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Monthly Archives:April 2023

ICYMI: Open Society Foundations announces 2023 Puerto Rico Youth Fellows

From the Philanthropy News Digest: The Open Society Foundations has announced the 2023 recipients of its Puerto Rico Youth Fellowships.

Launched in 2018, the program supports Puerto Rican leaders between the ages of 21 and 35 working to elevate climate justice and food sovereignty, promote human rights, and advance decolonization efforts in Puerto Rico.

The third cohort of eight fellows will each receive $45,000 over 18 months to work full-time on their projects, which include teaching young people about food sovereignty, community farming, archival initiatives aimed at documenting the histories of the archipelago, strengthening support for trans and nonbinary people, and launching an art project around menstrual and HIV awareness.

Recipients include Dana Esquilín Rosario (she/her/he), who will work on La Brecha, a project offering healing tools and resources for communities and relatives of incarcerated people; Nicolás X. Gómez Andújar (he/him), who will facilitate the self-management of an inclusive, educational, and cooperative space through the Culebra Fishing Association to address the problems of the fishermen on the island; Carlo André (they/she, him/us), who will develop the queer Barrioization cultural platform and help build the community archive of the town of Manatí, in collaboration with the José S. Alegría Cultural Center; Yira M. Rodríguez Martínez (she/her), who will participate in the development of La Aldea—an initiative that works to preserve and rescue disused spaces in Ponce—from an agroecological, artistic, and educational perspective; Jade M. Algarín Corcino (they, them), who will organize the farming communities of Vieques, Puerto Rico, and Santa Cruz, Virgin Islands, to create an alliance that reflects the shared colonial, cultural, and archeological histories of the two island communities and exchange knowledge to build an authentic Caribbean food system; Lale Namerrow Pastor (they/he), who will work on the Transmasc Network of Puerto Rico, an initiative that proposes to develop links between trans and non-binary people whose gender identity or expression is male; Stephanie Monserrate Torres (she), who will create spaces on the Guakia farm for community empowerment and produce agroecological food with agroforestry practices; and L’orangelis Thomas Negrón (she/they), who will work on Matrilíneo, a project focused on menstrual and HIV awareness, through art, documentation, and narrative justice.

“This year, we have chosen eight fellows that are leading critical projects across Puerto Rico, including Vieques and Culebra,” said Karina Claudio Betancourt, outgoing director of OSF’s Puerto Rico Project. “Their innovation and creativity are what Puerto Rico needs right now to continue to inspire generations to stay on the island and fight for our resources and for our fundamental right to self-determination.”

Learn more about the program and fellows here.

What We’re Reading: Jerome Foundation taps respected, experienced arts leader Eleanor Savage as new president & CEO

The Jerome Foundation has named Eleanor Savage, a highly-respected and experienced arts and philanthropy leader, as its new president and CEO charged with furthering the organization’s commitment to innovative and flexible grantmaking programs for early career artists and arts ecosystems that focus on equity and the role artists and culture bearers play in societal change. Eleanor is also the current Vice Chair of GIA’s board.

“The world and the worlds of arts and culture are more complex than ever. The ways of making art and recognizing the work of artists is evolving,” Savage said. “I’m deeply honored to build on Jerome Hill’s legacy by connecting, listening and responding to create with artists the opportunities that further their efforts to make meaning, tell untold stories and engage in world building.”

Savage, currently the Jerome Foundation’s program director, will assume the president and CEO role May 1, 2023. She succeeds Ben Cameron, the private foundation’s leader since 2015. He retires after a diverse career with significant contributions to the arts community and philanthropic organizations. Cameron followed Cindy Gehrig, Jerome’s president for 38 years, a critical advocate in arts philanthropy for supporting individual artists.

The Jerome Foundation, founded in 1964 by the late artist/painter/photographer/composer/ screenwriter and Academy Award-winning film director and philanthropist Jerome Hill, honors his legacy through multi-year grants that support the creation, development and presentation of new works by early career artists. The foundation supports grants to early career generative artists, and the nonprofit arts organizations that serve them, in all disciplines in Minnesota and the five boroughs of New York City where Hill spent much of his creative career. A St. Paul native, Hill was a grandson of railroad builder James J. Hill.

“Eleanor embodies the Jerome Foundation‘s purpose and values by always showing up in the community to seek ways arts leaders and early career artists support social change through meaningful commitment to equity and addressing racism and long-term inequities,” said Kate Barr, Jerome Foundation board chair and president and CEO of Propel Nonprofits.

Barr added that “as we make this important transition, we are deeply grateful for Ben Cameron’s contributions, especially his leadership in re-imagining and implementing grant programs and internal systems, most notably during the pandemic, in ways that respond to seismic changes in the arts’ ecosystem.”

Board member Sanjit Sethi, president of the Minneapolis College of Art and Design, led the Jerome Foundation’s CEO search with support from the global organizational consulting firm Korn Ferry.

“A position of this importance to our organization and its stakeholders warranted a comprehensive national search that attracted a number of impressive and highly qualified candidates,” Sethi said. “From among these, we are confident and delighted with our choice of Eleanor as the right leader to guide the Jerome Foundation to its next level. She clearly understands and will sustain Jerome Hill’s legacy and life-long commitment to promoting human rights.”

Read the full announcement here.

A Fresh Cut on Flowers

U.S. National Deadline: April 26, 2023 – Church Street Gallery announces an open call to artists for their creative expression via any 2-Dimensional or 3-Dimensional media with a spring or floral theme. Awards…

Worth of Water

U.S. Regional Deadline: May 15, 2023 – Volcano Art Center invites proposals in the form of a drawing for stand alone sculptures or conceptual installations that express the Worth of Water in all its forms…

Guud san glans Robert Davidson at Vancouver Art Gallery

The aesthetic sensibilities of the Haida are some of the most iconic and easily recognizable, a wealth of modern artists bringing the bold styles of their people to modern audiences. From their legendary totem poles to their striking palettes of red, black, and white to powerful linework filled with character to the depiction of the supernatural and natural worlds intertwined,  its form captivates effortlessly. The Vancouver Art Gallery has put forth one of the most respected artists in this vein with their exhibition Guud san glans Robert Davidson: A Line That Bends But Does Not Break.

 

Guud san glans Robert Davidson has been an active artist within British Colombia and across Canada since the 60s. Early in his career, he mentored under the equally renowned Bill Reid, a Haida artist specializing in carving whose design was posthumously honoured on Canada’s two-dollar coin in 2020. That decade saw Davidson carving and raising the first totem pole in nearly a century on Haida Gwaii, an archipelago and Haida Heritage Site off of BC’s coast. His commitment to preserving and spreading his culture is clear, his style being dubbed contemporary-traditional through its cross-pollination of cultural lineage and modern directive.

 

The works on display at The VAG are strong indicators of the modern Haida style at large but especially the impactful sharpness of Davidson’s unique identity within this paradigm. In such works as 1983’s Raven Finned Killer Whale, we see a cultural fingerprint prevalent across Haida artists (the killer whale denoting, amongst other things, family, community, and protection), but a distinct vision of this touchstone through Davidson’s larger-than-life dimension to the creature. It mesmerizes and almost dwarfs the viewer, even with the print being only of modest size.

 

Across each decade we see a spirit of innovation throughout the works presented in the exhibition. One of the most obvious places Davidson’s modern sensibilities are spotted is in the keenly verbose titles of pieces throughout the 90s and 00s. The World is as Sharp as the Edge of a Knife (1993) is as its title suggests, which stems from a Haida proverb that continues: “As you go along you have to be careful or you will fall off one side or the other.” There is a cutting edge to the geometric symmetry displayed in this work, but also a spacious, Earthly quality to its deep blue. It is at once expansive and a razor. Equally striking are the works across Davidson’s focus on red—varying shades of deep crimson that seer with a visceral poignancy that the VAG has brilliantly positioned along contrasting walls that make works like Occupied hard to look away from.

 

Robert Davidson, The World is as Sharp as the Edge of a Knife, 1993, screenprint on paper, Collection of the Vancouver Art Gallery, Gift of Mr. Derek Simpkins

 

In his most recent years, Davidson’s work feels like he takes the traditional figures that have travelled—across his career and from his roots—alongside him and extracts them into looser, more ambiguous parameters. The results, especially in tracking one’s way through the exhibition, make for a sort of re-introduction; seeing an old acquaintance after a significant portion of time has changed the way you look at them. And by no means do these works feel anything less like Davidson. They are simply evidence of how this artist has always endeavoured to progress his process.

 

Guud san glans Robert Davidson: A Line That Bends But Does Not Break is an experience both intellectual and spiritual. Davidson treads a unique course through the context of his own heritage and through the sensibilities of the modern art world to give something that does justice to both. With such evocative expressions of abstract shape and resolute colour, the depictions of a realm somewhere beyond our own are “a masterclass in the Haida language of forms” and not a collection to be missed.

Ballad of the Motherland plunges humanity’s dark depth in wartime

Last week saw the close of Neptune Theatre’s most recent production, Annie Valentina’s new play Ballad of the Motherland. And while the window of opportunity may be closed for now on this production, this work’s impact cannot be understated in the day we live. Through its fearless reimagining of a chillingly relevant news story from 2014, Valentina brings forth a narrative that serves as a claustrophobic window into the looming presence of Russian over Ukrainian identity.

 

Centring around the character of Kate (played by Hannah Wayne-Philips), Ballad of the Motherland tells the story of a small-time Canadian blogger of Ukrainian-Russian descent on a writing internship in 2014 before being kidnapped by Russian separatists. Kate is then under the unrelenting and fervid watch of Volodya (played by Nikolai Afanasev) in an underground bunker. Split between Kate’s post-event narration as detailed to an unseen interviewer and her time spent captured, the story paces with an imperceptible yet weighty flow of time and through her conversations with Volodya and her afterthoughts, grappling with themes of identity, belonging, nationalism, violence, and family.

 

Valentina has long been a fixture in the Halifax theatre community and here she has crafted a work that strikes a chord between her as an individual and the fraught tension ongoing between Russian and Ukraine. Her writing scintillates in the dark and dusty pocket of the world she has crafted. Kate’s voice is one of genuine desire for insight and a thoughtfulness even of her own miserable situation. Through her proud outsider perspective, we are privy to thoughts on queerness, familial rebellion, and a seemingly unflappable spark of hope, or at least survival.

 

Photo by Stoo Metz; courtesy of Neptune Theatre.

 

Valentina creates an equally memorable voice in the unquestioning toxicity of paramilitary jailer Volodya—in him we see an expression of regressiveness (both textually and physically through his assault on Kate) as well as a steadfast sense of honour and tradition, however skewed they may be. We feel terror after terror from this young soldier, but through the playwright’s uncompromising aims for depicting honest humanity, not to mention the vibrant chemistry created between Wayne-Philips’ resolute understanding and Afanasev’s volatile stoicism, the audience is tasked with empathizing, even when faced with the unforgivable.

 

The design of this production paired perfectly with this intimate spectacle of dread. Wes Babcock presented a space that immediately evoked the reality of a sullied cell, Jess Lewis’ lighting and Jordan Palmer’s projection designs made for fascinating tools of narrative division as well as a strong heightening of reality, and Kaelen MacDonald’s costuming was subtle but impactful (the use of a Blockbuster t-shirt as a nod to Ukraine’s blue and yellow was a phenomenal touch). Every element of this show supported the reality of Valentina’s narrative that all too unfortunately resonates so much more now than when she first started in 2014.

 

Ballad of the Motherland is a class act in contained storytelling, and one of immediate and tangible importance to our current world. There are timeless explorations of issues of corrupt nationalism, unquestioned normalization of misogyny, and what one will do to survive; Annie Valentina’s voice shines most especially in these veins. But this play, through the fault of humanity’s propensity for violent expansion, has become a story that deserves hearing across the globe.

Exhibit in Brazil – Contrastes Exhibition

International Deadline: April 20, 2023 – Artly Mix’ announces an opportunity for artists to show their work in Sao Paulo, Brazil without having to be physically present. An exhibition to celebrate the World Art Day…

What We’re Watching: Emergencies, Disasters and The Arts

From the Kentucky Arts Council: Disasters and emergencies are among the largest threats to the careers of artists and livelihood of arts organizations across the country. Yet addressing these issues falls to the bottom of the to-do list when skies are blue and danger is out-of-sight. Join a 5-part series from the Kentucky Arts Council exploring important topics and issues related to emergency and disaster readiness, response and recovery in the arts. The series will culminate with an online event hosted by the National Assembly of State Arts Agencies.

Sessions occur on April 18, May 23, June 21, July 26, and August 23 at 11am ET. Learn more and register here.

ICYMI: Ask Your Senators to Co-Sponsor the Charitable Act

Join United Philanthropy Forum and the broader philanthropic sector in support of the Charitable Act (S.566), a bill that would implement a Universal Charitable Deduction (UCD).

On March 1, 2023, Senators James Lankford (R-OK) and Chris Coons (D-DE) introduced the Charitable Act. The bill allows individual taxpayers who do not otherwise itemize their tax deductions a deduction in taxable years beginning in 2023 or 2024 for charitable contributions. The deduction is limited to one-third of the standard deduction allowed to such taxpayers.

This bi-partisan bill currently has 13 co-sponsors, 7 Democrats and 6 Republicans.

The Charitable Act would restore the non-itemizer charitable deduction and raise the caps from $300 for individuals/$600 for joint filers to one-third of the standard deduction. In 2023, this change would allow taxpayers who don’t itemize to claim a deduction for charitable giving up to approximately $4,600 for individuals/$9,200 for joint filers, in addition to claiming the standard deduction itself. The deduction in the bill would be in effect for taxable years 2023 and 2024 and indexed for inflation.

Charitable dollars are essential to maintaining a healthy civil society, vital to both nonprofit charities and local governments that depend on these resources to achieve their critical missions. The charitable deduction is good tax policy – a simple calculation shows that those in need receive at least $2.50 in benefit for every $1 of tax benefit. This is an impressive return on investment.

The Forum supports the Charitable Act and looks forward to working with you to urge Congress to enact this important legislation.

Learn more here.

The Folio Book Illustration Award

International Deadline: April 19, 2023 – The Folio Book Illustration Award offers aspiring and established illustrators from around the world to provide artwork in response to Ursula K. Le Guin’s. Awards. no fees…