FY21 CDF List of Grantees.Xlsx
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
“From the Cracks in the Sidewalks of NYC”: The
“From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Urban Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 by Elizabeth Healy Matassa B.A. in Italian and French Studies, May 2003, University of Delaware M.A. in Geography, May 2006, Louisiana State University A Dissertation submitted to The Faculty of The Columbian College of Arts and Sciences of The George Washington University in partial fulfillment of the requirements for the degree of Doctor of Philosophy January 31, 2014 Dissertation directed by Suleiman Osman Associate Professor of American Studies The Columbian College of Arts and Sciences of the George Washington University certifies that Elizabeth Healy Matassa has passed the Final Examination for the degree of Doctor of Philosophy as of August 21, 2013. This is the final and approved form of the dissertation. “From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 Elizabeth Healy Matassa Dissertation Research Committee: Suleiman Osman, Associate Professor of American Studies, Dissertation Director Elaine Peña, Associate Professor of American Studies, Committee Member Elizabeth Chacko, Associate Professor of Geography and International Affairs, Committee Member ii ©Copyright 2013 by Elizabeth Healy Matassa All rights reserved iii Dedication The author wishes to dedicate this dissertation to the five boroughs. From Woodlawn to the Rockaways: this one’s for you. iv Abstract of Dissertation “From the Cracks in the Sidewalks of N.Y.C.”: The Embodied Production of Urban Decline, Survival, and Renewal in New York’s Fiscal-Crisis-Era Streets, 1977-1983 This dissertation argues that New York City’s 1970s fiscal crisis was not only an economic crisis, but was also a spatial and embodied one. -
Feast Your Famine
Feast Your Famine: a watch-and-play is an interactive five-night performance-and-social-action hybrid event, re-envisioning the legacy of the "hero" in Western culture from medieval knights to today and seeking to practice new realities in community. With possibilities for multi-day game play or a single night's experience, audiences can join a diverse body of artists and activists in a journey of boundary crossing, soul-troubling, and action through both avant garde and traditional performances and social-action events -- set inside the framework of a re-imagined medieval feast. For details on the schedule and the presenters, please visit the Feast Your Famine website and follow the event on Instagram @feastyourfamine. This event is a result of Wistaria Project's Re-Residency, in which we "re-gift" the Performing Artist Residency we received from The Center at West Park to an exciting diversity of performers and activists. Each Re-Resident will present their work on one night of the festival. The Re-Resident Cohort has worked together to devise First Night and Last Night -- the opening and closing of the feast -- with interactive, hybrid performance/events to bring us together to imagine, engage, and take action here and now. Wednesday, November 13. FIRST NIGHT An interactive event inside a re-invented, justice-oriented medieval “feast”, created by the Re-Residents. Songs. Poetry. Activities. Quests. Re-Residents Mz Aza Metric Eric Farber Dhira Rausch Hee Ran Lee Jace Valentine (IntegrateNYC) Kelsey Pyro Monica Carillo Timothy Craig Wistaria Project Zafi Dimitropoulou Liquid Courage written by Kevin Green (Black Revolutionary Theater Workshop) Kevin Green is a Brooklyn-based actor/writer/producer. -
Cultural Guide for Seniors: Brooklyn PHOTOGRAPHY
ART / DESIGN ARCHITECTURE DANCE / SING THEATRE / LIVE MONUMENTS GALLERIES / ® PARKSCultural Guide for Seniors: Brooklyn PHOTOGRAPHY Acknowledgments NYC-ARTS in primetime is made possible in part by First Republic Bank and by the Rubin Museum of Art. Funding for NYC-ARTS is also made possible by Rosalind P. Walter, The Paul and Irma Milstein Foundation, The Philip & Janice Levin Foundation, Elise Jaffe and Jeffrey Brown, Jody and John Arnhold, and The Lemberg Foundation. This program is NYC-ARTS.org supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council. On multiple platforms, Thirteen/WNET’s Additional funding provided by members of NYC-ARTS aims to increase awareness of THIRTEEN. New York City’s nonprofit cultural organizations, whose offerings greatly benefit We are grateful to Megan Flood for residents and visitors—from children to adults, contributing the design of the cover of this and teenagers to senior citizens. publication. NYC-ARTS promotes cultural groups’ We are grateful for the cooperation of the activities and events to tri-state, national and cultural organizations that supplied information international audiences through nonprint media, for this guide. using new technologies as they develop. Through websites, television, mobile applications and social media, NYC-ARTS This program is supported, in part, by nurtures New York City’s position as a public funds from the New York City thriving cultural capital of the world, one that Department of Cultural Affairs. has both world renowned institutions and those that are focused on local communities. WNET 825 Eighth Avenue New York, NY 10019 http://WNET.org (212) 560-2000 Cover Design: Megan Flood Copyright © 2012 WNET Table of Contents A.I.R./Artists in Residence Gallery............................................................................. -
Historic Lower Manhattan
Historic Lower Manhattan To many people Lower Manhattan means financial district, where the large buildings are designed to facilitate the exchange of money. The buildings, streets and open spaces, however, recall events that gave birth to a nation and have helped shape the destiny of western civilization. Places such as St. Paul's Chapel and Federal Hall National Memorial exemplify a number of sites which have been awarded special status by the Federal Government. The sites appearing in this guide are included in the following programs which have given them public recognition and helped to assure their survival. National Park Service Since its inauguration in 1916, the National Park Service has been dedicated to the preservation and management of our country's unique national, historical and recreational areas. The first national park in the world—Yellowstone—has been followed by the addition of over 300 sites in the 50 states, Puerto Rico and the Virgin Islands. National Park areas near and in Manhattan are: Theodore Roosevelt Birthplace National Historic Site, Fire Island National Seashore, Gateway National Recreation Area, Sagamore Hill National Historic Site, Hamilton Grange National Memorial, and General Grant National Memorial. National Historic Landmarks National Park Service historians study and evaluate historic properties throughout the country. Acting upon their findings the Secretary of the Interior may declare the properties eligible for designation as National National Parks are staffed by Park Rangers who can provide information As the Nation's principal conservation agency, the Department of the Historic Landmarks. The owner of such a property is offered a certif to facilitate your visit to Lower Manhattan. -
Encorethe Performing Arts Magazine Altria 2006 ~ Ext Wa \Le Eesllilal
October 2006 2006 Next Wave Festival *~ ...."""......,...<... McDermott & McGough, THIS IS ONE OF OUR FAVORITE PAINTINGS, 1936/2005 BAM 2006 Next Wave Festival is sponsored by: ENCOREThe Performing Arts Magazine Altria 2006 ~ ext Wa \Le EeslliLaL Brooklyn Academy of Music Alan H. Fishman William I. Campbell Chairman of the Board Vice Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer presents Mycenaean Written and directed by Carl Hancock Rux Approximate BAM Harvey Theater running time: Oct 10, 12-14, 2006 at 7:30pm one hour and 30 minutes, Writer/director/music Carl Hancock Rux no intermission Lighting/sound design, co-video design Pablo N. Molina Co-video design, music, programming Jaco van Schalkwyk Mask design, co-scenic design Alison Heimstead Co-scenic design Efren Delgadillo Jr. Costume coordination Toni-Leslie James Dramaturgy Morgan Jeness BAM 2006 Next Wave Festival is sponsored by Altria Group, Inc. Music programming at BAM is made possible by a generous grant from The New York State Music Fund, established by the New York State Attorney General at Rockefeller Philanthropy Advisors. Leadership support for BAM Theater is provided by The Shubert Foundation, Inc., with major support from SHS Foundation, Francena T. Harrison Foundation Trust, Harold and Mimi Steinberg Charitable Trust; and additional support from Billy Rose Foundation, Inc. Mycenaeaol..--- _ Cast Carl Hancock Rux Racine/Hippolytus Helga Davis Arachne Patrice Johnson Aricia Tony Torn Daedalus David Barlow Video Documentarian Ana Perea Dream Theorist Darius Mannino Dreamer/Soldier/Phillippe Celia Gorman Dreamer/Naiad/Nathalie Christalyn Wright Dreamer/Naiad Marcelle Lashley Dreamer/NaiadlWoman Niles Ford Dreamer/Soldier/ Minotaur Paz Tanjuaquio Dreamer/Naiad Kelly Bartnik Dreamer/Naiad Production Producer Carl Hancock Rux Executive Producers Stephen M. -
News of the Strange
Target Margin Theater 232 52nd Street Brooklyn, NY 11220 718-398-3095 Targetmargin.org @targetmargin Founding Artistic Director: David Herskovits Associate Artistic Director: Moe Yousuf General Manager: Liz English Space Manager: Kelly Lamanna Arts Management Fellow: Frank Nicholas Poon Box Office Manager: Lorna I. Pérez Financial Consultants: Michael Levinton, Patty Taylor Graphic Designer: Maggie Hoffman Interns: Sarah McEneaney, Matt Hunter Press Representation: John Wyszniewski/Everyman Agency BOARD OF DIRECTORS NEWS OF THE Hilary Alger, Matt Boyer, David Herskovits, Dana Kirchman, Kate Levin, Matt McFarlane, Jennifer Nadeau, Adam Weinstein, Amy Wilson. STRANGE LAB ABOUT US Target Margin is an OBIE Award-winning theater company that creates innovative productions of classic plays, and new plays inspired by history, literature, and other art forms. In our new home in Sunset Park we energetically expand the possibilities of live performance, and engage our community at all levels through partnerships and programs. TMT PROGRAMS INSTITUTE The Institute is a year-long fellowship (January – December) that provides five diverse artists space, support and a $1,000 stipend to challenge themselves and their art-making practice. 2019 Fellows: Sarah Dahnke, Mashuq Mushtaq Deen, Yoni Oppenheim, Gabrielle Revlock, and Sarah K. Williams. ARTISTS-IN-RESIDENCE The Artist Residency Program provides established, mid-career and emerging artists up to 100 hours of dedicated rehearsal and developmental space. Each residency is shaped to meet the specific needs of each artist and will include a work-in-progress free to the public. 2019 Artists-in-Residence: Tanisha Christie, Jesse Freedman, Sugar Vendil, Deepali Gupta, Sarah Hughes, and Chana Porter. SPACE RENTALS THE DOXSEE THEATER Our SPACE program provides long term / short term studio nd space for all artists to gather and engage in their creative / 232 52 Street, BK 11220 cultural practices. -
Lower Manhattan/The Financial District
05_773395 ch01.qxd 2/6/06 7:39 PM Page 7 • Walking Tour 1 • Lower Manhattan/The Financial District Start: Battery Park/U.S. Customs House. Subway: Take the 4 or 5 to Bowling Green, the 1 to South Ferry, or the R or W to Whitehall Street. Finish: African Burial Ground. Time: Approximately 3 hours. Best Time: Any weekday, when the wheels of finance are spin- ningCOPYRIGHTED and lower Manhattan is a maelstrom MATERIAL of activity. Worst Time: Weekends, when most buildings and all the finan- cial markets are closed. The narrow, winding streets of the Financial District occupy the earliest-settled area of 7 05_773395 ch01.qxd 2/6/06 7:39 PM Page 8 8 • Memorable Walks in New York Manhattan, where Dutch settlers established the colony of Nieuw Amsterdam in the early 17th century. Before their arrival, downtown was part of a vast forest, a lush hunting ground for Native Americans that was inhabited by mountain lions, bobcats, beavers, white-tailed deer, and wild turkeys. Hunters followed the Wiechquaekeck Trail, a path through the center that today is more often referred to as Broadway. This section of the city still centers on commerce, much as Nieuw Amsterdam did. Wall Street is America’s strongest symbol of money and power; bulls and bears have replaced the wild beasts of the forest, and conservatively attired lawyers, stockbrokers, bankers, and businesspeople have supplanted the Native Americans and Dutch who once traded otter skins and beaver pelts on these very streets. A highlight of this tour is the Financial District’s architec- ture, in which the neighborhood’s modern edifices and grand historical structures are dramatically juxtaposed: Colonial, 18th-century Georgian/Federal, and 19th-century neoclassical buildings stand in the shadow of colossal modern skyscrapers. -
The Direct Action Politics of US Punk Collectives
DIY Democracy 23 DIY Democracy: The Direct Action Politics of U.S. Punk Collectives Dawson Barrett Somewhere between the distanced slogans and abstract calls to arms, we . discovered through Gilman a way to give our politics some application in our actual lives. Mike K., 924 Gilman Street One of the ideas behind ABC is breaking down the barriers between bands and people and making everyone equal. There is no Us and Them. Chris Boarts-Larson, ABC No Rio Kurt Cobain once told an interviewer, “punk rock should mean freedom.”1 The Nirvana singer was arguing that punk, as an idea, had the potential to tran- scend the boundaries of any particular sound or style, allowing musicians an enormous degree of artistic autonomy. But while punk music has often served as a platform for creative expression and symbolic protest, its libratory potential stems from a more fundamental source. Punk, at its core, is a form of direct action. Instead of petitioning the powerful for inclusion, the punk movement has built its own elaborate network of counter-institutions, including music venues, media, record labels, and distributors. These structures have operated most notably as cultural and economic alternatives to the corporate entertainment industry, and, as such, they should also be understood as sites of resistance to the privatizing 0026-3079/2013/5202-023$2.50/0 American Studies, 52:2 (2013): 23-42 23 24 Dawson Barrett agenda of neo-liberalism. For although certain elements of punk have occasion- ally proven marketable on a large scale, the movement itself has been an intense thirty-year struggle to maintain autonomous cultural spaces.2 When punk emerged in the mid-1970s, it quickly became a subject of in- terest to activists and scholars who saw in it the potential seeds of a new social movement. -
Hans Ulrich Obrist a Brief History of Curating
Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist. -
Performance Measurement Report
THEATER SUBDISTRICT COUNCIL, LDC Performance Measurement Report I. How efficiently or effectively has TSC been in making grants which serve to enhance the long- term viability of Broadway through the production of plays and small musicals? The TSC awards grants, among other purposes, to facilitate the production of plays and musicals. The current round, awarding over $2.16 million in grants for programs, which have or are expected to result in the production of plays or musicals, have been awarded to the following organizations: • Classical Theatre of Harlem $100,000 (2009) Evaluation: A TSC grant enabled the Classical Theatre of Harlem to produce Archbishop Supreme Tartuffe at the Harold Clurman Theatre on Theatre Row in Summer 2009. This critically acclaimed reworking of Moliere’s Tartuffe directed by Alfred Preisser and featuring Andre DeShields was an audience success. The play was part of the theater’s Project Classics initiative, designed to bring theater to an underserved and under-represented segment of the community. Marketing efforts successfully targeted audiences from north of 116th Street through deep discounts and other ticket offers. • Fractured Atlas $200,000 (2010) Evaluation: Fractured Atlas used TSC support for a three-part program to improve the efficiency of rehearsal and performance space options, gather useful workspace data, and increase the availability of affordable workspace for performing arts groups in the five boroughs. Software designers created a space reservation calendar and rental engine; software for an enhanced data-reporting template was written, and strategies to increase the use of nontraditional spaces for rehearsal and performance were developed. • Lark Play Development Center $160,000 (2010) Evaluation: Lark selected four New York playwrights from diverse backgrounds to participate in a new fellowship program: Joshua Allen, Thomas Bradshaw, Bekah Brunstetter, and Andrea Thome. -
Pathetic Pathetic
JUNE 5–23, 2019 MINOR THEATER PATHETIC PATHETIC WRITTEN AND DIRECTED Teen girls experiment with sex, magic and murder Julia Jarcho while mom sinks deep into lust and self-loathing. PRODUCTION DESIGN Ásta Bennie Hostetter A teen-drama riff on Racine’s Phèdre, Minor Theater’s PATHETIC invites you to get off on the LIGHTING DESIGN Christina Watanabe sick horrors of becoming a woman. SOUND DESIGN Ben Williams Minor Theater makes plays in a minor key. With dark VIDEO DESIGN humor and goofball precision, we lure you into the tunnels Jennifer Seastone where we feed off pop culture’s sticky undergut. Our plays ASSISTANT DIRECTOR are written and directed by Julia Jarcho in collaboration Kedian Keohan with award-winning theater artists Ásta Bennie Hostetter, Jennifer Seastone, and Ben Williams. Shows include PRODUCTION STAGE MANAGER Kendall Allen* GRIMLY HANDSOME (2013 OBIE, Best New American Play), THE TERRIFYING (Abrons 2017); NOMADS (dir. by Alice ASSISTANT STAGE MANAGER Taryn Uhe Reagan, Incubator 2014); DREAMLESS LAND (New York City Players/ Abrons, 2011); and American Treasure (13P, PRODUCTION MANAGER Michelle Lane 2009). We are champions of weird desire. PRODUCER Ann Marie Dorr MINOR THEATER MANAGEMENT ASSOCIATE Jordan Baum GRAPHIC DESIGNER Cody Carvel FEATURING Jordan Baum, Kim Gainer*, Kristine Haruna Lee*, Linda Mancini, Jennifer Seastone*, Ben Jalosa Williams* VIDEO APPEARANCE Hubert Point-Du Jour CREW Melissa Erickson, Cody Henson, Evan Herman-Chin, James Kogen, Claire Kostova, Nicholas Santagie, Lily bo Shapiro, Latyana Smith, Diane VanDenberghe, Carl Whipple *Appearing courtesy of Actors’ Equity Association. Equity Approved Showcase. MINOR THEATER PATHETIC ABOUT PATHETIC CAST & CREW Kendall Allen (Production Stage Manager ) is a Stage Manager, Director, and Intimacy Choreographer. -
Winter 2006 - 2007 BARGEMUSIC FULTON FERRY LANDING, BROOKLYN
Winter 2006 - 2007 BARGEMUSIC FULTON FERRY LANDING, BROOKLYN It doesn’t take long to hear what makes Bargemusic the perfect chamber music hall... In a standard hall, even a comparatively small one like Alice Tully or Merkin, the sound they produced would have been not just quiet, but distant as well. In the intimate confines of Bargemusic, though, this restrained passage sacrificed nothing in presence or fine-grained detail. Allan Kozinn, The New York Times 52 WEEKS A YEAR WWW.BARGEMUSIC.ORG THURSDAY, FRIDAY, [email protected] SATURDAY AND (718) 624-2083 SUNDAY (718) 624-4061 “To understand the universality of music, try swaying in the wakes of passing sightseeing boats while listening to Liszt’s music... played on a piano framed against the night skyline of Lower Manhattan. Moored beneath the Brooklyn Bridge and floating in the East River, Bargemusic, its loyal followers and its beautiful if improbable setting soldier on.” - Bernard Holland, The New York Times June 25, 2005 RESERVATIONS Call: (718) 624-2083 in the office or (718) 624-4061 on the Barge. Seats are assigned in order of phone call or email. Email: [email protected] Ticket Prices: Regular: $35 / Enhanced: $40 Seniors: $30 (Thursdays and Fridays) / Full-time* Students: $20 Special concerts as listed, for everyone. Purchase tickets at the concert by cash or check only, please. Ask about group sales. Credit Cards by Phone: Purchase tickets with MasterCard or VISA, only by telephone at (718) 624-2083. Cancellations: Please let us know before the concert if you cannot attend so that your seat can be reassigned.