Contemporary Craft call for entries: Elizabeth R. Raphael Founder’s Prize Award

Contemporary Craft invites artists working in found materials to apply for the 2017 Elizabeth R. Raphael Founder’s Prize. Emerging artists are especially encouraged to apply. The $5,000 prize will be awarded to a work created between January 2017 and January 2018 that addresses the theme of “transformation.” This biennial award, which is given in conjunction with a catalogue, video profile and juried exhibition, is funded by the daughters of Elizabeth R. Raphael, the founder of Contemporary Craft and a nationally known figure in the contemporary art scene for many decades. Prizes are selected by medium, with the designated medium changing with each biennial award. Find the prospectus and application instructions online. All digital entries must be received by June 9 at 5 p.m.  

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Aiken Elementary students work up a STEAM through dance, movement

From The Aiken Standard Article and photo by Larry Wood
Math plus movement equaled a fun way for Aiken Elementary students to learn about fractions. Working with Gail Glover Faust for two weeks, the students used dance and movement to explore math and science concepts. Fifth-graders learned about force and motion, and third- and fourth-graders focused on fractions, incorporating the arts with science, technology, engineering and math, or STEAM. “For the fifth-graders, I used the elements of dance – walk, run, hop, skip, jump – to teach force and motion,” said Faust, who is an Artist in Residence with the S.C. Arts Commission in Columbia. “With the fourth-graders, we compared fractions, and with the third graders, I introduced them to fractions: how to add them, how to compare them, how to subtract them.” To teach students the difference between numerators and denominators, Faust created a special fraction dance. “When I say numerator, you go high,” Faust said, and the students jumped as high as they could. “When I say denominator, you go low,” Faust said, and the students knelt down close to the floor. “And in the middle, the dividing line, the dividing line,” Faust sang, and the students swayed side to side with their arms stretched out to make the line between numerator and denominator. “They loved that one,” Faust said. “They had fun. They’re engaged. They’re remembering. Through dance and movement, it’s being imprinted upon them what a numerator is and what a denominator is.” Faust also had the third- and fourth-graders form human fraction strips, with half the students sitting down and the other half standing, to learn how different fractions – one-half or three-sixths, for example – can look the same. “The students become the tools for learning,” Faust said. “When our bodies become the tools, then it’s so much easier to translate the math and the science. You can actually act it out and make it come to life.”
Annie Laurie Matson, Aiken Elementary’s music teacher, said the dance project allowed students to have fun and learn about science and math while meeting state requirements for dance in elementary schools.
“We did a study that showed that dance was not being addressed in our school, and there are standards in South Carolina for dance education,” said Matson who applied for an Innovative Arts Works Grant from the S.C. Department of Education to bring Faust to Aiken Elementary. “Kids need to move, and it’s also another way for kids to think creatively and outside the box.” Matson, a member of the Standards Writing Committee for South Carolina, said the committee’s members are working to address how students learn in all areas of the arts and how they can be incorporated into a STEAM education. “The skills for the 21st century will require kids to work together collaboratively and to use lots of different skills creatively. Most of theses kids will have jobs that don’t even exist right now and we can’t even imagine,” Matson said. “While our students might not be dancers and we’re not trying to make everybody a dancer or a musician or an artist, we want them to have those skills, appreciate them and have them in their lives.”

Reminder: Applications for Southern Prize due March 1

Application deadline: March 1 Atlanta – South Arts is now accepting entries for the first annual Southern Prize and State Fellowships, offering nine individual artists cash awards up to $30,000; the contest is open to artists living in Alabama, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, and Tennessee. The nine State Fellowship recipients will compete for the South Arts Southern Prize. The $25,000 Southern Prize will be awarded to the artist whose work exhibits the highest artistic excellence, and one finalist will be awarded a $10,000 Prize, also based on artistic excellence. The Southern Prize winner will also receive a two-week residency at The Hambidge Center for the Creative Arts and Sciences. A national panel will convene to evaluate the body of work represented by the nine State Fellowship recipients and select the Prize winner and Finalist. Winners of the South Arts Prize will be announced at the awards ceremony April 24. An exhibition of works by the State Fellowship winners may be organized during the award period. “Our region is home to deep artistic talent deserving additional recognition and support,” said Susie Surkamer, executive director of South Arts. “We are launching the Southern Prize to celebrate the diverse range of expression in our region, from the traditional arts handed down across generations to the new creative processes coming from our technology centers.” Artists may apply for the Southern Prize until March 1 through southarts.org/southernprize. Artists specializing in crafts, drawing, experimental, painting, photography, sculpture, and mixed media styles are eligible. The Southern Prize is supported by South Arts’ member state arts agencies, MailChimp, and individuals, and powered by The Hambidge Center. South Arts also receives support from the National Endowment for the Arts. Via: South Arts

Appalachian gateway communities workshop to offer cultural heritage tourism assistance

The Appalachian Regional Commission (ARC) and the National Endowment for the Arts, in partnership with the Conservation Fund, are offering a technical assistance workshop in Ringgold, Ga., May 9–11 on creating sustainable natural and cultural heritage tourism development in Appalachian "gateway" communities—those that are entry points to Appalachia's national and state parks and forests. Teams will learn how to jump start economic growth in their communities through public arts promotion, cultural heritage and natural resource tourism, and preservation and stewardship of community character. Applicants or their gateway communities must be located in an Appalachian county designated by ARC as economically distressed, transitional, or at-risk. Eligible South Carolina counties are Anderson, Cherokee, Greenville, Oconee, Pickens, and Spartanburg. (Maps and lists of Appalachian counties' economic status for FY 2017 are available on the ARC website.) Participating communities must send a team of four to seven key members, including at least one member from the arts. Experts will assist each team in developing an action plan for capitalizing on their community's unique natural and cultural heritage resources and the arts. Participating teams will also be eligible to apply for seed grant funding to help them implement the action plan they develop at the workshop. The workshop registration fee is $550 per team; limited travel assistance may be available on a case-by-case basis. Applications are due March 24. More information and registration details are available online.

Midlands band wins GRAMMY Community Award

Fairfield County School District is an Arts in Basic Curriculum (ABC Project) site. From WLTX Winnsboro, SC (WLTX) -- The Fairfield Central band will not be in Los Angeles for the GRAMMY Awards, but they already won big thanks to the GRAMMY Foundation. Ferdinand Cooper is the band director at Fairfield Central he said, "My father was a band director for 35 years here in South Carolina." "I kind of grew up with it, so it has been a part of life for me ever since I was born basically," said Cooper. He has been at the Fairfield County school for three years. Cooper said, "It is an opportunity for me to take something I love to do and to share it with my students." That love for music is rubbing off on his students too. Sophomore Rebecca Campbell-Hefner said, "It is a really good influence and the band members are like family, so you really have a good support system." "People say band is hard, but it is really not. You've just got to put determination to it and be committed," according to freshman Harrison Kennedy. That commitment from the band members and Cooper paid off in January. The GRAMMY Foundation and the Hot Topic Foundation gave the school $2000 to help the school's band program. Cooper said, "I was kind of shocked actually. I have been doing this for 16 years and this is the first time I have had an opportunity to get an award like this. It was just kind of amazing. I was so thankful to the GRAMMY Foundation for choosing Fairfield Central." Now more students are picking to play in the band, a good problem for Cooper to have. He said, "We are getting more students than we have equipment to actually put them on, so this $2000 can actually help more students to join the band." According to Cooper, "It will go a long way to help us in continuing the great tradition that we have here." The GRAMMY Foundation's GRAMMY Signature Schools Community Award gives financial support to local high school music education programs. Nearly $1.4 million in grants have been given to close to 700 schools in all 50 states.

S.C. State Library offers contest for young poets

Submissions are due March 3. As part of this year's May Hill Arbuthnot Lecture events, the South Carolina State Library is offering Young Minds Dreaming, a poetry contest for South Carolina students, including homeschool students, in grades 3-12. First, Second and Third Place winners will be selected for the following groups: Grades 3-5, Grades 6-8, and Grades 9-12. Winners and their families will be invited to the State Library on April 1 to read their poems and meet Jacquline Woodson, this year's Arbuthnot Lecturer. Additionally, teachers who are able to verify all students in a class have submitted poetry, may use the verification form linked on the webpage for a chance to receive a classroom set of books. One set per age grouping will be made available. Submission deadline is March 3. Find details and submission guidelines online. For other questions, contact SCSL Learning Experiences Coordinator Pamela Hoppock at (803) 734-8646. Via: South Carolina State Library

North Charleston Arts Fest reveals 2017 design competition winner

View More: http://carsoncarrollphotography.pass.us/judy-mcsweenThe City of North Charleston Cultural Arts Department has announced Judy McSween of Charleston as the winner of the 2017 North Charleston Arts Fest Design Competition. McSween’s oil painting, "Scraping the Sky II," will be used to promote Arts Fest, taking place May 3-7. In addition, the artist received a $500 purchase award, and the piece will become part of the City’s Public Art Collection. McSween’s design was selected from a total of 60 entries by artists from across the state. The selection was made by a review panel appointed by the Cultural Arts Department, who judged the entries based on quality, originality, appeal to festival patrons from a broad range of backgrounds, and ability to convey the spirit of the festival as a public celebration of arts and culture. According to McSween, "Scraping the Sky II" evokes the exuberance of a new day and the anticipation of discovery. The piece was created after a summer trip the artist took with her husband, daughter, and nieces, where they explored galleries, parks, and restaurants. “I painted the fresh, inviting view recalling the vibrant city skyline when we embarked,” she explains. “It parallels how I approach a blank canvas - with a simple plan and with excitement to see what I’ll uncover along the way.” McSween has participated in numerous regional art shows. She was the featured artist at The Saul Alexander Gallery located in the Charleston County Library in January 2016 and was invited to be an exhibiting member in Charleston’s Piccolo Spoleto Outdoor Artists Exhibit that spring in Marion Square. Her work was selected for the 2010 Piccolo Spoleto Juried Art Exhibit and has been awarded Honorable Mentions in the North Charleston Arts Fest’s Judged Fine Art Competition. Her paintings have also been featured on the cover of the Charleston County Parks and Recreation Program Guide and the 2015 baseball novel, Dreaming .400. For more information about the artist, visit judymcsween.com. A new series of McSween’s abstract land and sea inspired scenes, including the winning work, will be on display at the North Charleston City Gallery throughout May 2017. The gallery is located within the Charleston Area Convention Center at 5001 Coliseum Drive in North Charleston. Admission and parking are free. The public is invited to meet the artist at the gallery during the Arts Fest Expo from 11 a.m. -5 p.m. on May 6 & 7, 2017. T-shirts and posters featuring the winning design will be available for purchase. For more information about the North Charleston Arts Fest, contact the City of North Charleston Cultural Arts Department at (843)740-5854, email culturalarts@northcharleston.org, or visit NorthCharlestonArtsFest.com.

Take a tour and hear the story behind Seeing Spartanburg in A New Light

If you haven't yet toured Spartanburg's public art exhibition, Seeing Spartanburg in a New Light, here's your chance to do so and get the inside scoop from the creative team behind the project. The Chapman Cultural Center is hosting a two-day celebration of Seeing Spartanburg in a New Light beginning February 16 with a panel discussion and Q&A featuring the creative team involved with the project. The program continues February 17 with a tour by trolley of all nine installations, led by project artist Erwin Redl, and concludes with a presentation and reception back at the Chapman Cultural Center. Guests can take advantage of a discounted rate at the Spartanburg Marriott, conveniently located across the street from the Chapman Cultural Center. There will also be access to other local cultural institutions and exhibitions. One of four recipients of the Bloomberg Philanthropies Public Art Challenge, Seeing Spartanburg in a New Light is a large-scale public art exhibition that features nine original artworks by renown light and media artist Erwin Redl installed throughout 10 neighborhoods in Spartanburg. This project is an unprecedented partnership between Spartanburg's Chapman Cultural Center, Mayor Junie White, and the Police Department to use public art as a platform for building stronger relationships between local residents and police officers. Please RSVP by February 10, 2017 to Renee Denton at info@seeingspartanburg.com or (864) 278-9685. Via: Chapman Cultural Center

Thin Ice: Art professor saves National Park glaciers as woodcut prints, work acquired by national galleries

Todd Anderson, a printmaker and assistant professor of art at Clemson University, received a South Carolina Arts Commission Quarterly Grant for this project. The next deadline is February 15. Image above: Todd Anderson, assistant professor of art and printmaking at Clemson University, displays one of his reductive woodblock prints in “The Last Glacier”, an artist book of 23 image plates of glaciers in Glacier National Park, Montana, by him, Bruce Crownover and Ian van Coller. Image Credit: Ken Scar / Clemson University

From Clemson University Article by Clinton Colmenares CLEMSON — With a heavy mug of coffee in one hand, Todd Anderson moves through his personal studio like a chef moving through a four-star kitchen: fluidly, efficiently, among the tools of his trade: neatly stacked cans of paint sorted by color, saws and drills tucked away without a hint of sawdust, brushes hanging neatly, chisels gleaming. Every label of every can and jar and bottle faces outward, lest confusion disrupt the rhythm of his work. Anderson, an assistant professor of art at Clemson University, is a printmaker, skilled at transferring beauty and wonder from landscapes onto paper to share his experiences with the public. When guests arrive at his studio, which used to be his garage, Anderson slips on a pair of shoes, turns off a stream of classical jazz and begins to tell a story about his latest project, which recently gained national attention.
“I think we all understand that the world is changing in sweeping and dramatic ways,” Anderson says, his voice quiet and earnest. “My belief is that those places need to be seen, they need to be experienced and they need to be creatively documented.” It’s a holy trinity that guides his work. Since its founding 100 years ago, Glacier National Park has lost more than 80 percent of its glaciers. Over the past six years, Anderson says, he hiked more than 500 miles through that park for a project called “The Last Glacier.” He and two collaborators, painter Bruce Crownover and photographer Ian van Coller, recently finished the project, resulting in original artwork that includes 15 specially bound 25- by 38-inch books with Anderson’s original prints, Crownover’s paintings and van Coller’s photos. “My intent as an artist is to share the beauty of a changing world,” Anderson says. In demand The Metropolitan Museum of Art in New York and the New York Public Library are sharing the work; they each bought a book on the spot. The Library of Congress bought another. Clemson’s Emery A. Gunnin Architecture Library, the University of Wisconsin-Madison, Yale, and several private collectors have also invested in the artistic, historical records. The Last Glacier quickly garnered the kind of attention artists dream of. But Anderson couldn’t look lighter, more carefree. He says he spent a great deal of his life camping, hiking and climbing his way through the Rocky Mountains, sleeping with the stars overhead. It’s easy to picture him on a mountain in a three-day beard and a worn flannel shirt, accidentally hip. On being outside, Anderson says, “If you’ve felt frost on a sleeping bag, or seen dew on cobwebs in the woods, you can understand the value of that experience.” Rock climbing shaped his arms and hands; they’re strong, purposeful. His blue eyes sparkle with an infinite appreciation for wonder, reflecting a scientist’s curiosity and exacting patience. There are stories in those hands and eyes, and a quiet urgency to tell them.
Image from above of a glacier, mostly white but with a large area of blue water. An Anderson woodcut print of the Grinnell glacier in Glacier National Park. In the late oughts, Anderson heard the Rockies’ glaciers were melting. “My first thought was, this is the environment that I love, these alpine environments, the beauty of these places. I felt sad, first and foremost. And then I thought, ‘Well, who is documenting these places?’” When months of searching for someone recording the glacial recession turned up empty, Anderson decided to do it himself. “It was really out of a sense of responsibility,” he says. The three collaborators are currently wrapping up a second project, documenting glaciers in Rocky Mountain National Park. Anderson is also waiting to hear about a grant from the National Science Foundation that would send him to Antarctica. The Last Glacier is a compelling and invaluable work, said Gary Machlis, the University Professor of Environmental Sustainability and scientific adviser to the director of the National Park Service for eight years until early January 2017. “Climate change is the environmental challenge of our age, and responding to this challenge requires a constellation of voices — including those of artists like Todd. “Art can be a portal for understanding in a visceral, emotional way what science attempts to demonstrate through theory, data and analysis,” Machlis said. “Todd’s work is powerful, and his collaborative team is unique and so committed to their task. Viewing the images in ‘The Last Glacier’ is a reminder of what is at risk and what might be lost if we do not act.” In 1910, there were 150 glaciers within the new 1 million-acre Glacier National Park in Montana’s Rocky Mountains. When Anderson started his work, in 2010, all but 25 had melted. Glaciers, the marvelous remnants of the last ice age, are made from the bottom up by layer upon layer of snow that melts into ice, the accumulating weight pressing the earth, picking up and setting down boulders as they slide incrementally. For the past 7,000 years, the glaciers in the park have stretched for miles, like giant beached whales caught between mountains and frozen by time. Melting ice, rising seas 
In a valley once filled by a glacier, there now are three lakes. Lakes dot a valley in Glacier National Park that a glacier once filled. Photo courtesy Todd Anderson.

When glaciers melt they don’t simply disappear, they become water. Increasingly, they’re adding to rising sea levels. Melt from all the glaciers and ice sheets in the world are responsible for two-thirds of global sea level rise (the rest is attributed to warming seas), according to Andrew Fountain a glaciologist at Portland State University in Portland, Oregon, who agreed to write a scientific note about the next project by Anderson and his colleagues. Twenty years ago, Fountain said, alpine glaciers, like the ones in Glacier National Park, were the first to melt. “Now Greenland is beginning to melt,” he said. By 2040, with a 2-degree Celsius increase in global temperature, sea levels will rise significantly along 90 percent of the world’s coastlines, affecting hundreds of millions of people, according to a study in the Proceedings of the National Academy of Sciences. Fountain has introduced many artists to the wilderness in Antarctica, where he conducts some of his research. When Anderson asked him, out of the blue, to contribute to an artistic project, Fountain considered it a way to tell more people about the melting glaciers. “Getting this information out to people is super important,” said Fountain. “It’s a gateway to science. I might be attracted to the subject by graphs and plots, but others might be attracted by art.” It’s a symbiotic relationship, Anderson said, as scientists wrap the art in a scientific context. “Working with scientists is very critical to my projects. We’re trying to bridge gaps and we’re trying to connect with as many folks as we can,” Anderson said. “What the scientists provide is things that we can’t provide – analytical analysis and whole, unique perspectives of what’s going on with the landscape.” There is also common ground among artists and scientists, and aficionados of each. Science, Fountain said, can be incredibly creative, like when it’s time to choose the right approach to finding a solution. And when looking at Anderson’s art, the glaciologist sees clues to the glacier’s life, such as whether it’s advancing or retreating. Democratic medium After graduating from the University of Wisconsin-Madison, Anderson found work at Tandem Press, an international printing house affiliated with UW’s School of Education. Tandem has a tradition of attracting famous artists to experiment and print in its studio. David Lynch, Chuck Close, Art Spiegelman and Judy Pfaff are among its alumni. Essentially, Anderson worked with artists accustomed to producing singular pieces of art and helped them create prints that “would be totally and wholly unique, but you could make 20 or 30 of these things and more people could have it.” Printmaking, he said, “is an inherently democratic medium, and for me that was really what grabbed me.” “The Last Glacier” project is similarly intended to be shared with the masses, Anderson said. “Our mission is to get the work into the public sphere,” he said. And he wants future masses to experience the work, which makes acquisitions by the Met, the New York Public Library and the Library of Congress special. “One of the things I want to do as an artist is to talk about the immediacy of things going on in the world. But art, as I understand it and the way I approach it, it’s a multigenerational conversation,” Anderson said. In museums, “when we look at a painting from the 1800s it helps us understand what people’s values were, what people thought about. “It’s just as important when future generations who go to museums and get to see this work. It’s not just saying, ‘Oh, there used to be a glacier here,’ but it’s also saying, ‘This is a little bit about us.’ In a very, very small way. Of what we valued as a society and what we thought about, the challenges we were trying to face and engage.” Working with collaborators also amplifies the message and grows the audience. Anderson initially planned to work alone, but the glaciers were so vast and distant – 10 to 15 miles from an access road – that he enlisted Crownover and van Coller to help cover the territory. The result, Anderson said, is “three very unique artistic visions of essentially the same thing. The hope is that by presenting the viewer with three different versions of three different artists, that folks might be able to latch on. If they don’t like my work, maybe they’ll really like Bruce’s. Or if they don’t like Bruce’s, maybe they’ll like Ian’s.”
An artist uses a small chisel to slowly carve the image of a glacier. Todd Anderson, assistant professor of art and printmaking at Clemson University, carves out a “stamp” to create a reductive woodcut print of a glacier for “The Last Glacier”. (Photo by Ken Scar)

Mirroring the glaciers  If you’ve stood on a glacier, or on a mountain two miles high, standing in front of Anderson’s finished prints will stir a familiar chill in the air, as if someone opened a window 10,000 feet up. The prints reveal scars from the violent upheaval, subduction and collision of the Earth’s crust. You’ll feel the cool blues of the ice, the ancient gray of the rock and yellow, purple, pink and blue of sunrises and sunsets seen through thin air. Anderson spent weeks each summer working in situ, researching the glaciers – which ones to document, how to access them, seeing them at different times of day as the sun shifted shadows and revealed new details. He hiked, sketched and photographed, getting to know each one before it ceased to exist. Back in his studio, where the prints come to life, a mixture of fluorescent bulbs balance the blues, reds and greens to shine as white as possible. In the middle of the space sits a printing press, perched atop tiny feet, perfectly level. The press is new; at least it’s new to Anderson. It arrived recently by freight to his home in one of Clemson’s leafy neighborhoods. The press is his six-burner gas range, where the ingredients of his art – science, nature, light and the wonder of the Rocky Mountains — mingle and fuse. Slowly, they develop as reductive woodcut prints in a process involving time, pressure and the deliberate carving of a landscape until nothing is left but a picture, a life cycle that mimics his subjects. Anderson chose to recreate the glaciers as woodcut prints because, he says, he wanted “an organic, visual language,” and woodcuts, by their nature, provide a “visual texture.” Both glaciers and prints are constructed of layers, but  while glaciers are built from the bottom, prints begin at the top. They require the artist to complete the piece in his mind, then work backward. Anderson transfers a sketch to a rectangular block of basswood, imported from Japan, then begins working in negative space – using fingers and hands that once routinely clung to rock to slowly, expertly, carve away wood, creating an image by removing what he doesn’t want in the print. The first layer he carves away, from the top of the block, will be the first image on the paper, the bottom layer of color. “I might do that 10, 15 or 20 times. So I’ll have 15 or 20 sheets of paper that look the same,” he says. “Once I’m done doing that, I’ll take that same block of wood, clean it off, carve it out a little bit more, I’ll ink it up with a new color this time, then I’ll print it on top of what I printed before.” He has to print light colors first, and he’s constantly calculating “the value of the color and the opacity of my ink, so that I can make a whole image look right. At least in my mind how it looks right.” One layer, one carving, one color, one pressing at a time, all the while thinking backwards, or upside down, removing negative space from the top that becomes the bottom. Eventually, the full image appears. But, at a cost. “By the time I get done making these artworks, the blocks themselves are really exhausted, and there’s no way of going back and remaking the artwork,” Anderson says. “The process is mirroring the fate of the glaciers themselves.” Anderson said he doesn’t create “message” art. He’s not delivering a political statement. Not directly, anyway. “There’s a complexity to these ideas” of art, experience, climate change, he said. “What I’m trying to present as an artist is visual complexity. But there’s moments where, when it works right, you can get lost in these things and you start seeing the cobwebs. You start seeing things. There’s an experience that art can give you, which is just wonder, and that’s what I’m trying to do.” Anderson received funding from the South Carolina Arts Commission, the Sustainable Arts Foundation and the National Endowment for the Arts for this work. For more information, and to see the work by Crownover and van Coller, go to TheLastGlacier.com.

South Arts’ Launchpad offers resources for new presenting professionals

Becoming a presenter for the first time can be daunting. Where can I find the best artists for my community? How do I apply my marketing and management skills to a new position? How do I negotiate contracts to be fair to my organization and the artist? Who can I call for advice? PAE-2015-Juried-Showcase-313 Philadanco performing at 2015 PAE Juried Showcases – Photograph by Bruce France South Arts' program, Launchpad, is designed to provide a year-long support system to professionals who are new to the performing arts presenting field in South Arts' nine-state region. Launchpad offers professional development, mentorship, and a travel subsidy for participation at the 2017 Performing Arts Exchange in Atlanta, Ga. In addition, there is an opportunity to receive funding to join your statewide presenters’ network and to support artist fees for presenting one of our 2017 juried showcase artists. Up to 10 presenters will be selected in the second cohort. The goals of this pilot:

  • Provide professional development for new presenting professionals
  • Share resources for identifying high-quality artists
  • Support learning through a peer network group and individual mentoring
Selected applicants will receive:
  • Travel subsidy for attending the 2017 Performing Arts Exchange (PAE), September 25-28, 2017 in Atlanta, Ga. (up to $1,000)
  • Presenting grant to book a 2017 PAE juried showcase artist for the 2018-2019 season (up to $2,500)
  • Support for statewide presenters’ network annual dues/fees (up to $200)
  • Connection to a mentor
Only executive directors, associate directors, or programming directors (i.e., individuals responsible for curating/programming season) that have been in their presenting role for less than two years prior to the Performing Arts Exchange start date are eligible to apply. Previous PAE attendees are not eligible. Complete eligibility requirements and guidelines are available online. Applicants are encouraged to contact Nikki Estes, Program Director, at 404-874-7244 ext. 16 to discuss eligibility prior to submitting an application. Applications must be submitted by 5 p.m. (Eastern Time) June 1, 2017.