Faith Flanagan organizes MUSE, which is a monthly art salon at DCAC. Each session is an opportunity to talk about contemporary art at a monthly get-together. Each salon features a discussion with a member(s) of the local arts community, followed by a chance for audience members to show slides or samples of their work.

The next MUSE is this Sunday, February 1, 7:30pm when the guests are Robert Lehrman, gallery owner George Hemphill, and Washington Post art critic Blake Gopnik. They will be joining MUSE this month to discuss collecting art, museum trusteeship and stewardship. For more info email Faith at salon@dcartscenter.org.

Swann Foundation to Award Fellowship for Caricature and Cartoon Research - DC
Deadline: February 13, 2004. Administered by the Library of Congress, the Swann Foundation for Caricature and Cartoon promotes the study, interpretation, preservation and appreciation of original works of humorous and satiric art by graphic artists from around the world. The Swann Foundation Fund awards one fellowship annually with a stipend of $15,000 to assist ongoing scholarly research and writing projects in the field of caricature and cartoon. For more complete information, visit their website.

Some artist residencies...

Artist Community: Montana Artists Refuge.
Deadline: May 15, 04. The Montana Artists Refuge is an artist-led residency community, which provides a variety of affordable short and long-term living and studio spaces for visiting artists in the uniquely scenic, historic mining town of Basin, MT. The Refuge was established for artists to be able escape from the day-to-day struggle of living in order to have the gift of time, freedom and solitude to create and rejuvenate. The Refuge exists to create a quality environment for artists to work, as well as the opportunity for artistic collaboration in a creative community. The Refuge supports a variety of contemporary arts disciplines such as visual, music, performance and literary arts. Additionally, the Refuge maintains programs that are designed to enhance the residential programs and create a thriving and vital community for the arts both within the residencies and the greater community. As of December 2003, the Refuge has hosted more than 100 artists from 24 states and seven nations including Poland, China and South Africa. The Refuge has also hosted Native American artists from such nations as the Cheyenne, the Blackfeet and Crow. Qualifications: The Montana Artists Refuge is a 501(c)(3) corporation and has been in existence since 1993. The Montana Artists Refuge has created a vital artist community in a rural setting which includes art exhibitions, live performances and workshops and foster community awareness and participation in the arts. How to Apply: visit website and download application here.

Byrdcliffe Arts Colony - New York
One-month residencies for artists. Beautiful, historic setting, secluded yet close to town of Woodstock, NY. Private room and studio space in rustic turn-of-century inn. Access to galleries, performances, hiking. $600 per four-week session. June-Sept. Deadline: April 1. Summer cottages also available May-Oct.; March 1 deadline. Send SASE to The Woodstock Guild, Artist in Residence Program, 34 Tinker Street, Woodstock, NY 12498.

Jentel Artist Residency Program - Wyoming
Jentel Artist Residency Program offers one-month residencies in rural ranch setting that include accommodation, studio, and $400 stipend to visual artists and writers. For application download it here or send request with self-addressed label and $.60 postage to: Jentel Artist Residency Program, 130 Lower Piney Creek Road, Banner, WY 82832. Deadline: January 15, 2004 for May 15-December 13, 2004 residencies. Deadline: September 15, 2004 for January 15-May 13, 2005 residencies.

DC Commission on the Arts and Humanities Deadlines for its Small Projects Program:

Deadline: March 4, 04. The Small Projects Program (SPP) offers grants up to $1,000 to District of Columbia individual artists and arts organizations. The program seeks to make grant funds more accessible for small-scale arts projects. Projects may include but are not limited to: Art presentations; Assistance in fundraising, marketing, and management; Documentation of artistic activities through photography, brochures, portfolios, and demo tapes; Conferences, workshops, or seminars that will enhance artistic and professional development.

Upcoming deadlines for Small Projects Program applications is Thursday, March 4, 2004, 6:00 pm. Workshops to help artists fill out applications will be held on Thursday, February 26, 2004, 12:00 - 1:00 pm The SPP workshop will be held at the Commission's office at 410 8th St., NW, Fifth Floor, Washington, DC 20004. Download the FY2003 Small Projects Program Guidelines and Application here. For more information on the Small Projects Program or to receive an application in the mail, please call Lionell Thomas at (202) 724-5613 / (202) 727-3148 TDD.

I'm in San Diego for a bit... will post some more opportunities and some insights about the San Diego art scene when I get back...

Video artist and photographer Darin Boville comes through again with some valid and intelligent thoughts and ideas on the drive to kick-start DC's art scene.

"I read your #9 on your list of things to do to make the DC area a center for the arts. You are absolutely right that there is little coverage of the arts (visual arts) in the DC area. But I don't think we are ready to move on the media ideas yet...here are a few things to think about (you'll need to have these answers ready to talk with the money-people and the news people anyway--let's work it out ahead of time):

1) List and describe the ten most interesting DC-area art news items that didn't get covered by the Washington Post, radio stations, etc. What are we missing by not having this coverage? The list that is produced needs to be good--it needs to make people sit back and think, "Damn, I didn't know *that* was going on!" If we don't have that we won't get covered. We won't *deserve* to get covered.

Don't get sidetracked with the idea that art shows deserved to be reviewed, say, like movies. Movies are in a different world, news-wise. They've got a huge audience, genuine stars, and big money. Count the dollar value of the tickets sold in one night, on one screen at your local movie theater. Multiply by the number of screens within a 20-minute radius. Compare to total yearly gross sales of contemporary art in the DC area. Forget about being reviewed like the movies.

Be jealous of the theater. They get reviewed and we don't. Why? Maybe demographics? People who can afford theater ticket prices are very desirable to advertisers. If you were in charge of the Washington Post and faced those same business pressures what would you choose to do with your limited space? Hold this thought (see below).

2) Sponsors. Money is not cheap. What are we offering? A chance to support the DC art scene. Whoopie. That translates as giving hard earned money to a charity that is by and large peopled by and which on the whole supports people who do not like the same sorts of large corporations which are giving the money. And for this unrewarded generosity the corporation is asked to expose itself to the chance that the programming it supports will endorse or display highly controversial (sexual and political) topics that the corporation is frankly not interested in supporting. It has its own stake-holders, ya know. Have we thought out the moral decision we will need to make when we come with our hand out? Yes, go for the money, but what will we say to all of the arts people who will soon cry "censorship"? Liberals eat their own. Remember that.

Even with reassurances that care will be taken and respect for the sponsor will be demonstrated, we still haven't given them a compelling reason why they should care. Come to think of it, why should they care?

3) So what to do? Build from the ground up. We need data. We need data to convince all those media people that we aren't talking about charity for the arts (yawn) but about doing something to please their existing audience and doing something to attract the people that will make up those desirable demographics.

How big is the audience for the visual arts in the DC area? How does it breakdown by region, by gender, by race, by income level? How many people in the Washington Post's audience, for example, read the existing articles on the DC arts scene? Those demographics. I haven't a clue. Do you?

Start with the Post itself. Do they ask questions in their demographic surveys that are relevant to the arts? We either need to analyze that data, get them to include arts questions in future surveys, or do our own data collection.

4) So there is something we can do right there. Call all the local galleries. Get them signed on to our bran-spanking new "I love the Arts (in DC)" drive. Everybody at every opening gets a postcard with demographic fill-in-the-blanks. We hand them out in Dupont Circle, Bethesda, etc. Pre-paid postcards, of course. Nothing is free. We gather data. At the same time we build support through the data collection effort itself. In fact, the data collection effort is real news and the results of the data collection are news, too. No need to beg for reviews. We've got news. Heck, we might even develop a list of people who want to be on the new DC-wide arts mailing list (the one that we just now decided to put together) and--heaven forbid, a list of possible financial supporters (not to buy art, but to fund our future arts-building activities).

That's enough for now!

--Darin"

One more thing for die-hard Castro apologists to try to defend: Fidel Castro has sentenced 10 Cuban librarians to 20 years in jail for stocking George Orwell's 1984 in Cuban libraries.

One more thing for blind devotees of the United Nations to try to defend: After Castro sent the 10 librarians and 65 other dissidents into his prisons, the notorious U.N. Human Rights Commission (which I think is headed by that human rights leader Lybia) refused to pass a condemnation of Castro and now has also turned down a resolution introduced by Costa Rica calling for the immediate release of the prisoners.

It is brutal repression like this that fuels the art of many Cuban artists within this poor island prison and part of the reason that Cuban art is in such high demand.