U.S. Multi-State Deadline: September 22, 2023 – Pequot Library announces a call for submissions to its 23rd Annual Juried Art Show. The juried exhibition will be on view in the Library’s historic auditorium. Cash awards…
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Keith Haring’s vibrant expressions of cartoonishly simple humanity in motion have become ubiquitous with the framings of the late 80s art world. His truly individual style is gently suffused with New York queer cultural themes, most especially the AIDS epidemic. Now, for the first time, we’ll see the icon’s works through a lens as pervasive in the era that immediately followed Haring’s death—Christie’s is premiering Haring’s computer drawings with the new NFT auction Pixel Pioneer.
Collecting five separate untitled pieces, the Pixel Pioneer auction is the first time these works have been publicly displayed. Minted on the Ethereum blockchain, these works will be up for auction from September 12th to 20th and are expected to go for approximately $200,000 to $500,000 each. But with early digital works by Andy Warhol going for a collective $3.3 million in 2021, it can be expected that these works may pull in similar numbers, despite the value and interest of NFTs waning.
Keith Haring first came to experiment in computer art thanks to the infamous Timothy Leary, the divisive psychologist and writer who delved the world of psychedelics, pushed back against societal strictures, and coined the phrase “turn on, tune in, drop out.” At the time, Leary was becoming increasingly enthralled with the digital sector, beginning to develop a video game adaptation of William Gibson’s Neuromancer, wanting Haring to create the visuals. While the project (tragically) never moved forward, it gave Haring the chance to create a handful of works on a Commodore Amiga personal computer.
The title of the auction seems a bit of a misnomer given that these works have never seen the light of day to make an impression, and when one considers Haring exhibited a healthy fear for the incoming technology impacting traditional artists. But the work does ring with the energy and life that the artist’s works are always so full of, with Untitled #1 even seeming to be somewhat reflective of his venture into the medium.
With a rocky state continuing for the NFT world, a debut of unseen works by one of art history’s most beloved figures seems like a solid measure to inject life back into the movement. But Pixel Pioneer does have a slight tone to it that seems desperate to tie the legacy of Keith Haring to the culture of Web3.
Few can deny the headline-grabbing capability of besmirching the surface of beloved artworks—just look at the tactics of Just Stop Oil and its adjacent groups. Even despite the fact that these individuals mostly only smeared substances on protective glass, it was met with attention and outcry globally. And while those actions, idealistic but misguided as they were, often caused no lasting harm, there are those so absorbed in their perceived importance that they’ll go to the lengths of plastering over a beloved public art space to make headlines. Enter: Roberto Palacio.
Roberto Palacio is, for all intents and purposes, an unknown quantity in the New York art scene; in the spheres of gallery work, street art, and digital work, he seems to have little reach. This may be precisely the reasoning behind his recent actions. 57 Great Jones Street is the former home and studio of legend Jean-Michel Basquiat, as well as a historical property and popular spot for graffiti homages to the late artist. But as of July 10th, Palacio began a spree of whitewashing every work on the building’s edifice, even going so far as to paint over the commemorative plaque.
Making no attempt to hide himself as the perpetrator, Palacio has documented and taken credit for the actions in meandering and cryptic statements on his Instagram. He claims to be doing performance art as the Marvel character aka Jericho Drumm Brother Voodoo, as well as stating that he had meetings with the building’s owners for an exhibition of his work (a building which is officially being rented by Angelina Jolie, running her fashion label Atelier Jolie from it while aiming to maintain its creative legacy and homages (something the prior tenants, members-only restaurant Bohemian, had failed to do last year in their own whitewashing of the building)).
While street art is ephemeral by nature and lives in the constant possibility of erasure by urban development and private or public remodelling, it is unexpected to see a purported part of the arts community take to wiping away the works of others to increase buzz around him. Robert Palacio claims his actions echo the respectfully iconoclastic Rauschenberg piece Erased de Kooning Drawing, but it is hard to see it as anything more than sensationalizing vandalism.
International Deadline: December 16, 2023 – The Holy Art Gallery is excited to announce ‘Art on Loop Exhibit Berlin’ and invite artists from all countries to submit their works for consideration.. Open theme…
International Deadline: September 15, 2023 – Women United Art Movement, a global platform championing women in the arts, announces a new call for artists for the anniversary issue of its publication…
Submitted by Jaime Sharp on September 5, 2023
“This summer there’s been a steady stream of articles about American theaters in jeopardy, with headlines like ‘Theater Is in Freefall‘ (Washington Post) and ‘American Theater Is Imploding Before Our Eyes‘ (New York Times). Prestigious theaters around the country are pausing and terminating programs and laying off staff,” said Ariel Fristoe for Saporta Report. “Meanwhile, my theater company is booming. Out of Hand Theater has landed on a model that has tripled our income in four years while moving our neighbors to action on important issues and elevating the role of theater in our community. It’s a win for art, a win for business, and a win for our community, and I want to share it in the hopes that other arts organizations can benefit from it in this time of crisis.”
“Pairing theater with information and conversation leads to a culture shift towards social justice, increases visibility, and provides new income streams, making theater financially viable and increasing its community value while serving the greatest community needs.”
“Our Shows in Homes pair one-act plays with cocktail parties and conversations with community partners, and we typically perform in forty to fifty living rooms across Metro Atlanta each year. Shows in Homes have addressed gun violence with Moms Demand Action, mass incarceration with Georgia Justice Project, and political action with Partnership for Southern Equity. We just commissioned our next play, which will tackle Divisive Concepts legislation with the ACLU of Georgia.”
“Our Community Collaborations include a film-based vaccine confidence program developed with the CDC Foundation and delivered across Georgia with the Department of Public Health; a child sex trafficking prevention program for Georgia middle school students developed with the Georgia Council for the Arts, Department of Education, Attorney General’s office, Wellspring Living and Street Grace; and a project addressing HIV stigma with the CDC and Positive Impact Health Centers. We have developed Juneteenth programs for The Home Depot Foundation, EY and UPS, and short plays and films for Habitat for Humanity International, Families First, and Leadership Atlanta.”
“Arts leadership today requires a radical rethinking of the models our sector has relied on for the last 70 years. More than ever before, arts and entertainment are available anywhere, anytime, on any screen, for very little money. The last Survey of Public Participation in the Arts before the pandemic revealed that only 9 percent of U.S. adults attend non-musical theater, and these 9 percent are older, whiter, richer and hold more degrees than the population at large. In this environment, we must invent new reasons for people to venture out into the dark and the heat and the traffic to come to our programs. We must develop innovative programs that provide new revenue streams and make us less dependent on unpredictable individual ticket sales and contributed income.”
“We have big issues to address, both within our sector and in the wider world, and we need to innovate. Don’t replicate the models of the past. They are not strong enough. Push the boundaries of art, and design new models that are more equitable, more sustainable, that galvanize excitement around live arts events, and capitalize on the presence of your attendees. Create work that helps find solutions to the most pressing problems of our time. Help make the world a better, more connected place through art.”
Submitted by Jaime Sharp on September 5, 2023
A majority of Black-led and Black-benefiting nonprofits operate on less than $500,000 a year, a report released by the Young, Black & Giving Back Institute finds, said Candid.
Supported by the Nielsen Foundation through its Data for Good grant program, the report, Grassroots, Black & Giving: How Philanthropy Can Better Support Black-led and Black-Benefiting Nonprofits (25 pages, PDF), found that Black-led and -benefiting nonprofits are often grassroots, hyper-local, and founder-led, with deep connections to the communities they serve.
About 76.8 percent of such nonprofits are operating on a budget of less than $500,000 a year, and nearly one-third operate with just $30,000 a year. Largely made up of volunteers, 43.5 percent of the organizations operate without any paid, full-time employees, and 45.65 percent have no paid, part-time employees.
According to the report, Black-led and Black-benefiting nonprofits also face unique fundraising challenges, with 86.5 percent always or often having trouble accessing a large, diverse number of funding sources, and 72.7 percent always or often challenged to identify or cultivate new funders. Moreover, nearly 53 percent of organizations indicated they would shut down if they lost one or two key funders.
The report calls on philanthropic institutions to fuel the work of Black-led organizations by centering their investment on these organizations, providing them with capacity-building support, and trusting their expertise in pursuing authentic social change strategies.
“It is time for philanthropy to center and abundantly resource Black-led and Black-benefiting social change,” said Ebonie Johnson Cooper, founder and executive director of the Young, Black and Giving Back Institute. “Our survey uniquely highlights the needs, experiences, and attitudes of Black-led and -benefiting nonprofits and the critical role they play in Black communities across the country. Philanthropy must address the funding gap for Black-led social change and recognize that a strong, localized, Black-led nonprofit sector is essential to thriving Black communities.”
Submitted by Jaime Sharp on September 5, 2023
From Artist Communities Alliance: ACA welcomes you to our upcoming Field Conversation, There is No Safety Net: Protections, Relief and Advocacy [on Thursday, September 14 at 12pm CT]. Artists and cultural workers who have been historically under-resourced in areas of pay, protections and direct support are more vulnerable than ever. In a world where the language to provide context is contested and in some places criminalized, ACA’s President and CEO, Lisa Funderburke, will host a timely conversation with advocates and program administrators to explore innovative and practical ways to strengthen support for artists and cultural workers.
Submitted by Jaime Sharp on September 5, 2023
From CCS Fundraising: For 12 years, CCS Fundraising’s Philanthropic Landscape reports have compiled and analyzed the latest research from Giving USA and other leading sources to provide an in-depth look at current trends in U.S. philanthropy. To help inform your fundraising strategy, our 2023 Philanthropic Landscape reveals key industry insights and answers questions like…
Has giving changed following the pandemic era?
How is the “Great Wealth Transfer” affecting donor demographics and causes?
What are the fastest forms of giving?
Have economic conditions impacted rates of giving?
How do nonprofits incorporate DEI efforts into their fundraising?
In what ways can Artificial Intelligence be used as a fundraising tool?
Submitted by Jaime Sharp on September 5, 2023
“Sometimes when we’re living inside a system, it’s hard to imagine what an alternative could look like. In our desire to make progress — to improve the way things work — we focus on a tweak here, a shift in implementation there,” said Althea Erickson, former director of Center for Cultural Innovation’s research and advocacy work. “And to some extent, that can be a good and pragmatic strategy. But it has its downsides.”
“When we seek fixes for the systems we live in, we may unintentionally reinforce and entrench systems that simply don’t work — or worse, undermine our chances of achieving more transformative change. For example, the U.S. social safety net excludes huge swaths of workers — independent artists, domestic workers, farm workers, self-employed workers, sex workers, and undocumented workers, just to name a few. Some of these groups were explicitly excluded, while others were merely overlooked. A lot of effort has gone toward closing these gaps — expanding existing systems to new populations by, for example, including domestic workers in labor laws or excluding workers from unemployment insurance. But what if the 21st-century workforce simply doesn’t fit into 20th-century systems?”
“What if we started fresh and codesigned a set of social and economic protections that meet the needs of today’s workforce, unencumbered by the past? And what if we started that conversation with the workers who have, in the past, been excluded from it — the ones not protected by today’s safety net? What types of protections might we imagine together? And wouldn’t that system be more likely to actually work for everyone?”
“Those questions underpinned ‘Reimagining Social Protections for Independent and Other Traditionally Excluded Workers,‘ an event that the Center for Cultural Innovation co-hosted with the Urban Institute in December 2022, with support from the William and Flora Hewlett Foundation’s Performing Arts Program. We brought together worker advocates representing nontraditional workers from across a wide swath of sectors — arts workers, domestic workers, migrant workers, temporary workers, street vendors, migrant workers, sex workers, and more. Together, we set aside the constraints of today’s systems and gave ourselves permission to imagine an alternative vision of economic security for everyone who contributes to a well-functioning society, to dream beyond barriers of all kinds.”