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Annual Report 2011 Image: K.Huang, TransCultural Exchange 2011 Conference on International Opportunities in the Arts TransCultural Exchange’s 2011 Annual Report 516 East 2nd Street, #30 Boston, MA 02127 617.464.4086 www.transculturalexchange.org 2011 ANNUAL REPORT Executive Summary In 2007, TransCultural Exchange thought to bring the world to Boston for our first biennale Conference on International Opportunities in the Arts. The idea was to provide a forum for American artists to learn about opportunities to interact with their international peers, find ways to launch their careers abroad and expand their horizons beyond their studio walls. What we didn’t expect was that such a large number of the attendees would go on to do just that. Emboldened, we tried the experiment again. And then, further encouraged by the second experience and a newly formed international advisory board, we did the same this year—on a scale that still leaves me astonished by how large the dream has grown. The number of speakers at our 2011 Conference nearly tripled, the days doubled and the locations quadrupled. Concerts, readings, exhibits, a screening program and over 600 portfolio reviews were added; and, focusing the panels into topic-oriented sessions proved to be a huge success. Now, with six years of data from Conference surveys and evaluations, we can show that nearly 70% of our attendees receive direct, tangible outcomes as a result of the Conferences alone. (When considering those participating in both a Conference and another TransCultural Exchange program, this percentage increases to over 80%). For instance, since 2009 five artists have secured teaching appointments, three Fulbright grants, four curatorial jobs, three arts administration positions, and more than 150 artists received exhibition invites. More specifically, the Cambridge artist Judith Motzkin was awarded a sculpture commission from the Latin American based ArtCorps. Internships were offered to volunteers, such as Kitty Huang who was invited to work at the Taipei Artists Village (TAV) in the summer of 2011. Two Boston musicians performed at Beijing’s Central Conservatory. And, nearly 50 local artists participated in residencies in France, Malta, Iceland, South Africa, Romania, Germany, Greece, Korea, Taiwan and South Korea. (These typically include free studio space, room, board, an exhibit and the ability to directly engage with an international community, from 2 weeks to a year). According to the 2011 post-Conference surveys, more than 50% of the respondents noted that the Conferences provide “greater geographical exposure” (63.6%), “expanded local networks” (54.2%), “expanded international networks” (69.9%) and “new collaborations” (54.2%). More than 25% noted increased sales and over 48% said that they received new commissions or job offers. Typically, such international experiences are generative and sustaining. As the Amherst artist and curator Anne La Prade wrote about her invitation to show at Shanghai’s Zendai MoMA: “The experience opened my eyes up to a new and fascinating culture. This was the first visit to China for myself and the other three artists. During our two-week stay, we met curators, artists and had the chance to travel, all of which left an indelible impression. This incomparable experience opened up new directions in my studio practice, expanded my professional contacts and has led to invitations to speak and present at other institutions.” Similarly, Newton-based artist Ellen Schon was invited to Finland’s Hovinkartano Art Center’s residency, which led to another in Croatia and further exhibitions in the US, Finland, Germany, Romania and Israel. Additionally, Cambridge-based Blake Basher sold his first works (including to a museum) at his first residency in Romania last year. Arts organizations (which represent over 30% of the conference attendees) also profited. Local galleries, such as Somerville’s Nave Gallery, noted increased sales. Sponsors, such as MassArt, saw an increase in applications; universities, such as the School of the Museum of Fine Arts, set up partnerships for exchange programs with India’s Kanoria Art Center and Istanbul’s Koc University, among others. Local institutions benefited from lectures and critiques made by the Conference speakers. Students made valuable contacts as Conference volunteers; for example, all of the a/v volunteers received at least one residency invite. Other arts organizations repeatedly noted gaining “new artists for their programs,” “awareness of new resources” and “increased visibility.” We are proud of these results; and, realizing the growing importance of these Conferences, we are exceedingly grateful to our Board of Trustees, Advisory Board and volunteer staff, whose tireless efforts made all this possible. With their advice and kind generosity, we enter 2012 determined to ensure our Conferences’ continued success. Mary Sherman TransCultural Exchange’s Executive Director Gordon Amgott Thaddeus Beal Bonnie Clark Dan Gregory Mary Sherman Joanne Silver Maggie Stark TransCultural Exchange’s Board of Trustees Ute Meta Bauer Mario Caro Jean-Baptiste Joly Machiko Harada Kayoko Iemura Johan Pousette TransCultural Exchange’s Advisory Board FINANCIAL REPORT All financial decisions are made by TransCultural Exchange’s Board of Trustees. The mission of the Board of Trustees is to formulate the policies for the organization, monitor execution of those policies and support the staff in the fulfillment of the organization’s mission through the oversight of finances, healthy governance and oversight of all TransCultural Exchange’s activities and programs. The actual execution of the organization’s programs are the responsibility of the Director and staff. The advisory board, appointed in 2010, serves to help the director with the organization’s programming and provide support and advice. The organization’s staff consists of the director, a freelance webmaster, part-time assistant and intern, all of whom volunteer a minimum of 50% of their time. In addition, the organization draws upon its vast global network for conference speakers and workshop hosts and conference partners for both Conference and attendant exhibits and program support. TransCultural Exchange is extremely grateful to its Conference sponsors: the Asian Cultural Council; Boston University's College of Fine Arts; Massachusetts Cultural Council; John and Abigail Adams Arts Program; Northeastern University; Massachusetts College of Art and Design; Boston Cultural Council; Art Institute of Boston at Lesley University; Art New England; Art Papers; Artspan,; the Consulate General of Israel to New England; the Embassy of Sweden in Wahington, DC; I-Park School of the Museum of Fine Arts, Boston; Studio Art Centers International (SACI); Bank of America Matching Gift Program; Consulat Général de France à Boston; Délégation du Québec à Boston; French Cultural Center of Boston; Richard Lappin and Julia Rabkin; Mercantile Bank and Trust; Second Street and Associates; and swissnex Boston, Consulate of Switzerland. TransCultural Exchange also 2ould like to thank Acme Studios International Residencies Program; the Alliance of Artists Communities; American Airlines; Art New England ; ArtistStay; BerkshireFineArts.com; Boston College; the Boston Public Library; Cankiri Karatekin Universetsi (Turkey); Canvas Fine Arts; Consulate General of Denmark (New York); Edwards, Angell, Palmer & Dodge, LLP; Emmanuel College; Goethe-Institut Boston; Hallspace Gallery; the Harding House; the Irving House at Harvard; Isabella Stewart Gardner Museum; Koç University (Turkey); Massachusetts College of Art and Design; Massachusetts Institute of Technology's Program in Art, Culture and Technology; Northeastern University; over, under; the Point Way Inn; Radcliffe Institute for Advanced Studies; the Rookwood Inn; Swiss Air; University of Massachusetts, Amherst's Hampden and Central Galleries; and the Zamir Chorale for their advertising and/or in-kind support. This program is supported, in part, by a grant from the Boston Cultural Council, a local agency funded by the Massachusetts Cultural Council and administered by the Mayor's Office of Arts, Tourism and Special Events. BUDGET SUMMARY TransCultural Exchange 2011 BUDGET SUMMARY TransCultural Exchange 2011 Personnel Actual In-Kind Total TOTAL PERSONNEL $37,248 $37,400 $74,648 NON-PERSONNEL EXPENSES Accounting $2,085 $7,200 $9,285 Advertising & PR $4,278 $6,910 $11,188 Bank Fees $337 $0 $337 Catalogue Costs $9,804 $0 $9,804 Conference Refunds $2,330 $0 $2,330 Legal $861 $12,800 $13,661 Meals/Entertainment $917 $0 $917 Office Supplies $975 $1,500 $2,475 Parking $405 $0 $405 Telephone $1,503 $0 $1,503 Postage $784 $0 $784 Printing Costs $4,279 $0 $4,279 Residencies $2,005 $16,400 $18,405 Space Rental $62,955 $8,550 $71,505 Survey $0 $4,000 $4,000 Travel $25,019 $28,776 $53,795 Website $444 $2,000 $2,444 NON-PERSONNEL EXPENSES $116,651 $88,136 $204,787 Total Expenses $153,899 $125,536 $279,435 2011 INCOME SUMMARY Type of Income Actual In-Kind Total Earned Income-Conference $29,455 $0 $29,455 Individual $16,673 $49,318 $13,849 Bank Interest $219 $0 $0 CD $5,297 $0 $0 Corporate Foundation $10,720 $75,693 $86,413 Government $4,000 $525 $4,525 In-Kind/Volunteer $0 $0 $0 Total Income $76,364 $125,536 $201,900 Carry forward from 2010 $89.324, primarily from 2010 Conference income Total Profit Loss; carry forward to 2012 $17,816 EXHIBITION ACTIVITIES HERE, THERE AND EVERYWHERE: THE ART OF COLLABORATION Most of the projects that make up Here, There and Everywhere
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