Culturally-specific arts

by giarts-ts-admin

Jaime Cortez was an arts and culture fellow at the San Francisco Foundation for two years. At the end of his fellowship, he and the other outgoing fellows were asked to read a prepared farewell statement to the board and staff of the foundation. Following is his closing presentation, given on July 9, 2008.

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by giarts-ts-admin

It's a long plane ride from Los Angeles International Airport to Nairobi — twenty-four hours in the air, and you get there two days after you started. I arrived with a couple of extra boxes containing books — theater books of all kinds, textbooks, and play scripts. On the label I had boldly printed their destination: Ford Foundation East Africa Office, Rahimtulla Tower, Nairobi, Kenya. Perhaps because of this address — either that or the literature — I was able to pass through customs without paying the duty for which Kenyan Customs is notorious.

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by giarts-ts-admin

2006, 256 pages. The Institute of American Indian Arts Museum, 108 Cathedral Place, Santa Fe, NM 87501, 505-983-8900

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by giarts-ts-admin
For decades the prolific Jack Loeffler has attended to the sounds of New Mexico—sounds from nature, conversation, song, and storytelling—while also hanging out with its legendary iconoclasts and characters. Loeffler's extensive recordings, chronicles, and transcriptions have contributed to the revival of the traditional music of New Mexico. We invited Loeffler to steep us in the place through his medium of sound.
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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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by giarts-ts-admin

What often is lost in cultural policy conversations or research reports about the visual arts world is an examination of how ethnic-specific cultural practices and the dynamics of non-collecting museums and artist-centered organizations keep the art world from be-ing static and dull, from being victimized by the hierarchies of taste or the technocratic aims of cultural managers. Any analysis of the sociology of the visual arts field needs to speak about the relationship between the aesthetic content of a work and the contexts in which different aesthetic inquiries are supported.

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by giarts-ts-admin

This article is dedicated by the author to the memory of Mois Cruz Sánchez. Moisés, like Filemon, was a native of San Juan Mixtepec in La Mixteca in Oaxaca. He was a migrant farmworker. His dream was that Mixteco citizens in his village elect one of their own to the village governing body, independent of the local caciques [political bosses]. He fulfilled that dream and was elected mayor of his village four years ago. He also worked for the transnational organizing of the Mixteco people and founded an organization for that work.

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by giarts-ts-admin

"I believe that if we can keep our values close, our imaginations open, and our stories fierce, we can and will win." - Thenmozhi Soundararajan

Introduction

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by giarts-ts-admin

These thoughts were sparked by attending the Council on Foundations 57th Annual Conference, "Philanthropy: Investing in the Vision of Progress." I was especially engaged by the plenary remarks of George Soros and Newt Gingrich.

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by giarts-ts-admin

122 pages. Western States Arts Federation (WESTAF), 1743 Wazee Street, Suite 300, Denver, CO 80202, 888-562-7232 or 303-629-1166, staff@westaf.org

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