic quality and creative ability of the work submitted. Applications were open to all eligible Massachusetts artists. A total number of 619 eligible applications were received; 152 in Crafts, 128 in Film & Video, and 339 in Photography.

The Crafts panelists were Michael Giaquinto (Cape Cod Museum of Art Exhibitions Curator), Robbie Heidinger (Crafts Fellow ’09), and Perry Price (Fuller Crafts Museum Assistant Curator of Exhibitions and Collections).

The Film & Video panelists were Claire Andrade-Watkins (Film & Video Fellow ’09), Carter Long (Museum of Fine Arts Boston Katharine Stone White Curator of Film & Video), and Jake Mahaffy (filmmaker), with David Dinnell (Ann Arbor Film Festival Program Director), Rebecca Meyers (ArtsEmerson Director of Film Programs), Marlo Poras (filmmaker), and Jonathan Schwartz (filmmaker) serving as first-round readers.

The Photography panelists were Vaughn Sills (Photography Fellow ’09), George Slade (Photographic Resource Center Program Manager/Curator), and Paula Tognarelli (Griffin Museum of Photography Executive Director).

Earlier this year, we announced awards in Music Composition, Playwriting, and Sculpture/Installation.

Read profiles of the fellows/finalists on Gallery@MCC.

Images: Stephen DiRado, CARA, AQUINNAH, MA (2009), from the series BEACH PEOPLE, Silver gelatin contact photograph, 9.5×7.5 in; Carrie Gustafson, PALE PRIMROSE (2008), hand blown glass – sandblasted and wheel cut, 7.5×8 in; Still from FWD: UPDATE ON MY LIFE by Nicky Tavares (28 minutes, Video, 2010); Toni Pepe, THE GESTURE OF TRADITION, INSTALLMENT 2 (2010), Archival Inkjet, 30×40 in; Still from TWIST OF FATE by Karen Aqua (8:40 minutes, 35mm, 2009); Mariko Kusumoto, RYOUNKAKU (2007), board game, metalworks, 27x9x1-1/2 in, photo by Dean Powell.

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