… are coming soon to a reading, exhibition, screening, award ceremony, or publication near you.
(I.e. they’re all featured in our November 2008 Fellows Notes, which we just posted).
There’s a fascinating discussion over at Parabasis about improving government funding for the arts. Should the NEA (or really, any of us arts funders) stop mandating programs through grants? (Happy to report our own Artist Fellowship Program does not – artists can use the funds anyway they see fit.)
At the New England Journal of Aesthetic Research, Greg Cook tells the tale of last weekend’s Parade for the Future, in which nautically-dressed artists and activists stormed the Boston Common in a “global-warming-themed procession.”
At the Rose and Thorns Reviews blog, a panel of literary editors reveal what they look for in a writing submission. Steven Seighman of Monkeybicycle looks for “great writing that blows my hair back.” Timothy Green of RATTLE talks about how literature operates on three levels, the intellectual, emotional, and lyrical. “We tend to focus so much on the (intellectual),” he says, “but play a sport or fall in love, and you know how important the other two still are.”
But when you aren’t submitting to literary journals, you may need a day job. The blog of Haydens Ferry Review helps out with its A Cup of Ambition series, an exploration of jobs (other than teaching) that share skill sets with writing – archivist, infomercial script writer, arts (ahem) administrator, literary agent, librarian, book production.
The Huntington Theatre blog asks what’s the ideal level of collaboration between the producing theatre and the playwright.
In The Boston Globe, Chuck Leddy gives a glowing review of Joan Wickersham’s (Fiction/Creative Nonfiction Fellow ‘08) The Suicide Index. “Joan Wickersham has journeyed into the dark underworld inside her father and herself, and has emerged with a powerful, gripping story.”
Over at The HubReview, Thomas Garvey offers his take on Damien Hirst’s wild financial success selling his art at auction. (Read our own post on the spectacle here.)
Our Daily Red (blog of Big RED & Shiny), points the way to the handblown glass pumpkin patch/sale at MIT’s Glass Lab.
At CinemaTech, Scott Kirsner announces a panel in Cambridge about “what’s next for visual effects, editing & post-production, and digital distribution of movies,” on September 25.
At New Music Box, an American composer grapples with the definition of American contemporary classical music.
And a reminder that the Ditson Festival of Contemporary Music is taking place through the weekend at the ICA in Boston. Curated by Boston Modern Orchestra Project Artistic Director Gil Rose, it’s an event where Boston’s “legendary ensembles and rising stars burst into the spotlight for four days of sonic splendor in an iconic 21st Century space.”
Image: Colleen Kiely, ON THE ROAD (REAR VIEW #135), Graphite on paper doily, 18 in. round, 2008. Works from Colleen’s “On the Road” series are in the The Fine Art of Drawing Invitational at the Museum of Fine Arts, Florida State University at Tallahassee, through September 28.
Every time I think I’m finished with this month’s Fellows Notes page, it expands, as if creative atoms are supercolliding to create an ever-expanding art universe!
Or something like that. Anyway, it’s great to know our contemporary art scene is more Big Bang than Big Crunch. Here are some of the recent additions:
Tonight (Fri. 9/12), Scott Wheeler (Music Composition Fellow ‘05) is among the performers participating in National Anthem, a classical music concert to benefit one of the presidential candidates (you can probably guess which; you know, the artier one). Speaking of Scott, later this month, he’ll conduct Dinosaur Annex for the Boston premiere of his piece The Gold Standard, as part of the Ditson Festival of Contemporary Music, Sept 18-21. Richard Cornell’s (Music Composition Fellow ‘07) Tracer, a collaboration with visual artist Deborah Cornell, will also be performed at the festival, by Boston Musica Viva.
This weekend, Ariel Gonzalez Cohen and Kellie Ann Lynch (Choreography Fellows ‘08) aka slippery fish dance will develop/present The 24 Hour Dance at the Northampton Center for the Arts. Next weekend (Sept. 20), Nell Breyer (Choreography Fellow ‘06) and Alissa Cardone, Lorraine Chapman, and Bronwen MacArthur (Choreography Finalists ‘08) will present A Media/Movement Collaboration at the Baryshnikov Arts Center in New York City.
Just as an exhibition of drawings by Colleen Kiely (Painting Fellow ‘98) is finishing up (Sept. 28) at the Museum of Fine Arts, Florida State University at Tallahassee, Lydia Kann Nettler’s (Drawing Finalist ‘00) Circling: An Environmental Exhibition will be newly on display (opens Sept. 22) at the Wheelock College Towne Art Gallery. Meanwhile, Nina Wishnok (Drawing Fellow ‘06) exhibits in Field Report, a members’ exhibition of the Boston Printmakers at Brickbottom Gallery in Somerville, through October 18.
Read the Sept. Fellows Notes.
Image: Lydia Kann Nettler, BETWEEN TREES (2007), drawing/mixed media.
At ecoTheater, a fascinating blog about environmentally sustainable approaches to theater, Mike Lawler worries about the carbon footprint of traveling throughout the country to work with different theater companies. He introduces the quagmire in a discussion with an often-traveling sound designer and continues the conversation here and here.
At the Public Humanist, blog of the Massachusetts Foundation for the Humanities, filmmaker Larry Hott discusses how the goals of funders can affect what documentaries get made.
Our sibling blog Keepers of Tradition calls our attention to Club Passim’s Iguana Fund, a professional and artistic development opportunity for musicians.
Want to tick off writer Erika Dreifus in a writing workshop? Do this.
At Soho the Dog, Boston composer, pianist, and conductor Matthew Guerrieri points out that the craters of the planet Mercury share names with great artists in history, including composers.
As a post-post-script to our Alternative Deliveries ramble and its post-ramble, here a couple of the discussions about presenting your own work that are flaring up around the web-o-sphere.
Image: Rob Dobson, BASKET #143 (2004), Salvaged materials, 13 in. x 15 3/4 in. x 15 in.
Today’s Boston Globe editorial compares the current state of public art in Boston to other U.S cities. The piece sites the Brooklyn Bridge Waterfall Project as one example of a successful contemporary public art project.
Check it out. Imagine what a waterfall installation could do for the Tobin!
Brooklyn Bridge Waterfall image from http://dumbonyc.com/
Maurice J. Tobin Bridge sans waterfall.
Tobin Bridge image from celebrateboston.com
There is some interesting work to be seen in Boston and beyond says UrbanArts Director Ricardo Barreto. He was recently a guest on NPR’s Radio Boston with David Boeri talking about the state of public art in Boston. You might want to listen to what Ricardo has to say about this very complex topic.
Meanwhile, each year, approximately 8,000 people from the village of Inakadate in the southern Minamitsugaru district in Aomori, Japan, take the idea of public art and create their own magnificent temporary art work by planting different varieties of rice. The rice field art lasts until the September harvest.
How high could the Atlantic Ocean rise due to climate change 100 years from now? Salem artist Terry Bastian attempts to answer that question with his Blue Wave Project. By using yards and yards of blue cloth, Terry marks out the projected levels for all to see where the sea will be. He recently marked the sea levels at Owen’s Park on Martha’s Vineyard, and he is coming to Salem this Saturday. The public is invited to meet at noon in front of the Peabody Essex Museum, Essex Street pedestrian mall, and walk to Derby Wharf. If you miss the installation on Saturday, he’s also giving a talk called Between the Melting Poles: How do we Adapt? on Thursday, July 17, at 7 p.m. at PEM.
…all over Manhattan, and down Doheny Way, everybody’s gone surfin’, surfin’ U.S.A.
Read more: Salem News
Image from the Blue Wave Project in Belize
The Blue Wave Project is funded in part by the Salem Cultural Council.
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