Transcultural Exchange's 2011 Conference on International Opportunities in the Arts," December 14, 2010

Photo: Laura Chichisan

TransCultural Exchange’s 2011 Conference on International Opportunities in the Arts Economic Impact Analysis and Program Evaluation

516 East 2nd Street, #30 Boston, MA 02127 617.464.4086 www.transculturalexchange.org

2011 Conference on International Opportunities in the Arts Economic Impact Analysis and Program Evaluation

Evaluation Staff

Submitted by Mary Sherman Virginia Fretto

Research Assistant Marie Gouyon

Editorial Assistance Gavin Frome Katherine Higgins

Layout Yao Xiao

Online Survey Tool and Portal: Dr. Tucker Marion Assistant Professor in Northeastern University’s College of Business, School of Technological Entrepreneurship

Outside Evaluation: Dr. Ann M. Galligan Senior Instructor in Global Studies and International Relations at Northeastern University’s College of Professional Studies

Correspondence and inquiries should be addressed to TransCultural Exchange, 516 E. 2nd Street, #30, Boston, Massachusetts, 02127, 617.464.4086, [email protected]

2011 Conference on International Opportunities in the Arts Economic Impact Analysis and Program Evaluation

Table of Contents

EXECUTIVE SUMMARY ...... 9

1.00 INTRODUCTION ...... 15

1.10 ARTS IN THE GLOBAL ECONOMY 15 1.11 Added Benefit 15 1.20 A BRIEF HISTORY OF TRANSCULTURAL EXCHANGE AND ITS CONFERENCE ON INTERNATIONAL OPPORTUNITIES IN THE ARTS 19 1.30 CONFERENCE, EXHIBITION AND EXCHANGE SUPPORT 21 1.40 CONFERENCE HEADQUARTERS AND EXHIBITION FACILITIES 21 1.50 CONFERENCE STAFF AND SUPPORT 22 2.00 ECONOMIC IMPACT AND SURVEY EVALUATION – METHODOLOGY...... 23

2.10 ECONOMIC IMPACT ANALYSIS 23 2.20 PROCESS EVALUATION 23 2.21 Survey Evaluations 24 3.00 ECONOMIC IMPACT ANALYSIS ...... 25

3.10 DIRECT, INDIRECT, INDUCED & TOTAL ECONOMIC IMPACTS 25 3.11 Economic Impacts 25 3.11a TransCultural Exchange Expenditures 25 3.11b Conference Attendee Expenditures 26 3.11c Total Economic Impacts 26 4.00 PRELIMINARY OUTCOMES ...... 28

4.10 GOAL 1 28 4.11 Dates and Attendance 28 4.12 Examples of Events 28 4.13 Benefits to Artists’ Careers 31 4.14 Benefits to Institutions and Conference Partners 36 4.15 Measures of Customer Satisfaction 38 4.16 Website 39 4.17 Press Coverage 40

4.20 GOAL 2 40 4.21 Showcasing Massachusetts’ Creative Economy 40 5.00 SURVEY EVALUATION ...... 43

5.10 GENERAL INFORMATION 43 5.11 Place of Residence 43 5.12 How did you participate in the Conference? 47 5.13 What is your annual income level? 48 5.14 What is your age? 49 5.15 How did you find out about the Conference? 50 5.16 The program session and/or Conference activity respondents thought was most valuable. 52 5.17 Which one of the following best describes you? 53 5.18 How long have you held your current position? 55 5.19 If you are an artist, how would you describe your work? 56 5.20 WHAT OTHER ACTIVITIES DID YOU ATTEND DURING THE CONFERENCE? 58 5.30 SATISFACTION WITH THE CONFERENCE 60 5.31 Overall, how would you rate the quality and efficiency of the following aspects of the Conference? 60 5.40 SPENDING DATA 63 5.41 Approximately how much in total will you spend during your stay in Boston on the following items? 63 5.50 INTEREST IN FUTURE CONFERENCES AND CONTACT INFORMATION 64 5.51 Would you be interested in attending a similar Conference in 2013? 64 5.52 Would you be interested in attending a residency program in the Boston area that included international artists? 65 5.60 OPEN-ENDED QUESTIONS 66 5.61 If you attended the 2007 and/or 2009 Conference, how did you benefit from that event? 66 5.62 Have you participated in any other non-Conference event by TransCultural Exchange? 68 5.63 If you did participate in another non-Conference event by TransCultural Exchange, did you benefit from that experience? How? 68 5.64 How do you think this Conference will benefit your career? 68 5.65 What new skills/knowledge/expertise did you gain from attending the Conference? 70 5.66 How would you improve the TransCultural Exchange Conference? 70

5.67 Is there anything you wish you had known before attending the Conference? 71 5.68 What other kinds of activities would you like to see TransCultural ……..? 71 5.69 Additional Comments 72 APPENDIX A – SURVEY INSTRUMENT...... 73

APPENDIX B – ECONOMIC IMPACT METHODOLOGY...... 77

APPENDIX C – OPEN-ENDED RESPONSES...... 80

APPENDIX D – PLACE OF RESIDENCE ...... 90

APPENDIX E – PRESS BIBLIOGRAPHY ...... 91

APPENDIX F – CONFERENCE PRESENTERS...... 94

APPENDIX G – 2011 CONFERENCE PROGRAM SCHEDULE ...... 113

APPENDIX H – TRANSCULTURAL EXCHANGE’S HERE, THERE AND EVERYWHERE: THE ART OF COLLABORATION ...... 133

APPENDIX I – TRANSCULTURAL EXCHANGE’S EXECUTIVE DIRECTOR, ADVISORY BOARD, AND BOARD OF TRUSTEES...... 142

THIS PAGE LEFT INTENTIONALLY BLANK

EXECUTIVE SUMMARY

TransCultural Exchange’s third biennale Conference on International Opportunities in the Arts took place April 7-10, 2011 at the Boston Omni Parker House Hotel. Auxiliary panels, workshops and events also were held throughout Boston and Cambridge. In attendance were over 500 visual artists, curators, arts administrators, university representatives and residency directors.

These Conferences are the only forum of their kind. They are devoted to practicing artists (of all disciplines) and those who support them. To be affordable for artists, registration fees are among the lowest of any comparable conference. Scholarships are available, a student discount is provided and a handful of sessions are free and open to the public.

Much of the programming for the 2011 Conference grew out of TransCultural Exchange’s international advisory board’s first meeting on April 8-13, 2010, which included visits with sponsors and local arts organizations throughout Massachusetts,1 a retreat on Martha’s Vineyard and a press conference on April 12th at the legal office of Edwards, Angell, Palmer and Dodge, LLP.

Members of the advisory board include Ute Meta Bauer (Director of MIT’s Program in Art, Culture and Technology), Mario Caro (President of Res Artis), Machiko Harada (Independent Curator), Jean-Baptiste Joly (Director of Akademie Schloss Solitude), Kayoko Iemura (Director of Tokyo Wonder Site) and Johan Pousette (Curator of Swedish Traveling Exhibitions).

As a result of the advisory board’s suggestions, the 2011 Conference featured: • An extra day of Conference activities to showcase local cultural attractions and related research at sponsoring institutions.2 • International program presentations integrated into over 50 topic-focused panels. • Past participant residency artists added as panelists and workshop speakers. • More than double the number of mentoring sessions/portfolio reviews. • A dedicated meeting site for appointments between academic institutions and international program representatives to facilitate partnerships. • “Dutch treat” 3 lunches/dinners for attendees and speakers to meet informally.

1 Locations and organizations in the Boston area included Boston University, MIT, the Isabella Steward Gardner Museum, Northeastern University, the School of Museum of Fine Arts and Massachusetts College of Art and Design, and in Martha’s Vineyard, the Featherstone Art Center and in Western Massachusetts, MassMOCA. 2 An additional day was added to the Conference with activities held at cultural institutions throughout Boston and Cambridge, including talks and a tour at MIT, a paper making workshop at Harvard University, panels for musicians at the Boston Center for the Arts, a reception at the Harrison Avenue galleries, a world music concert at Northeastern University, panels at Massachusetts College of Art and Design, tours of the Isabella Stewart Gardner Museum and readings and panels (eg by the International Art Critics Association – AICA-USA in collaboration with The Brooklyn Rail) at the Boston Public Library.

• An open mic reading program for attending writers. • A screening program for artists to show two slides of their work. • An exhibitors’ hall with tables sponsored by Artspan, Art New England, Canvas Fine Arts, Art Papers, Northeastern University, Boston University, Massachusetts College of Art and Design, the School of the Museum of Fine Arts, Boston, Studio Art Centers International (SACI) Florence the I-PARK Residency Program.4 • A screening program of experimental films organized by the Goethe Institut Boston.

By expanding its offerings, TransCultural Exchange attracted a broader range of artists to better reflect the organization’s more than two decades of producing cross-cultural and trans-disciplinary projects. Attendees were able to learn about a wide variety of programs from the more than 35 representatives from around the world—including those from the United States, Armenia, Australia, Austria, Belgium, Canada, China, Croatia, Czech Republic, Denmark, Finland, France, Germany, Ghana, Greece, Guatemala, Hungary, India, Iraq, Israel, Italy, Japan, Lithuania, Mali, Norway, Palestine, Portugal, Romanian, Slovakia, South Korea, Sweden, Switzerland, Taiwan, Turkey, the United Kingdom and Vietnam.

The Conference’s new topic-formatted sessions offered a global forum for professional development, discussions on the practical needs of artists and concrete information on ways to take advantage of international opportunities and residencies, which are often an artist’s first step into the global arena. Further, the additional attendant activities showcased Massachusetts’ Creative Economy at home and abroad to ensure the State’s long-term ability to retain and build upon its already large creative workforce.

Among the Conference highlights were: • Curator Sarat Maharaj's presentation on Trans, Cultural and Exchange. • The Urbano Studio's overview of their work (including their award-winning 52nd Venice Biennale Villa Lithuania). • Author Reif Larson's multi-media exploration of the future of books in the digitalized age. • Taiwan's premier acrobat Lawrence Huang’s performance at the Gala. • Beijing’s Timi Modern Music’s concert. • A discussion of academic residency programs at MIT. • A panel on the Role of Art Criticism Today organized by the International Art Critics Association (AICA-USA) in collaboration with The Brooklyn Rail.

3 Dutch-treat lunches/dinners took place at nearby restaurants: Attendees interested in eating with other Conference participants left their name and topic of interest on a sign-up sheet for the restaurant of their choice. Each diner was responsible for the cost of their own meal. 4 The advisory board also offered recommendations for future TransCultural Exchange programming, including a biennale international tour of a residency program with attendant off-site art tours for TransCultural Exchange’s donors, sponsors and artists. The first of these residency tours is slated for 2012 at Akademie Schloss Solitude, followed by a tour of artists’ studios in Berlin and a trip to Documenta.

More than 83% percent of the Conference attendees were from 33 U.S. states, an increase from 25 states in 2009 and 21 in 2007. Nearly 17% of the Conference attendees were from 11 other countries: Nigeria, Australia, Vietnam, Japan, Brazil, China, Finland, Italy and Germany, indicating that the Conference is gaining in reputation outside of the U.S. as well as within. Of the 156 surveys, nearly 30% of the respondents had previously attended the 2007 and/or 2009 Conference. Nearly 90% indicated that they are interested in attending a similar Conference in 2013 and 97% indicated that they are or might be interested in attending an international residency program in the Boston area.

Surveys indicate that most participants were highly satisfied with all aspects of the Conference. For example, over 90% rated the overall event as “very good” or “good.” Participants were particularly satisfied with TransCultural Exchange’s website, registration process, publicity, Conference location and facilities. Participants reported that they gained skills, knowledge and expertise from the “networking opportunities,” “greater understanding of the international art world” and “grant writing ideas.” Conference attendees also valued the “portfolio reviews” and the “panel sessions,” specifically citing “What is Trans, Cultural Exchange,” “Integrating Art and Social Good,” “Grant Writing” and “Artist's Talk: John Bisbee” as the “most valuable.”

Moreover, many respondents felt that the Conference would benefit their careers. As one young artist noted, “The Conference was fundamentally important in making [a residency], and all future residencies, a reality for me.” Others wrote that the Conference was beneficial because it is “the only forum of its kind for networking, showcasing and promoting international opportunities for artists and humanists.” It enabled “new collaborations and awareness of new resources;” and it provided an “opportunity to know diverse artists and different art out[side] of my community.”

Discussions of future collaborations and the fact that artists have already secured residencies from this and previous Conferences suggest that the Conferences’ benefits will extend into the future. Preliminary findings are positive. Since the 2007 Conference nearly 300 attendees have attended an international residency, participated in an exhibit, worked on a collaborative project and/or gained a teaching, administrative or curatorial position.

This year alone, over 75 artists have been invited to attend a residency program and/or participate in an exhibit. For instance, ten 2011 Conference attendees were selected to attend the Haslla International Residency Program in South Korea. Four others were invited to the D. Fleiss East-West Artist Residency in Romania. Many cited that they were “following new opportunities,” including participating in more exhibitions and art activities. Others learned about various “social media and what digital tools I need to best market myself as an artist.” Those who submitted ‘success stories’ told of being invited to other residencies as a result of the Conference, meeting new artists and finding new exhibition possibilities.

As Blake Brasher wrote after returning from his first residency at the Arthouse Garana Residency in Romania,

I have never been in a situation where all other concerns and distractions were removed and all I had to do was paint. It was wonderfully productive; I made a dozen paintings in less than two weeks, some of which are breakthrough works for me . . . my style and technique evolved substantially while I was there. The Conference was fundamentally important in making this residency (and all future residencies) a reality for me. Not only would I probably never have known about the opportunities available, but I certainly would not have met Elisabeth, the residency's organizer. It was so great to be able to talk to her on a one-on-one basis about the residency, what she was looking for from artists, what they had to offer, and how I might fit in. Having completed this first residency, I have a much better idea of what to look for in applying to residencies in the future, and much more confidence in my eligibility.”

Additionally, more than 15 job offers were extended. And, as in past years, TransCultural Exchange awarded four artists travel stipends to purse the invitations they received at the Conference. If one also includes those who participated in TransCultural Exchange’s global project Here, There and Everywhere, TransCultural Exchange’s programs have directly impacted over 625 artists since its first Conference in 2007.

Organizations also benefited. At the 2011 Conference Boston University met with seven programs, including Akademie Schloss Solitude, the University of Sydney and Apothiki (Greece) about future collaborations. Syracuse University’s Warehouse’s Director Anja Chavez met with Margaret Shiu of Taiwan’s Bamboo Curtain, which will result in an exhibition of Taiwanese art at Syracuse University in 2013. And Koç University and the School of the Museum of Fine Arts, Boston are currently working on a traveling show of artists’ books.

TransCultural Exchange’s staff has also been invited to speak at various organizations. Just this past year, Director Mary Sherman spoke at Y, the Institute for Transdisciplinary Studies in Bern, Switzerland, the School of the Museum of Fine Arts Boston, the Center for Emerging Visual Artists in Philadelphia and the Derryfield School in New Hampshire, among others. Additionally, Sherman also co- chaired the Arts Task Force at the 2010 annual Fulbright Conference in Buenos Aires and spoke at the One World Conference at the Rhode Island School of Design.

Also telling of the Conferences’ success is that within one year of its first Conference, TransCultural Exchange’s website hits tripled and requests for its services grew ten-fold. From 2009 to 2010, TransCultural Exchange’s website hits per month went from 424,440 to 763,486 and, by April 2011, averaged 1,963,190. This confirms TransCultural Exchange’s survey findings that its programs are

serving the needs of hundreds – if not, thousands – in the arts and that its website is a valuable resource.

Economically, not only did the attendees and organizations benefit from exposure to new venues and markets, but the Conference also created a local economic impact of $1,112,794 and 17 new jobs for the state of Massachusetts. (Please see Section 3.11c.)

Combined, these results demonstrate that since TransCultural Exchange began offering its Conferences in 2007, the organization has met its immediate goals of successfully producing a biennale Conference and exposing hundreds of artists and arts organizations to international opportunities from which more than a third have directly benefited.

TransCultural Exchange plans to conduct follow-up interviews with attendees in 2012 to further measure the impact of the Conference in terms of the number of residencies participants attended, art works sold, exhibitions in which artists participated and other ways that the Conferences assisted artists in achieving their artistic ambitions and career goals.

1.00 INTRODUCTION

1.10 ARTS IN THE GLOBAL ECONOMY

Supporting artistic engagement internationally leads to economic growth and sustainability.

As stated in TransCultural Exchange’s earlier surveys, the arts are one of the fastest growing occupational groups in the U.S. and abroad and a major component of the Massachusetts economy (New England Council, 2002). At the same time, “International artistic exchanges are more important than ever in an age in which ideas, information, and technologies travel freely across national borders. Our commercial creative industries are increasingly global in reach.” (Creative America) Yet “creative industries are facing increasing international competition” for which creative businesses and policymakers need “to appreciate the scale of these competitive challenges.” (National Endowment for Science, Technology & the Arts)

It is essential that artists have direct contact with the new global marketplace, leaders in the field and forums for discussions that will shape future artistic practices in order to be competitive; otherwise artists are dependent on a “middleman to provide feedback – which may be more of an indication of the arbitrary taste of the tourist than the inventiveness and quality of the project. [Potential] profit [thus] would be lost to the producer – further limiting his ability to identify new markets and develop alternative products.” (Jackie Guille, Developing Sustainable Enterprise)

1.11 Added Benefit

The Impact of the Arts on Society, Culture and Politics

The arts directly address the human condition: they provide forums and often non- threatening platforms for discussion, understanding and connecting to other people. Francois Matarasso notes in his breakthrough publication Use or Ornament? The Social Impact of Participation in the Arts, “Despite or because of its apparent uselessness, art is produced by all human societies.” Matarasso then goes on to state:

“Participation in the arts is an effective route for personal growth, leading to enhanced confidence, skill-building and education developments which can improve people’s social contacts and employability.

“It [participation in the arts] can contribute to social cohesion by developing networks and understanding and building local capacity for organization and self-determination.

“It . . . injects an element of creativity into organizational planning . . . [and] contribute[s] to a stable, confident and creative society.” Another take on this was provided by TransCultural Exchange’s Director echoing the organization’s ethos in her opening remarks at the 2009 Conference: “Marvelous things can come from where you least suspect. The arts can - like the face of a beloved - make us smile; they can illuminate a truth. They can make us forget our anger. They can give us reason to pause. They can give our lives meaning in ways that may never be able to be explained. Ultimately then, they remind us that we all are human. We need each other to exist and nothing could be more engaging and wonderful than that.”

It also is striking to read the following from one of TransCultural Exchange’s advisors, Jean Baptist Joly, the founder and Director of Stuttgart’s Akademic Schloss Solitude. He speaks of residencies as centers of ‘cultural openness, which represents one of Europe‘s most important cultural traditions’:

In The Magic Mountain Thomas Mann describes the effects of a change of place and adjustment to a new time: ‘We are well aware that adaptation and re-adaptation are the only means of preserving life, of refreshing our sense of time, the only means of achieving the rejuvenation, intensification and deceleration of our experience of time and thus the restoration of our vital consciousness. This is the purpose of changes of place . . . this is the recreative power of variety.’5

“Residential art centers are places where many artists can make new friends, they can be considered as the birthplaces of affinities which last beyond the period of a scholarship. A sojourn in an artists' residence should therefore be understood as an investment in the future, an investment which may not bear fruit until much later. For this reason the network connecting former scholarship holders with one another is our true capital, that with which we gain our reputation, not least in the eyes of our patrons. Residential art centers act as a kind of “cultural insurance” for the cities and regions in which they are located. They establish lasting contacts to young artists, thus securing the region‘s ties to the international art scene of today and tomorrow. By supporting artists at the right point in time, they exhibit a cultural openness which represents one of Europe‘s most important cultural traditions.”

In the mid-1900s American artists, filmmakers, musicians, scientists and other creative individuals dominated the global scene, winning the proverbial hearts and minds of those around the world. Today America is arguably losing its cultural pre-

5 © Jean-Baptiste Joly; http://www.resartis.org/en/activities__projects/meetings/general_meetings/1996_- _dublin/jean-baptiste_joly/

eminence at the same time that it appears to be doggedly pursing a course of cultural isolation with a difficult visa process6, lack of support for international exchange programs7 and an inward funding base, geared almost exclusively to local and regional funding. Whereas in the 60s and 70s American artists outnumbered other nationalities in the larger global art exhibitions and biennales, today their presence abroad has dropped precipitously. At a time when the world has grown increasingly fractious, keeping a positive American presence throughout the world seems even more important for both American artists and the country itself.

TransCultural Exchange’s Conferences and global projects, thus, stress international engagement. Conference attendees and participants in its Here, There and Everywhere projects frequently comment that their involvement made them “more politically aware,” “culturally sensitive,” “opened new doors,” “widen their perspectives,” “provided them with new insights,” and “inspired them to try new things.” Sample comments include:

• “The Conference gave me a chance to collaborate with a colleague from Europe as well as learn a new technique, history of an area of interest and of a subject of interest.” • “I learned a lot about people: their mentality, country, and through them, about myself. I am more self confident now and better know my abilities and limits.” • “The project was beneficial to show that geographical distances do not hinder much in today’s world. Two artists from distant countries can create and expose on a joint project, even without coming physically together.” • “I already had a strong connection to Italy before, but I never quite managed to learn the language. Li [Here, There and Everywhere artist collaborator] has inspired me to give it another go . . .” • “I appreciate Susanne [Here, There and Everywhere artist collaborator] for her sensibility, culture, skill in [the] visual arts [and] irony that I think are part of her multicultural skills. Working with her is a direct way of understanding this way of life [that is] unique and so close to mine.” • “I feel much more connected to the people involved in this project through all the emails and actually seeing and holding a piece of their artwork. Their trust in my idea and skill to put it all together was amazing and their generosity in sending a piece of their work [was] also pretty amazing. We agreed to donate the finished

6 See The New York Time Article, New Bill May Speed U.S. Visas for Artists, April 3, 2008: “Now, those seeking entry must run a bureaucratic gantlet that can include having to establish their artistic credentials, hire a lawyer, pay visa fees and visit a United States embassy or consulate.” 7 An example of a grant program that does not support the Arts as an eligible discipline is the US State Department’s Fulbright Specialist Program: Quoting the program’s website, “eligible disciplines for the Fulbright Specialist Program are: Agriculture, American (U.S.) Studies, Anthropology, Applied Linguistics/TEFL, Archaeology, Biology Education, Business Administration, Chemistry Education, Communications and Journalism, Computer Science and Information Technology, Economics, Engineering, Education, Education Environmental Science, Law, Library Science, Math Education, Peace and Conflict Resolution Studies, Physics Education, Political Science, Public Administration, Public/Global Health, Social Work, Sociology, and Urban Planning.

piece at the end of its touring in 2010 to a suitable non-profit international organization with a mission to promote cross cultural understanding. I also now plan to go to Bulgaria and to Thailand to work with these two participating artists to do a two-person exhibition. Other exhibitions are also developing from this collaboration.” • “I know more about world geography now. For example, I know where Cameroon is and where Ghana is and more about the history and culture of Bulgaria.” • “Through the process of realizing the project I better learned how to deal with administrative authorities, since I applied for the support of Istanbul Metropolitan Municipality.” • “I believe two diverse cultures [Turkey and Taiwan] may have so much to learn from each other and so much collaboration can come out of this.” • “The International Conference for the Arts brings the world together and makes the distances closer.” • “You can change the world doing this!” • “[Two Conference attendees] will come to Romania and [another Conference attendee] to Germany. Happy to move something, a little stone in this big world. . . I will exhibit [one Conference attendee’s] photos at the International Jazz Festival where I have the residency program in Romania. Every meeting opens new ways . . . ” • “[My experience at the 2011 Conference was] very successful and I met many organizers there and got . . . connect[ed] with them. I heard [about] many interesting programs from many countries and I will disseminate it with other Vietnam artists when I go back home.” • “More of a sense of my place in the international community.” Although this report focuses more on the economic impact of TransCultural Exchange’s efforts - as indicated above - the organization’s activities also provide clear and significant social, cultural and political impacts.

1.20 A BRIEF HISTORY OF TRANSCULTURAL EXCHANGE AND ITS CONFERENCE ON INTERNATIONAL OPPORTUNITIES IN THE ARTS

Incorporated Sept. 17, 2002 as a 501(c)(3) non-profit organization, TransCultural Exchange’s mission is to foster a greater understanding of world cultures through high-quality art exhibitions, cultural exchanges and a biennale Conference.

Since its grassroots inception in 1989, TransCultural Exchange has worked directly with hundreds of artists, arts organizations, foundations, galleries, museums and cultural centers in 60+ countries to produce over 350 exhibitions. The organization also provides professional development resources, new markets and career opportunities for hundreds of artists; creates additional revenue streams, including for TransCultural Exchange’s home state of Massachusetts 8 and facilitates new partnerships and exchanges between international organizations and educational institutions, leading to increased visibility, cultural understanding and economic activity.

TransCultural Exchange’s website is a major source of information for artists and those who support them. The website features links to dedicated portals documenting the organization’s exhibitions, exchanges and biennale Conferences and to other organizations, funders, exhibition calls and employment opportunities. By April 2011, the website’s monthly hits averaged over 1.5 million; and, in 2010, TransCultural Exchange expanded its range of resources to include an international advisory board.

This over two decades of history of service has earned TransCultural Exchange awards from institutions such as the International Art Critics Association, the United Nations Educational, Scientific and Cultural Organization (UNESCO), Massachusetts Cultural Council, Asian Cultural Council, Elizabeth Firestone Graham Foundation, Boston Foundation, the Swedish Embassy, numerous consulates and the Netherland-American Foundation among others.

Much of TransCultural Exchange’s successes are inherent in its high-quality projects including its first exhibition and artist exchange Reverse Angle (Chicago’s Ludwig Drum Factory and Vienna’s WUK Kunsthalle 1989-1990), followed by exhibits at such venues as NYC’s Trans Hudson Gallery (1998 and 2000), Seoul’s Kwanhoon Gallery (1999) and the London Biennale (2000, 2008 and 2010). From 2002 to 2004, over 100 artists participated in The Coaster Project’s 200 exhibitions stretching across all seven continents, resulting in over 10,000 art works given away and a 1st place award from International Art Critics Association. In 2004 the UNESCO-sponsored The Tile Project was launched. For this project hundreds of

8 TransCultural Exchange’s 2007 and 2009 conferences combined created a total state economic impact of $1,163,074 and nearly 15 jobs. Preliminary 2011 conference figures suggest an additional state economic impact of $1,112,794 and 17 jobs. [Copyright © 2011 New England Foundation for the Arts/CultureCount http://www.culturecount.org].

artists donated tiles to 22 world sites to create 22 site-specific, permanent public artworks. Harvard’s Kennedy Fellow Nolan Bowie described it, “As a testament that global cooperation is possible in this increasingly fractured world, this project is indeed it.” Most recently, TransCultural Exchange organized its two Here, There and Everywhere (2008-2011) projects, for which hundreds of artists collaborated with individuals from 60+ countries, resulting in 100+ exhibits, performances and concerts in galleries, major museums (e.g. the MIT Museum, Shanghai’s Zendai MoMA and Switzerland’s Luzerne Kunsthalle) and public spaces.

Participants in Here, There and Everywhere felt the project was beneficial to them in a number of ways:

• “Here, There, Everywhere will of course help us approach new venues and attract new people.”

• “People who look at our works are really impressed and they ask immediately [for] the prices. I think this is interesting from the point of market[ing], too!”

• “It's interesting, how the onlook (sic: one’s outlook) on art changes as soon as somebody from a different country is involved. As if this person could see some deeper truth that everybody else misses.”

Additionally, TransCultural Exchange has produced three Boston biennale Conferences (2007, 2009 and 2011), which are referred to “as one of the best things in the art world today” by the London Biennale Director David Medella. As evaluations over the past six years prove, the Conferences have consistently met TransCultural Exchange’s goal to help artists and those who support them meet their full creative and economic potential in today's increasing interconnected world.

The 2011 Conference took place April 7-10. Attendees participated in one-on-one portfolio reviews, and attended panels that featured presentations by such organizations as the Alliance of Artists Communities, CAMAC, Res Artis, The Bogliasco Foundation, The Fulbright Program, the Asian Cultural Council, Lighton Foundation, and many others9.

In general, the Conference offered concrete information on how to take advantage of international opportunities and residencies, which are often the first step into the global marketplace. International residencies often attract today’s new wave of artists: someone for whom geographic boundaries are not fixed; someone who functions as “a curator/project manager/artist/website designer” (NETSA - referring to Gardner, Csikszentmihalyi, Stein and McRobbie). Thus, residencies not only provide new venues for creating, promoting, selling, exhibiting and engaging in the

9 A full list of presenters can be found in Appendix F and the complete 2011 Conference program schedule can be found in Appendix G

21st century’s trans-global society, but they also put artists in direct contact with this new wave of artists who are also international curators, organizers and critics.

1.30 CONFERENCE, EXHIBITION AND EXCHANGE SUPPORT

TransCultural Exchange received direct and in-kind funding from several sources. These included: a Massachusetts Cultural Council Adams Art Program grant ($39,000), an Asian Cultural Council ($10,000) grant, a Boston Cultural Council (Local Cultural Council) grant ($2,500) and sponsorships from Northeastern University ($10,000), Boston University's College of Fine Arts ($10,000), the Massachusetts College of Art and Design ($7500), the Art Institute of Boston at Lesley University ($1500), ArtSpan ($1500), I-Park Artists Residency Program ($1500), The Consulate General of Israel to New England ($1000), The Swedish Embassy in Washington D.C ($700), I-Park Artists Residency Program ($1500), The School of the Museum of Fine Arts Boston ($1500) and the Studio Art Centers International (SACI) ($1500).

Other supporters included the Bank of America’s Matching Gift Program, the Consulate General of France (Boston), Délégation du Québec à Boston, The French Cultural Center (Boston), Richard Lappin and Julia Rabkin, Mercantile Bank and Trust, Second Street and Associates, and swissnex Boston/Consulate of Switzerland. Advertising and/or in-kind support was also received from Acme Studios International Residencies Program, the Alliance of Artists Communities, American Airlines, Art New England, Artistay, BerkshireFineArts.com, Boston College, the Boston Public Library, Cankiri Karatekin Universetsi (Turkey), Royal Danish Consulate General (New York), Edwards, Angell, Palmer & Dodge, LLP, Emmanuel College, the Goethe Institut Boston, Hallspace Gallery, Harding House, Irving House at Harvard, Isabella Stewart Gardner Museum, Koç University (Turkey), MIT’s Program in Art, Culture and Technology, over,under, Point Way Inn, Radcliffe Institute for Advanced Studies, Rookwood Inn, Swiss Air, University of Massachusetts, Amherst's Hampden and Central Gallery and the Zamir Chorale.

1.40 CONFERENCE HEADQUARTERS AND EXHIBITION FACILITIES

The Conference panels, mentoring sessions, meals, screenings, and workshops were held at the Boston Omni Parker House Hotel. The Conference also offered tours of the Isabella Stewart Gardner Museum, the Massachusetts College of Art and Design and MIT’s Art and Architecture Program; attendee readings at the Boston Public Library; a book-making workshop hosted by Harvard University's Cultural Agents Initiative; sessions at the Boston Center for the Arts for musicians; an Exhibitors' Hall; a special reception of exhibitions at the Boston Galleries on Harrison Avenue and Thayer Street; a concert of new world music at Northeastern University; and a presentation of experimental films organized by the Goethe Institut Boston.

TransCultural Exchange’s current global project Here, There and Everywhere’s exhibits took place in 80 sites throughout the world. (See Appendix H for a list of all exhibitions, their venues and participating artists.)

1.50 CONFERENCE STAFF AND SUPPORT

The Conference staff consisted of program director Mary Sherman, part-time assistant Liz Haney and over 30 volunteers, including volunteer coordinator Kitty Huang. Many of the volunteers came from the Massachusetts College of Art and Design, MIT, Boston University, Boston College, the School of the Museum of Fine Arts, Montserrat College of Art and the New England School of Art and Design.

TransCultural Exchange’s Board of Trustees and Advisory Board were also instrumental in overseeing all aspects of the Conference. (Please see Appendix I.)

TransCultural Exchange received direct and/or in-kind facility and/or staff and advisory support from local universities, organizations and institutions including Boston University’s College of Fine Arts, the Massachusetts College of Art and Design, MIT, Northeastern University, Harvard University, the Boston Public Library, the Boston Center for the Arts, and the University of Massachusetts, Amherst.

2.00 ECONOMIC IMPACT AND SURVEY EVALUATION – METHODOLOGY

2.10 ECONOMIC IMPACT ANALYSIS

Dr. Ann Galligan, Senior Instructor in Global Studies and International Relations at Northeastern University’s College of Professional Studies, was retained by TransCultural Exchange to review the results of the 2009 and 2011 Conference surveys and to update the information from the first Conference on International Opportunities in the Arts conducted by the Center for Policy Analysis at the University of Massachusetts Dartmouth.10 Dr. Tucker J. Marion, Assistant Professor in Northeastern University’s College of Business, School of Technological Entrepreneurship, created the blind, online survey portal.11

The estimated total economic impact of the 2011 and 2009 Conferences were calculated using the New England Foundation for the Arts CultureCount analytical tool.12 The Center for Policy Analysis used the IMPLAN13 econometrics modeling system for the 2007 Conference survey and evaluation. The results from both analyses were compared and generated identical results.

2.20 PROCESS EVALUATION

The process evaluation assesses the implementation of TransCultural Exchange’s activities; primarily in terms of the goals established in the organization’s 2007 and subsequent grant applications with the Massachusetts Cultural Council. These are:

Goal 1: To act as a catalyst, offering the local (national and international) creative workforce exhibition possibilities, resources, networking opportunities and concrete information on how to take advantage of international opportunities and residencies, which are often the first step into the global marketplace.

Goal 2: To offer Massachusetts an influx of new business as well as showcase Massachusetts’ Creative Economy both at home and in the eyes of the world to ensure its long-time ability to retain and build upon its already large creative workforce.

NOTE: Since 2009, TransCultural Exchange also began to collect data on the cultural, aesthetic and social impacts of its programs. These findings are detailed in Section 1.11.

10 The survey instrument can be found in Appendix A. 11 Dr. Tucker J. Marion’s portal can be found at http://northeastern.qualtrics.com/SE/?SID=SV_4YO0OsKRPZbLffu. 12 See Appendix B for a description of CultureCount and a sample of the employment results from this tool. 13 A more detailed description of the IMPLAN system also can be found in Appendix B.

2.21 Survey Evaluations

Survey evaluations were administered during the 2011 Conference and online. A total of 156 surveys were received for a response rate of 31%. In addition, an online questionnaire was sent to participants in the Here, There and Everywhere exhibitions to assess the benefit of that program.

The surveys solicited information about the Conference participants’ backgrounds, money they spent, their satisfaction with various aspects of the Conference, opinions and comments about the Conference and the benefit of the Conference to their career. Results of the survey can be found in Section 5.00.

Additionally, Northeastern University’s Dr. Tucker Marion added a survey instrument to TransCultural Exchange’s to determine if there is a correlation between creativity and entrepreneurial activity. “Statistically,” Marion hopes to show that “creativity, innovation and entrepreneurial economic benefits are significantly correlated, and ultimately policy should be enacted that fosters and promotes this interaction.” 14 This information will be published in 2012; and TransCultural Exchange will provide links to the publication via its website.

14 Northeastern University’s Sam Altschuler Faculty Fellow and Assistant Professor of Technological Entrepreneurship Tucker Marion contributed additional questions to TransCultural Exchange’s 2011 surveys in order to “justify the importance of the arts in the broader public domain and, thereby, provide other organizations with the data to support and expand their arts and cultural programming.”

3.00 ECONOMIC IMPACT ANALYSIS

3.10 DIRECT, INDIRECT, INDUCED & TOTAL ECONOMIC IMPACTS

Economic impacts consist of direct impacts, indirect impacts and induced impacts. Direct impacts include payroll expenses and other budget expenditures made by TransCultural Exchange such as advertising, printing, office supplies, postage, and travel. Indirect impacts derive from off-site economic activities and occur as a result of non-payroll local expenditures by attendees to TransCultural Exchange’s Conference, such as airfare, hotel and lodging, food, clothing, miscellaneous retail and admissions to museums. Indirect impacts differ from direct impacts insofar as they originate entirely off-site, although the indirect impacts would not have occurred in the absence of the Conference.

Induced impacts are the multiplier effects of the direct and indirect impacts created by successive rounds of spending by employees and proprietors. For example, a restaurant owner may use money spent by TransCultural Exchange’s Conference attendees at his restaurant to purchase gas or a gallon of milk at a local convenience store.

Expenditure data was collected through intercept and online surveys as well as from Conference-related spending by the sponsoring organizations.

3.11 Economic Impacts

3.11a TransCultural Exchange Expenditures TransCultural Exchange incurred $659,046 of Conference-related expenses, which includes $158,356 in non-personnel expenses, $202,790 in non-personnel in-kind expenses and $297,900 in personnel expenses (of which $275,300 was volunteer or in-kind; and $22,600 actual). (See Table 1.)

Direct Conference costs to TransCultural Exchange include $52,717 for the speakers airfare (of which $26,062 was in-kind); and $62,452 (of which $36,354 which was in-kind) for the speakers’ accommodations at the Omni Parker House Hotel, Club Quarters and other local hotels. Conference meals at the Omni Parker House Hotel totaled $59,304 (of which $17,554 was in-kind). Table 1

Type of Expense Value Non-Personnel $158,356 Non-Personnel $202,790 In-Kind Personnel $297,900 Total $659,046

3.11b Conference Attendee Expenditures

The Conference is estimated to have brought in over 250 out-of-town guests. (This estimate is based on survey responses and registration data, which yielded 110 out-of-state/country speakers, 120 out-of-state attendees, and 18 international attendees.) Assuming that each of these attendees stayed at the Conference hotel ($219/per night plus 14.45% sales tax), the total attendee accommodations expenditure is $62,661 (actual and, for those who stayed with local friends or family, in-kind).

Travel to/from the Conference from the surveys and other sources (including data collected from organizations that paid their own travel costs) are conservatively estimated at over $65,000.

3.11c Total Economic Impacts

As previously stated, this report’s economic information is derived from CultureCount,15 a database and corresponding analytical tool developed by the New England Foundation for the Arts. Used also for analyzing the 2009 Conference and comparable to that used in 2007, this method allows for a comparison of the combined economic impact of the three Conferences.

As noted above, for the 2011 Conference, TransCultural Exchange occurred $659,046 in Conference-related expenditures, which produced a local economic impact of $1,112,794 a, 48% increase from the 2009 Conference. Thus, for every dollar spent by TransCultural Exchange in 2010 and 2011 to produce the Conference, $1.70 in economic impacts was created.

From the state of Massachusetts, TransCultural Exchange received a total of $41,500 in grants. ($39,000 from the Adams Art Program and $2,500 from the City of Boston.) Twenty-seven dollars were, thus, generated or leveraged for every state dollar spent. Additionally 17 employment opportunities were created: 9.95 direct, 6.39 indirect and 0.66 induced.

Thus, combined, TransCultural Exchange’s three Conferences have created 32 state jobs and have had an economic impact of $2,275,868 ($1,289,880 direct; $818,975 indirect and $167,013 induced).

Table 2 Total Economic and Employment16 TransCultural Exchange’s International Opportunities in the Arts Conference

2011 Conference Direct Indirect Induced Total Economic Impact $659,046 $375,084 $78,664 $1,112,794 Employment 9.95 6.39 0.66 17.00 Impact

2009 Conference Direct Indirect Induced Total Economic Impact $446,744 $254,256 $53,323 $754,323 Employment 6.75 4.33 0.45 11.53 Impact

2007 Conference Direct Indirect Induced Total Economic Impact $184,090 $189,635 $35,026 $408,751 Employment 1.4 1.3 0.3 3.0 Impact

16 2011 and 2009 statistics generated by the New England Foundation for the Arts’ CultureCount. 2007 data generated by UMass Dartmouth Center for Policy Analysis’ IMPLAN system (© Center for Policy Analysis). The 2007 data yielded similar results when submitted to the CultureCount system for analysis.

4.00 PRELIMINARY OUTCOMES

4.10 GOAL 1 To act as a catalyst, offering the local (national and international) creative workforce exhibition possibilities, resources, networking opportunities and concrete information and resources on how to take advantage of international opportunities and residencies, which are often the first step into the global marketplace.

4.11 Dates and Attendance

The 2011 Conference on International Opportunities in the Arts took place April 7 - 10. Nearly 500 people attended, including 150 speakers and/or moderators from around the world and over 30 volunteers. An additional 150 members of the public joined the Conference’s free programs, including panels at MIT, the Boston Public Library and the Boston Center for the Arts, receptions at the Boston galleries and a concert at Northeastern University.

TransCultural Exchange’s global project Here, There and Everywhere’s 80 exhibitions took place starting September 26, 2008 and have continued through 2011. These exhibits showcase collaborative art by artists who worked with artists from another country. It is conservatively estimated that each show – which typically lasts one month – hosted 100 visitors for a total 80,000 attendees. (Exhibition venues are listed in Appendix H.)

With three successful Conferences and other TransCultural Exchange projects and activities, it is estimated that over 100,000 people have benefited from TransCultural Exchange’s activities since 2007, both in Massachusetts and abroad.

Further, based on demand and at the suggestion of the Advisory Board, TransCultural Exchange organized a pilot residency program on Martha’s Vineyard from September 1-14, 2011. For this two-week residency, a call went out internationally and twelve artists were selected to create site-specific pieces in West Tisbury, Massachusetts.

4.12 Examples of Events

The primary activity of the 2011 Conference was the fifty panels. Speakers representing more than thirty-five countries spoke about their artist residency, networking and exhibition programs for emerging and established artists, teachers, critics, curators and students. Sample panels included a presentation on copyright and trademark issues, researching and applying for artist-in-residence programs, teaching and exhibition possibilities at Turkish universities, renowned artists’ talks and how to apply for funding from a funder’s perspective.

Other panels focused on short-term residencies; others on technology and multi- disciplinary projects. The panels were staggered and organized around topics. Artists who had attended speakers’ programs also were added as panelists.

Comments indicate that the Conference sessions were a success. For example, when asked to reflect on which program session and/or Conference activity attendees thought were most valuable, the most popular response was “all panels” (N=56.45 or 66%), followed by portfolio reviews (N=13.28 or 24%). The panel “What do we mean by Trans, Cultural Exchange” was among the most popular. When asked which non-panel activities they attended at the Conference, attendees responded: the Exhibitions and Saturday Conference Dinner (both N=31 or 49.2%), followed by the Opening Reception (N=30 or 47.6%) and the Portfolio Reviews (N=29 or 46%). Also of note is that the Conference allowed panel moderators - who are typically local curators or arts program leaders - a chance to network with their peers. These moderators included Hunter O’Hanian, Chairman of the Board of the Alliance for Artists Communities and Vice President of Institutional Advancement, the Massachusetts College of Art and Design; Marek Bartelik, President, the National Chapter of the International Art Critics Association (AICA); Mira Bartok, artist and author: The Memory Place and founder of Mira’s List; Ute Meta Bauer, Director of the MIT's Program in Art, Culture and Technology; Dan Hirsch, Director of Music Programs for ArtsEmerson at Emerson College; Lynne Allen, Director, School of Visual Arts, Boston University's College of Fine Arts; Debbie Hagan, Editor-in-Chief, Art New England; Janet Simpson, Executive Director, Kansas City Artists Coalition, which administers the Lighton Artists Exchange; Lynne Cooney, Exhibitions Director, School of Visual Arts, Boston University's College of Fine Arts; Mario Caro, President of Res Artis and board member of the Longhouse Education and Cultural Center; Elaine A. King, Professor of the History of Art/Theory/Museum Studies at Carnegie Mellon University; Janna Longacre, Curator of Massachusetts College of Art and Design in Cuba and Professor at the Massachusetts College of Art and Design; Tiffany York, Artist-in-Residence Manager, the Isabella Stewart Gardner Museum; Doris Sommer, Director, Cultural Agents Initiative, Ira Jewell Williams Professor of Romance Languages and Literatures, and of African and African American Studies, Harvard University; Ralph Crispino, Jr., I-Park Residency Program Director; Murray McKay, Associate Director of Enrollment Management for SACI - Studio Art Centers International Florence.

Further, based on the Advisory Board’s suggestions, the 2011 Conference had many improvements over the past Conferences’ formats. In addition to the panels, the Conference included:

• A dedicated meeting site for appointments between academic institutions and international program representatives to facilitate partnerships. (For instance, Boston University met with 7 foreign institutions to discuss future partnerships.)

• “Dutch treat” lunches/dinners for attendees and speakers to meet informally.

• An exhibitors’ hall with tables sponsored by Artspan, Art New England, Canvas Fine Arts, Art Papers, Northeastern University, Boston University, Massachusetts College of Art and Design, the School of the Museum of Fine Arts, Boston, Studio Art Centers International (SACI) Florence and the I- PARK Residency Program.

• A screening program of experimental films organized by the Goethe Institute Boston.

• An opening reception at the Omni Parker House Hotel with the Massachusetts College of Art and Design’s President Dr. Kay Sloan, Massachusetts Cultural Council’s Meri Jenkins and TransCultural Exchange Director Mary Sherman as speakers. The reception, sponsored by he Massachusetts College of Art and Design, was followed by a dinner sponsored by Northeastern University, featuring representatives speaking about their arts and entrepreneurship programs. • Panels, workshops, and talks at the Boston Public Library, including readings by attendees and an evening of readings by the author of The Selected Works of T.S. Spivet Reif Larsen, author of The Memory Palace, an illustrated memoir Mira Bartók and the author of Lark and Termite, Machine Dreams, Black Tickets and Shelter Jayne Anne Phillips. • Special workshops for musicians at the Boston Center for the Arts; and a contemporary, world music concert, sponsored by Northeastern University, which included pieces by Demetrius Spaneas, Anthony De Ritis, Beijing's Timi Ensemble with French composer Benoit Granier and Belgian sound artist Yannick Franck. (Granier and Franck also participated in the Conference as speakers.) • A workshop and performance at MIT by Taiwan's premier acrobat Lawrence Huang on April 6. A similar workshop at the Nexus Machine Shop on April 7 and a performance at the Conference on April 9. • A collaborative concert by the Italian artist Rudi Punzo, American artist Derek Hoffend and Mexican architect Sergio Vasquez at Mobius on April 15. • A gala dinner for the attendees, speakers and sponsors on Saturday night including welcoming remarks by Boston University’s Dean Benjamin Juarez and Director of the Boston University theater program Jim Petosa. • A virtual presentation of TransCultural Exchange’s global project Here, There and Everywhere and a projection of two slides of the attendees’ works.

The complete Conference schedule is available at Appendix G.

In addition to the panels and workshops, speakers and other invited guests met with over 200 artists for 20-minute, one-on-one portfolio reviews. During these sessions, artists presented their work for comments and advice. (More than a quarter of the artists signed up for multiple reviews.) These reviews provided attendees with invaluable feedback, direction and concrete information on how to proceed with their careers and artistic visions. They also often led to exhibition and/or program invitations.

4.13 Benefits to Artists’ Careers

Intercept and online surveys indicate that a majority of the artists attending the 2011 Conference feel that it will be beneficial to their careers. For example, more than 52% of the respondents indicated that the Conference provided them with new networks and opportunities. Among those surveyed, over 40% who participated in a TransCultural Exchange activity (Conference or one of the organization’s global projects) noted clearly definable, direct outcomes as a result, including 4 artists securing Fulbright awards, 4 curatorial jobs, 3 arts administration positions, 150+ invites to exhibit abroad and 90+ invites to international residency programs, which 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). For example, the curator Dr. Anja Chavez from The Warehouse Gallery and SUArt Galleries at Syracuse University was invited to a curatorial residency at Taiwan’s Bamboo Curtain Studio, which will culminate in a Taiwanese art exhibition at the Warehouse Gallery in 2013. Additionally, within three months of the 2011 Conference’s end, over 13 different residency programs, including the Elisabeth and Hartwig Ochensenfeld Residency Program in Germany, CAMAC in France, Akademie Schloss Solitude in Germany, Haslla Art Center in South Korea, the Cultural Collaborative in Ghana, the Dorothea Fleiss East-West Artist Symposia in Romania, the European Artists Association in Germany, Bamboo Curtain Studio in Taiwan, the University of KwaZulu-Natal in South Africa, Çankiri Karatekin University in Turkey, and TransCultural Exchange’s pilot residency on Martha’s Vineyard offered residencies to artists who they met at the Conference. These impacts are generative and sustaining: participation in one program often leads to others. For instance, Massachusetts artist Ellen Schon was invited to Finland’s Hovinkartano Art Center’s residency, which led to another in Croatia, exhibitions in both countries and a show traveling to the US, Finland and Israel. Similarly, at the 2009 Conference Linda Krasny Brown was invited to the Apothiki Residency and the works produced there were shown Shaw Carmer Gallery on Martha’s Vineyard this past summer. Typically benefits are multiple. As the artist and Associate Director of Enrollment Management at Studio Art Centers International Florence (SACI) Murray McKay noted, “the connections at TCE [TransCultural Exchange] are extraordinary.

Already, several participants have contacted me to lecture, exhibit, collaborate between academic institutions, or enroll at SACI in Florence, Italy.” Benefits are also long-term and often result in new job opportunities. For instance, after volunteering at the 2009 Conference, Megan Driscoll opted to change career paths and now holds the position of the International Student Advisor at Northeastern University. Similarly, in 2011, the artist and critic Susanna Muller- Baja was offered a marketing position with Artspan (one of the Conference exhibitors) and artists such as Marjorie Nichols reported that she “made great contacts and was offered a teaching position at Koç University in Istanbul.” Previous Conferences noted similar results. For instance, the 2007 Conference attendee, artist Naveed Nour reported, “Last but not least, my networking with guests at the last dinner of the event has led to my collaboration with the Massachusetts College of Arts for whom I have designed and will teach a new course. For sure this won’t be the end of my experience.” In sum, comments from the intercept and online surveys indicate that attendees feel that the Conference was invaluable to their careers, the atmosphere was open and extremely supportive and that it was one of the few, if only, sources of information on international opportunities.17 For example:

• “I have learned of many opportunities for collaboration, connection and funding that I was completely unaware of before this conference.”

• “It was motivational in that it helped [me] in seeing what I must work toward and what my chances will be at doing this. And also excited me about putting in the effort to get there.”

• “The Conference was just great. I attended as many panels as I possibly could, met so many wonderful people, and needed to express my gratitude, to tell you that you brought together the warmest group of people I have ever encountered in all my years being in the academic world. I introduced a lot of people to each other, and even encountered two former students who worked with me 20 years ago. On so many levels, the Conference has affirmed my life as a painter craving cultural exchanges. Your speakers were consistently inspirational.”

• “More importantly, my experience of attending the TransCultural Exchange Conference as an artist and art educator was overwhelmingly positive. I received valuable information from attending all lectures by various speakers as well as excellent advice and feedback from each mentoring section.”

• “I am still somehow overwhelmed by those many impressions, but especially by those very interesting people I've met in Boston. This is a journey of a lifetime, indeed.”

• “It was a unique opportunity to ask all those grant foundations and residency directors questions and also hear about application tips that aren't often posted on their websites. All of the speakers were very generous with their

17 See Appendix C for specific comments.

time and information and I am grateful for their accessibility and inspiring talks . . . There was a great spirit of good-will amongst us all . . .”

• “This year I met many directors, professors, residency program operators from different countries and shared valuable communication. Also I got a great chance to be a mentor for over 25 artists. I saw their nice portfolios and felt their enormous potential. So this year, me and my community are going to invite some of artists from [the] Boston conference to 2011 Haslla Residency Program as 'full fellowship' artists.” [A total of 10 artists were selected for residencies at the Haslla Museum in Korea].

• “I feel like I found out about a few possibilities for visiting and working. As a mid-career artist (or even mid-mid career), I look forward to expanding my travels beyond the work I make and teaching in Europe.”

• “Learned about Res Artis @ the TransCultural Exchange [Conference], used it to find a dream residency in Iceland, applied, got accepted, and am now figuring out how to get there!”

• “We are on our way back to Philadelphia after a great nine months in Istanbul on a Fulbright. Not sure I would have ever thought about Fulbright or Turkey without the International Opportunities for Artists Conference. Thank you!”

• “Personally, I was asked to participate in a multi-country study of cultural diplomacy as a result of my participation.”

• “I now know more about residencies in the EU, which I'm very interested in applying to.” • “I came away from the conference with scores of new ideas about what it can look like to be an artist and how to go about creating enriching, provocative and stimulating experiences for making new work, developing new ideas, and creating new opportunities for collaboration and exhibition. The conference provided a wealth of ideas.” • “Networking is our most important task at hand now, for a better understanding of our global differences and similarities, between all cultures, be it east or west, be it Middle East or Far East; artists all speak the same language of art!”

• “I attended the TransCultural Exchange Conference last weekend and I am writing to say that it was the single most interesting, enjoyable, and productive conference that I have ever attended. It is very likely that it will be the best conference that I EVER attended. In one weekend, I developed more relationships with international colleagues than I would have in five years if working alone. Since Sunday, I have already received invitations for two U.S. exhibitions and two international residencies starting in 2012. In addition, I formed relationships with many other artists working in a range of traditional and new media. As the name of the Conference states, this was

truly about an exchange of information, suggestions, and resources. It was the polar opposite of a pretentious atmosphere.”

Additionally, over 80% of the artists who have participated in TransCultural Exchange’s global projects indicated that they gained greater political awareness, cultural sensitivity, access to new networks, increased attention and visibility for their work, and learned new skills (e.g. language and website applications), which have long-term benefits for those in the visual arts and, ultimately, the economic, cultural and social health of our world communities.

Those who have participated in TransCultural Exchange’s global exhibition Here, There and Everywhere, for instance, cite the following benefits:

• "’Here, there, everywhere’ will of course help us approach new venues and attract new people. And I do believe that you grow with the process: Find a new exhibition space, get to meet new people, learn from them, get in touch with new materials and techniques and so on – there's a whole new world behind the horizon.”

• “This project also gave me more opportunities to exhibit my work internationally and led to further opportunities. I am now scheduled to do a joint exhibition with the artist from Thailand who participated in this collaborative project and a joint exhibition in Bulgaria with the artist from that country in this project. I also have several other exhibitions pending in various countries represented by these artists. This project also gave me the motivation to apply for some grants that I did not get and also make other international contacts that I probably would not have done without the impetus of this collaborative project.”

• “I have been interested in international cultural exchange for many years and have explored many new cultures on my own with grants from various organizations including the Fulbright Scholar Award that brought me to Taiwan in 2004. I have also been working with map related themes for several years, and also making collaborative projects that usually involve viewers or the public in a site specific piece. This was different because our collaboration was done over great distances without being in the same place. We corresponded by e- mail to collaborate, and this also gave me more experience in making things clear and organized for participants from a different culture. We also collaborated by the artists sending me their paper art in the mail in a padded envelope. This worked well and then I assembled things in my Taiwan studio, keeping photos of the process and putting them on my blog. I also learned to make a blog for this project! That is something I probably would not have done without the impetus of this project since I am not very technical!”

TransCultural Exchange plans to conduct follow-up interviews with Conference attendees in approximately six months to a year. These interviews will allow

TransCultural Exchange to further measure the benefits of the Conference and the organization’s activities over time.

4.14 Benefits to Institutions and Conference Partners

Local galleries noted additional sales. Sponsors, such as the Massachusetts College of Art and Design, saw an increase in international applications. The School of the Museum of Fine Arts Boston initiated a book art exchange with Turkey’s Koç University; and they and other local institutions benefited from additional lectures and critiques by Conference speakers. The universities’ students also made valuable contacts as Conference volunteers. (All the a/v volunteers, for instance, received at least one international residency invite.) And other arts organizations repeatedly noted gaining “new artists for their programs,” “awareness of new resources” and “increased visibility.”

In addition to the partnerships and collaborations mentioned above, others created as a result of the Conferences include:

• The Sanskriti Foundation in India working with the School of the Museum of Fine Arts Boston and the University of Massachusetts Amherst to create an exchange program.

• France’s CAMAC residency program beginning a partnership with Taiwan’s Bamboo Curtain.

• Sarah Tanguy of the State Department’s Art in Embassies program working with a number of Conference program contacts, including the University of Texas in Austin, to explore partnerships and collaborations.

• Michele Oshima of MIT’s Office of the Arts making an exploratory trip to the Sydney College of Art.

• The Massachusetts College of Art and Design continuing to work with the Alliance of Artist Communities to present an annual workshop on residency programs, based on seeing the workshop at the 2009 Conference.

• TransCultural Exchange being invited by the State Department to meet with representatives from the Middle East (Jordan and Iraq) to set up collaborations.

• The more than 20 local venues for Here There and Everywhere, such as the Boston Sculptors Gallery and the Hampden Gallery, receiving extensive exposure during the Conference, resulting in features in international magazines such as Sculpture Magazine.

• Sponsoring universities using the Conference as an extension of their students’ studies, to provide the students with contacts and practical information on how to launch their careers.

• Northeastern University developing residencies for its Art Department’s undergraduates and soon-to-be graduate students.

• Boston University’s Chair of the Fine Arts Department Lynne Allen traveling to the Sydney College of Art to explore future partnerships and meeting with

several other programs, including Akademie Schloss Solitude, CAMAC (France), and Apothiki (Greece) to discuss new partnerships.

• The Boston Sculptors Gallery inviting American/Taiwanese curator Jane Allen to curate a summer exhibition. The presenting organizations benefited from the networking opportunities and the chance to find artists for their programs. As the President of South Korea’s Haslla Residency notes, “First of all, I received so many benefits from TransCultural Exchange’s conference. Year after year, your conference gets more exciting and offers diverse opportunities to attendees. This year I met many directors, professors, [and] residency program operators from different countries and shared valuable information with them. Also I had a great opportunity to be a mentor to over 25 artists. I saw great portfolios and felt their enormous potential. As a result this year, Haslla will invite some of the artists from the Boston Conference to 2011 Haslla Residency Program as 'full fellowship' artists.” [A total of 10 artists were selected for residencies at the Haslla Museum in Korea].

TransCultural Exchange’s global projects also stimulate and increase engagement in cultural activities. As University of Massachusetts Amherst’s gallery director Anne LaPrade (who hosted 25 of TransCultural Exchange’s 2009 and 2011 cross-culture collaborative projects) noted, “website traffic increased by 25%, gallery attendance was up 15% or about 1000 visitors” and, through a TransCultural Exchange facilitated exchange, “an international residency director gave talks and conducted studio visits, resulting in a residency for 2 local artists in Romania.”

These are just a few examples of the new opportunities, contacts and markets for organizations created by TransCultural Exchange’s Conferences.

4.15 Measures of Customer Satisfaction

Results of the intercept and online surveys show that respondents are highly satisfied with the Conference. For example, nearly 90% of the survey respondents rate the Conference overall as good or very good; and well over half rate each of the 15 Conference aspects (e.g. facilities, location, registration, website, mentoring sessions) as excellent or good. Detailed results can be found in Section 5.21.

Many attendees felt that the Conference would benefit their career; and over 90% of the survey respondents indicate that they would definitively attend a similar Conference in 2013.

Importantly, the detailed open-ended (and primarily positive) comments are another indication of the Conference’s effect and success. Participants were particularly satisfied with the portfolio reviews, panel offerings overall, and the speakers and presenters.

Other examples of comments praising the 2011 Conference include:

• “I wanted to thank you for the work you and your many colleagues did at the TransCultural Exchange. It was a great conference and I was happy to reconnect with Jean-Yves Coffre from Camac who I had lunch with one day.”

• “Every year, how can you [Mary Sherman] make [the] Conference 10 times bigger then this?! [I] Truly admire you.”

• “I really enjoyed the conference, [and] I'm still trying to sort through all of the information I took in. Very expanding, in so many ways!”

• “I attended many evening events and as many lectures as I could. I found everything to be enriching and valuable . . .”

• “I really appreciated the Conference and even more the feeling it left me, a growing desire to share Art with artists from all over the world.”

• “Without exception, the reviewers were thoughtful, invested, and generous with their feedback. The young volunteers were *tremendous* while trying to facilitate the mentoring sessions . . . The panel on writing grants was extremely helpful and I plan to apply for a Fulbright in the upcoming years as a result . . . Above all, though, you successfully transformed a notoriously competitive field into a collaborative one. I believe that this conference models what we need to foster across our entire global and local art community.”

• “I have learned of many opportunities for collaboration, connection and funding that I was completely unaware of before this conference.”

• “Your Conference was a stunning event and a great success, and had a major impact on many lives. The whole big enchilada exists only because of your vision and boundless energy and effort. Personally I gained from it new

insights and many friends, and only regretted that I could not go to many more sessions than I did.”

• “This was my first time attending and I was impressed with the opportunities TransCultural Exchange offered. As an artist I'm a bit isolated in the Midwest and travel as much as I can to look for opportunities, see work and meet other artists.”

• “Most of all, thank you for founding TCE [TransCultural Exchange]. This was one of the greatest weekends of my life. I met so many kind, generous, intelligent, compassionate artists and critical thinkers.”

• “Thank you for your tireless efforts to provide all of us such a fabulous event. One of the unique traits of the program with all the great diversity of people is that ego seems to always be checked at the door. It is a delightful gathering, with people who have accomplished much in their lives and are very approachable. It was a joy for me to be able to participate and share concepts and application ideas for the audience at my panel. We have a beautiful collective of people that gather every two years to learn and share and for this I thank you. With TCE [TransCultural Exchange], the people actually "get it" when I hand them a catalogue from one of my projects - a character that is much lacking in my Texas art life. . .”

• “I just wanted to tell you how useful, productive, and positive my time at the Conference was, and how grateful I am for all the time, trouble, and expense you and your colleagues took to make it happen.”

• “I would like to thank you soooo much for this amazing and very inspiring conference. It was very dense and full of good meetings, great information. I met so many artists, curators and organizers of residencies who were so open to talk to me. The open atmosphere was perfect for dialogue and exchange between people and cultures.”

4.16 Website

Results of the intercept and online surveys show that respondents have high levels of satisfaction with the website. For example, nearly 86% of respondents rated both the website and the registration system as either “very good” or “good”.

Within one year of its first Conference, TransCultural Exchange’s website hits tripled and requests for services grew ten-fold. From 2009 to 2010, TransCultural Exchange’s website hits per month went from 424,440 to 763,486 and to-date averages roughly 2,000,000.

In 2009 TransCultural Exchange also launched an Arts and Culture Calendar and Facebook, LinkedIn and Twitter accounts. Currently, TransCultural Exchange has over 500 followers on Facebook and Twitter and over 100 are part of their LinkedIn network.

4.17 Press Coverage

The 2011, TransCultural Exchange’s Conference received more that 50 press citations from a wide geographic spectrum, including university websites and blogs. A press bibliography is included in Appendix E. Of note is the number of citations and international distribution.

4.20 GOAL 2

To offer Massachusetts an influx of new business as well as showcase Massachusetts’ Creative Economy both at home and in the eyes of the world to ensure its long-time ability to retain and build upon its already large creative workforce.

4.21 Showcasing Massachusetts’ Creative Economy

Nearly 17% of the Conference attendees and speakers (most of these being leaders in the arts) came from a foreign country and another 41% came from states other than Massachusetts. TransCultural Exchange’s Conferences, thus, attract a broad national and highly influential international audience to whom to promote Massachusetts’ Creative Economy.

The 2011 Conference was expanded from two to four days. This allowed for a presentation of MIT’s faculty’s work, tours of the Massachusetts College of Art and Design’s facilities, the Isabella Stewart Gardner Museum and MIT’s Art and Architecture Program. Massachusetts’ writers also were featured at a reading at the Boston Public Library. Local artists received additional international attention with a special Conference reception at the Boston Harrison Avenue Galleries; and a number of local musicians’ work was promoted at a free World Music - the Next Generation concert at Northeastern University. Additionally the concert Middle East Harmonies: A Musical Dialogue Between Arab and Israeli Culture at Harvard University by the Zamir Chorale of Boston and a concert at Boston Symphony Hall by the Boston University Symphony Orchestra and Symphonic Chorus were promoted on TransCultural Exchange’s website and in the 2011 Conference brochure.

Conference sponsors, such as Northeastern University and Boston University, also had opportunities to promote their programs to the international speakers and other guests at the Conference Friday and Saturday night dinners.

Additionally to showcase Massachusetts’ Creative Economy, TransCultural Exchange produced the UNESCO-sponsored The Tile Project (2002-04), for which 168 American artists (over 100 from Massachusetts) donated tiles to 22 world sites to create 22 site-specific, permanent public artworks throughout the world, including

at Boston’s Pauline A. Shaw School. (Participating artists from South Korea, Vietnam, Finland, Sweden, Azerbaijan, Israel and France joined Boston’s Mayor Menino at the Shaw School’s opening ceremonies.)

For the educational component of The Tile Project, MIT’s Glass Lab, Boston College, the Art Institute of Boston, the Massachusetts College of Art and Design and the Shaw school all participated. The project was featured in more than 50 newspapers, magazines and on radio and television programs worldwide (including The Washington Post, The China Times, Bombay Times, etc). Additionally TransCultural Exchange published 1000 catalogs, which were distributed to all the participating artists, venues and speakers at the 2007 Conference.

Further, from 2008 to 2011, TransCultural Exchange produced two Here, There and Everywhere projects for which over 500 artists collaborated with individuals from 60+ countries, resulting in 100+ exhibits in galleries, major museums (e.g. the MIT Museum, Shanghai’s Zendai MoMA and Switzerland’s Luzerne Kunsthalle) and public spaces. (In Massachusetts, 38 artists and 21 venues participated in the first iteration. For the second, nine Massachusetts venues and more than 100 artists participated. For both projects 232 US artists took part.)

500 catalogs were published for each of the two Here, There and Everywhere projects. As with The Tile Project, the catalogs were freely given to the participating artists, venues, international speakers and sponsors at the respective 2009 and 2011 Conferences. The individual Here, There and Everywhere projects also were featured at the Conferences, thereby, serving to broadly promote these artists’ works and venues to key art world figures.

Of note, all of the mentors were highly impressed by the quality of the work they saw by the artists. Results of the intercept and online surveys also indicate that most Conference attendees and speakers were impressed by Massachusetts’ cultural offerings. In addition, there were requests for other similar Conferences on international opportunities in other locations and for other disciplines.

Comments from the speakers and attendees include:

• “It was great to interact with so many artists and arts professions from Boston and abroad.” • “It was a great occasion that we all meet in Boston under the network of TransCultural Exchange.” • “We both found that the Conference was extremely well organized and the place for it was excellent. We enjoyed Boston very much, and I have the feeling I MUST come again.”

• “I'd like to thank you once again for the wonderful opportunity to attend the conference in Boston. It was a great experience to be there with so many people from all over the world and hear about many interesting places.” • “I wanted to let you know that I had a wonderful time visiting the City of Boston as a first time visitor. More importantly, my experience of attending the TransCultural Exchange Conference as an artist and art educator was overwhelmingly positive.” Survey respondents were asked if they “would be interested in attending a residency program in the Boston area that included international artists” and 68% (N=42) of respondents answered “yes” they would; while 29% (N=18) replied “maybe” and only 3% (N=2) said “no”.

A number of attendees indicated a desire to have future TransCultural Exchange Conferences in other locations, as evident in the remarks below: • “Hope you remember my hint on organizing such [an] art conference of international opportunities in Nigeria. Surely among those attendees I discussed with [a] majority wish to travel to Africa for a new experience just as I longed to travel abroad to meet other artists. Moreover the African artists are dying to have such a conference; they will surely embrace the program, for they as well need to experience those lectures and mentoring.” • “I heard rumors that [the] conference might start to be mobile in a way so hosted by different cities. I think you should consider Shanghai for sure. I will be more than happy for help out.” • “For a long time, I have been thinking of an opportunity to organize the Conference same as you did in Boston.”

It is anticipated that over time the qualitative and quantitative impacts of the Conference will create a ripple effect that will increase, strengthen and expand Massachusetts’ Creative Economy to ensure its long-time ability to retain and build upon its already large creative workforce.18 Additionally TransCultural Exchange’s efforts to engage the state’s artists and arts organizations on the international level will result in a more knowledgeable creative workforce – one that can more effectively compete in today’s global economy and contribute to a world-class arts community.

18 Mary Sherman, TransCultural Exchange’s 2007 Massachusetts Cultural Council’s Adams Art Program’s Grant Application.

5.00 SURVEY EVALUATION

An intercept survey was administered to Conference participants during the Conference. Participants also filled out the survey online. A total of 156 surveys were returned for a response rate of 31%. Many of the speakers and artists also submitted feedback via personal emails, which were included in the Conference’s qualitative assessment. (See appendix C.) The detailed open-ended (and primarily positive) comments are another indication of the Conference’s effect and success.

5.10 GENERAL INFORMATION

5.11 Place of Residence

Over 500 attendees participated in the 2011 Conference; some of these were the general public who attended the free events. Of those registered, 259 places of residence were gathered from the zip codes entered in the attendee registration records. (See Appendix D) Those numbers, combined with the speakers and moderators’ locales show that 83.06% percent live in 33 US states. The highest concentration was from Massachusetts (41.02%), followed by New York (18.77%). Additionally, nearly 17% of attendees and speakers came from 31 countries:

Table 3

2011 INTERNATIONAL CONFERENCE PARTICIPANTS

# % of total attendees # % of total attendees Armenia 1 0.24% Lebanon 1 0.24% Australia 5 1.24% Lithuania 2 0.49% Austria 2 0.49% Netherlands 3 0.74% Belgium 2 0.49% Nigeria 1 0.24% Brazil 1 0.24% Portugal 1 0.24% Canada 5 1.24% Romania 2 0.49% China 2 0.49% Singapore 1 0.24% Denmark 1 0.24% Slovakia 3 0.74% Finland 3 0.74% Sweden 1 0.24% France 2 0.49% Switzerland 1 0.24% Germany 9 2.22% Taiwan 3 0.74% Ghana 1 0.24% Turkey 4 1.00% Greece 1 0.24% UK 1 0.24% India 1 0.24% Vietnam 1 0.24% Italy 3 0.74% Japan 4 1.00% 6 Korea 1 0.24% Total 9 16.94%

Table 3a 2011 US CONFERENCE PARTICIPANTS # % Of total # % Of total Attendees attendees Attendees attendees Alabama 2 0.49% Missouri 1 0.24% Arizona 2 0.49% Montana 1 0.24% North California 8 1.98% Carolina 2 0.49% Colorado 3 0.74% Nebraska 2 0.49% New Connecticut 7 1.72% Hampshire 4 1.00% District Columbia 5 1.24% New Jersey 4 1.00% Florida 3 0.74% New Mexico 2 0.49% Hawaii 3 0.74% New York 76 18.77% Illinois 4 1.00% Ohio 3 0.74% Iowa 1 0.24% Oregon 1 0.24% Indiana 1 0.24% Pennsylvania 6 1.48% Rhode Kansas 3 0.74% Island 1 0.24% Kentucky 1 0.24% Texas 5 1.24% Massachusetts 170 41.02% Vermont 7 1.72% Maine 3 0.74% Washington 1 0.24% Michigan 1 0.24% Wisconsin 2 0.49% Minnesota 1 0.24% Total 336 83.06%

Table 4 2009 INTERNATIONAL CONFERENCE PARTICIPANTS

% of total attendees % of total attendees

Australia 1.10% Ireland 0.30%

Belgium 0.30% Italy 0.30%

Brazil 0.50% Japan 0.80%

Canada 6% Malta 0.90%

China 0.90% Mongolia 0.60%

Denmark 0.30% Singapore 0.30%

Egypt 0.30% Slovakia 0.50%

England 0.30% South Africa 0.30%

Estonia 0.60% South Korea 0.60%

Finland 0.60% Sweden 0.30%

France 0.90% Switzerland 0.50% The Germany 1.80% Netherlands 1.20%

Greece 0.60% Taiwan 1.50%

Hungary 0.50% Thailand 0.50%

Iceland 0.60% Turkey 0.60% United Arab India 0.60% Emirates 0.30%

Israel 0.30% Vietnam 1.10%

Table 4b 2009 US CONFERENCE PARTICIPATNS

% of total attendees % of total attendees

Arizona 0.30% New Jersey 0.60% New California 2.70% Hampshire 1.80%

Colorado 0.90% New York 6.30% North Connecticut 2.70% Carolina 0.90%

Florida 0.90% Ohio 0.30%

Illinois 0.30% Pennsylvania 0.90% Rhode Louisiana 0.60% Island 2.70% South Maine 1.20% Carolina 0.30%

Maryland 0.30% Texas 1.20%

Massachusetts 46.0% Washington 0.30% Washington Mississippi 0.30% DC 0.60%

Missouri 0.60% Wisconsin 0.30%

Nebraska 0.30%

Table 5

2007 INTERNATIONAL CONFERNECE PARTICIPANTS

% of total attendees China 1.6%

Turkey 1.6%

Finland 1.1%

Ireland 1.1%

Netherlands 1.1%

Brazil 0.5%

France 0.5%

Canada 0.5%

Germany 0.5%

Hungary 0.5%

India 0.5%

South Africa 0.5%

Taiwan 0.5%

United Kingdom 0.5% Table 5a 2007 US CONFERENCE PARTICIPANTS

Massachusetts 59.8%

New York 4.8%

Pennsylvania 3.2%

California 2.6%

Rhode Island 2.1%

Illinois 2.1%

Vermont 2.1%

Connecticut 1.6%

Missouri 1.1%

New Hampshire 1.1%

Ohio 1.1%

Washington, DC 1.1%

Oregon 1.1%

Wyoming 1.1%

Colorado 0.5%

Georgia 0.5%

Indiana 0.5%

New Jersey 0.5%

Texas 0.5%

5.12 How did you participate in the Conference?

Respondents were asked how they participated in the Conference. Almost half of the respondents (45.5%) participated as Conference attendees, while 33.3% participated as speakers, 7.6% as moderators, 6.1% as mentors, 4.5% as volunteers and 3.0% participated in other ways. At all three Conferences, the highest percentage of participation was from the attendees.

Table 6 2011 Frequency Percent Attendee 30 45.5% Moderator 5 7.6% Speaker 22 33.3% Volunteer 3 4.5% Mentor 4 6.1% Other 2 3.0%

Table 6a 2009 Frequency Percent Attendee 62 74.7% Moderator 0 0% Speaker 9 10.8% Volunteer 8 9.7% Mentor 2 2.4% Other 2 2.4%

Table 6b 2007 Frequency Percent Attendee 146 75.9% Moderator 11 5.8% Speaker 35 13.3% Volunteer 6 3.1% Mentor 13 6.8% Other 5 2.6%

5.13 What is your annual income level?

Fifty percent of 2011 Conference respondents have incomes below $39,999, compared to 67.2% in 2009 and 48.7% in 2007. 19.1% have incomes of $40,000 - $59,999 compared to 13.1% in 2009 and 21.9% in 2007. 10.3% have incomes of $60,000-$79,999 compared to 13.1% in 2009 and 12.3% in 2007. 20.6% have incomes of $80,000 and over compared to 6.7% in 2009 and 17.1% in 2007.

Table 7 2011 Frequency Percent Below $20,000 17 25.0% $20,000-$39,999 17 25.0% $40,000-$59,999 13 19.1% $60,000-$79,999 7 10.3% $80,000 and over 14 20.6%

Table 7a 2009 Frequency Percent Below $20,000 28 36.8% $20,000-$39,999 23 30.3% $40,000-$59,999 10 13.1% $60,000-$79,999 10 13.1% $80,000+ 5 6.7%

Table 7b 2007 Frequency Percent Below $20,000 31 16.6% $20,000-$39,999 60 32.1% $40,000-$59,999 41 21.9% $60,000-$79,999 23 12.3% $80,000 and over 32 17.1%

5.14 What is your age?

Over 65% of the 2011 Conference respondents are 51+ compared to 47.3% in 2009 and 38.9% in 2007. 16.7% are aged 41-50 compared to 17.6% in 2009 and 31.1% in 2007. 12.5% are 31-40 compared to 13.5% in 2009 and 18.9% in 2007; and 4.2% are under the age of 30 compared to 21.6% in 2009 and 11.1% in 2007. Notably the under 30-age group dropped from 21.6% in 2009 to only 4.2% in 2011. This drop also represents a decrease in attendees between the ages of 31 and 50 from 2007. In 2007 the younger age group represented 50% of the attendees, versus 31.1% in 2009. Based on observation and feedback from attendees, however, it is not clear whether the low number of attendees under the age of 30 might also be that fewer of those in that age group filled out the questionnaires. Regardless, in the coming years, TransCultural Exchange is committed to making a concerted effort to reach younger artists. In hopes of achieving that aim, the 2013 Conference panels will be moved to a university (vs. hotel) setting. Table 8

2011 Frequency Percent Under 30 3 4.2% 31-40 9 12.5% 41-50 12 16.7% 51-60 29 40.3% Over 60 19 26.4% Table 8a 2009 Frequency Percent Under 30 16 21.6% 31-40 10 13.5% 41-50 13 17.6% 51-60 22 29.7% Over 60 13 17.6% Table 8b 2007 Frequency Percent Under 30 21 11.1% 31-40 36 18.9% 41-50 59 31.1% 51-60 65 34.2% Over 60 9 4.7%

5.15 How did you find out about the Conference?

As a group, most respondents find out about the Conferences from TransCultural Exchange: 56% in 2011, 36.2% in 2009 and 31.4% in 2007.

In 2011, 6% found out about the Conference from direct mail, the Massachusetts College of Art and Design (1.5%), Massachusetts Cultural Council (1.5%), Res Artis (1.5%), and Art New England (1.5%). Over 12% found out about the Conference from other sources.

Table 9 2011 Frequency Percent TransCultural Exchange 37 56.0% A Colleague 13 19.7% Direct mail 4 6.0% Massachusetts College of Art 1 1.5% Internet search 0 0.0% Artists foundation 0 0.0% Massachusetts Cultural Council 1 1.5% Other 8 12.2% Art New England 1 1.5% College Art Association 0 0.0% School of Museum of Fine Arts 0 0.0% Art Deadline List 0 0.0% Art Papers 0 0.0% Res Artis 1 1.5%

In 2009, the percentage who found about the Conference from a colleague was 17.5%, “other sources” 18.7% and the Massachusetts College of Art and Design 10%. Less than 10% of respondents learned about the Conference from the Artists Foundation (3.8%), direct mail (3.8%), School of the Museum of Fine Arts (5%), Massachusetts Cultural Council (3.8%) and the College Art Association (1.2%).

Table 9a 2009 Frequency Percent TransCultural Exchange 29 36.2% Other19 15 18.7% A Colleague 14 17.5% Massachusetts College of Art 8 10.0% School of Museum of Fine Arts 4 5.0% Direct Mail 3 3.8% Artists Foundation 3 3.8% Massachusetts Cultural Council 3 3.8% College Art Association 1 1.2%

In 2007, the highest percentage of respondents found out about the Conference from TransCultural Exchange (31.4%) or a colleague (26.2%), totaling 57.6%.

Table 9b 2007 Frequency Percent TransCultural Exchange 60 31.4% A Colleague 50 26.2% Other20 36 18.8% Artists Foundation 30 15.7% Direct Mail 19 9.9% Massachusetts College of Art 18 9.4% School of Museum of Fine Arts 9 4.7% Advertising 7 3.7% Massachusetts Cultural Council 5 2.6% College Art Association 2 1.0%

19 “Other” sources in 2009 include: The Washington State Art Commission, Janet Kawada, David Adams (Fulbright Program), Urban Arts, Email (3), New England School of Art and Design, Goggle (4) and “Advertising.” 20 “Other” sources in 2007 include: the Boston Center for the Arts, Art Papers, Northeastern University, RISD, Professor at UMASS Dartmouth, Mary Sherman and Google-search on ‘art residency.’

5.16 The program session and/or Conference activity respondents thought was most valuable.

Eighty-six people responded to this question. Most indicated that the panels were the most valuable component of the 2011 Conference (N=56.45 or 66%). Of the panels singled out for praise What do we mean by Trans Cultural Exchange? Ranked the highest (N=5.83 or 11%), followed by Residencies as Research Clusters (N=5.53 or 10%). Integrating Art and Social Good (N=4 or 7%), Artist Talk by John Bisbee (N=3.58 or 6%), David Adam’s Grant Writing panel (N=2.91 or 5%) and Yeb Wiersma’s Finding the Best Fit (N=2.53 or 4%) also were mentioned. Additionally, respondents ranked the portfolio reviews/mentoring sessions as very valuable (N=13.28 or 24%); and the overall Conference in general as valuable (N=7 or 12%).

Responses include:

Sessions/Programs Overall (Responses= 86)

• Panels – inclusive of all specified (N=56.45, 66%) ⇒ All panels mentioned in general (N=18.16, 32%) • Portfolio Review/Mentoring sessions (N=13.28, 24%) • Miscellaneous – i.e. networking, speaking, residencies, exhibitions (N=8.45, 10%) • Collaboration (N=2, 2%)

Specific Panels (N=56.45 or 66%)

• What do we mean by Trans Cultural Exchange? (N=5.83, 11%) • Residencies as Research Clusters (N=5.53, 10%) • Integrating Art and Social Good (N=4, 7%) • Artist Talk by John Bisbee (N=3.58, 6%) • David Adam’s Grant Writing panel (N=2.91,5%) • Yeb Wiersma’s Finding the Best Fit (N=2.53, 4%) • Achieving Star Power, Mechanisms that Launch an Artist’s Career (N=2.11, 3.7%) • The New Renaissance Man (sic)/Elisabeth Ochsenfeld (N=2, 3.5%) • The Danish Consulate presentation (N=1.66, 3%) • How to Start a Residency Program (N=1.5, 2.7%) • The Missed Opportunity: Beyond Youth (N=1.5, 2.7%) • The Lawyer is In: Understanding Copyright and Trademark Law (N=1.5, 2.7%) • Funding the Priceless (N=1.5, 2.7%) • Digital Portfolios (N=1.25, 2%)

5.17 Which one of the following best describes you?

In 2011 more than 78% of the respondents described themselves as artists compared to 66.6% in 2009 and 68.4% in 2007.

Nearly fifty-one percent (50.7%) of the 2011 respondents identified themselves as an artist not affiliated with a college or university, while 28.1% identified themselves as an artist affiliated with a college or university. Seven percent defined themselves as an artist professional (non-artist) and 4.2% categorized themselves as an entrepreneur. Smaller percentages of respondents identified themselves as a gallerist/museum curator (2.8%), arts professional - non-artist (2.8%) or students (2.8%), while only 1.4% of attendees defined themselves as an advising.

Table 10 2011 Frequency Percent Artist affiliated with a college or university 20 28.1% Artist not affiliated with a college or 36 50.7% university Arts Professional (non-artist) 5 7.0% Student 2 2.8% Gallerist/Museum Curator or Administrator 2 2.8% Academic (non-artist) 2 2.8% Advising Administrator 1 1.4% Entrepreneur 3 4.2%

Table 10a 2009 Frequency Percent Artist affiliated with a college or university 18 21.4% Artist not affiliated with a college or 38 45.2% university

Arts Professional (non-artist) 12 14.3% Student 4 4.8% Gallerist/Museum Curator or Administrator 1 1.2% Academic Advisor 2 2.4% Advising Administrator 3 3.6% Other 2 2.4% “Other” responses from 2009 include:

• Writer/blog host for art blog • Accessibility coordinator at an art center The 2009 numbers roughly correspond with those from 2007, with a slight increase in the percentages in the categories of Artist not affiliated with a college or university, Advising Administrator, Student and Academic Advisor.

Table 10b

2007 Frequency Perce

Artist affiliated with a college or university 26.8nt 51 % Artist not affiliated with a college or 79 41.6 university %

Arts Professional (non-artist) 29 15.3 Student 6 3.2%% Gallerist/Museum Curator or Administrator 7 3.7% Academic Advisor 2 1.1% Advising Administrator 3 1.6% Other 13 6.8%

“Other” responses in 2007 include: • Architect (N=3) • Artist affiliated with Regional Arts Center • Artist/arts administrator • Engineer • Residence Founder and Artist

5.18 How long have you held your current position?

Nearly fifty percent (47.2%) of the 2011 respondents have held their position for over 20 years, a 42% increase in that category from 2009. In 2007, the employment segments were more evenly divided. Table 11 2011 Frequency %, Less than 5 11 15.3% 5-10years years 11 15.3% 11-20 years 16 22.2% More than 20 34 47.2% years Table 11a 2009 Frequency %, Less than 5 22 33.3% 5years-10 years 20 30.3% 11-20 years 11 16.7% More than 20 13 19.7% years Table 11b 2007 Frequency Percent Less than 5 38 20.7% 5years-10 years 53 28.8% 11-20 years 49 26.6% More than 20 44 23.9% years

5.19 If you are an artist, how would you describe your work?

The highest percentage of 2011 respondents describe themselves as painters (39.1%), while in 2009 a higher number of respondents categorized themselves as drawing/mixed media artists. The percentage of Public Artists (10.9%), Writer/Critics (14.1%) and Activists (15.6%) nearly doubled from the 2009 to the 2011 Conference. And the percentage of installation artists nearly tripled from 2009 (8.4%) to 2011 (26.6%).

Table 12

2011 Frequency Percent Industrial Designer 3 4.9% Drawing/Mixed Media 20 31.3% Sculptor 18 28.1% Sound Artist 7 10.9% Public artist 7 10.9% Writer/Critic 9 14.1% Painter 25 39.1% Installation Artist 17 26.6% Performance Artist 7 10.9% Activist 10 15.6% Other 13 20.3%

(Note: artists were allowed to check more than one category; thus, the percentages do not add to 100%.)

Table 12a

2009 Frequency Percent *Other types of artists include: Drawing/Mixed Media 31 37.3% Video (N=2) Wood artist Painter 27 32.5% Visual artist Other* 23 27.7% Printmaker (N=4) Multimedia Installation Artist 7 8.4% Choreographer/Video Mixed Media Sculptor 16 19.3% Digital Media Public Artist 3 3.6% Photographer (N=5) Ceramics Activist 4 4.8% Decorative Artist/Silversmith Collage/pinhole Performance Artist 5 6.0% photography/works on paper Playwright Sound Artist 2 3.2% Collaborative; video Writer/Critic 4 4.8% Design

(Note: artists were allowed to check more than one category; thus, the percentages do not add to 100%.) Table 12b

2007 Frequency Percent *Other types of artists include: Drawing/Mixed Media 73 38.2% animator Painter 68 35.6% ceramicist (N=2) ceramics Other* 52 27.2% Textiles craftsman/picture framer Installation Artist 47 24.6% curator dance/theatre Sculptor 37 19.4% digital (N=2) Public Artist 20 10.5% film fine artist Activist 16 8.4% jewelry designer new medias artist (N=2) Performance Artist 10 5.2% photographer (N=9) Sound Artist 10 5.2% printmaker (N=12) teacher (N=2) Writer/Critic 10 5.2% technologist video (N=4) …among others

(Note: artists were allowed to check more than one category; thus, the percentages do not add to 100%.)

5.20 WHAT OTHER ACTIVITIES DID YOU ATTEND DURING THE CONFERENCE?

In 2011, TransCultural Exchange broadened its Conference activities to showcase more of the area’s artists and institutions. Most popular were the Exhibitions, Saturday dinner (each attended by 49.2% of the respondents) and Opening Reception (47.6%). As in the past, the Portfolio Reviews (attended by 34.6% of the respondents) remained one of the most popular non-panel activities. Also significant is that the number of respondents who visited the exhibitions in 2011 tripled that of 2009; and over 20% attended a Boston Public Library event.. Table 13 2011 Frequency Percent Exhibitions 31 49.2% Portfolio Reviews 29 46.0% Boston Institute of Contemporary Art 8 12.7% Massachusetts College of Art Tour 6 9.5% Northeastern New Music Concert 9 14.3% Massachusetts Institute of Technology Tour 4 6.3% Opening Reception 30 47.6% Boston Public Library Panels 9 14.3% Saturday Conference dinner 31 49.2% Boston Center for the Arts Events 9 14.3% Boston Public Library Readings 4 6.3% Harvard Paper Picker Press Workshop 2 3.2%

Table 13a 2009 Frequency Percent Mentoring Session 33 39.7% Opening Reception 37 44.6% Saturday Conference dinner 38 45.8% Other (see bullets following table) 4 4.8% Boston Institute of Contemporary Art 2 2.4% Exhibitions 14 16.8% Visual Music Marathon, part of the Boston Cyberarts 1 1.2% MassachusettsFestival College of Art Tour 2 2.4% Boston Center for the Arts 2 2.4%

“Other” activities from the 2009 survey include: • Lunch (N=2) • MIT tour (N=2) • In addition five Conference attendees and speakers toured the MacDowell Colony in Peterborough, NH.

Table 13b 2007 Frequency Percent Mentoring Session 135 70.7% Opening Reception 116 60.7% Saturday Cocktail Event 103 53.9% Saturday Conference Dinner 66 34.6 Other (see bullets following table) 31 16.2% Boston Center for the Arts Event 26 13.6% Massachusetts Institute of Technology Tour 20 10.5% Visual Music Marathon, part of the Boston Cyberarts 20 10.5% MassachusettsFestival College of Art Tour 15 7.9% Boston Institute of Contemporary Art Tour 12 6.3% (Note: artists were allowed to check more than one category; thus, the percentages do not add to 100%.)

“Other” activities from the 2007 survey include:

• Boston Museum of Fine Arts (N=5) • CyberFestival Events (N=2) • Exhibition at MassArt (N=2) • Fogg Art Museum (N=3) • Gallery visit • Independent visits to museums & galleries (N=2) • Isabella Steward Gardner Museum (N=3) • Lectures at Mass Art • Lunch appointment with attendees • Lunch with others • Mills Gallery • MIT Conference Sunday • MIT Tour • Open meeting with residential artist • Siemens Art Program • ICA

5.30 SATISFACTION WITH THE CONFERENCE

5.31 Overall, how would you rate the quality and efficiency of the following aspects of the Conference?

More than ninety percent of the respondents (91.8%) rate the Conference overall as very good or good. In 2011 respondents rated TransCultural Exchange’s website and registration process higher than in previous years, with nearly 86% of respondents evaluating these as good or very good. Comparatively in 2011, there were much lower very poor and poor rating percentages across the board than in 2009, indicating the improvements made to the 2011 Conference were successful.

Figure 1

Table 14 Very Very 2011 Frequency Poor % Fair % Good % Poor % Good % Advance mailings, publicity, 64 etc. 0% 4.7% 1.1% 29.7% 54.7% Conference location 64 0% 1.6% 12.5% 34.4% 51.6% Facilities 61 0% 4.9% 6.6% 36.1% 52.5% Information material provided 60 0% 1.7% 16.7% 36.7% 45.0% (maps, guides, etc.) Conference brochure 62 1.6% 0% 14.5% 30.6% 53.2% Hotel accommodations 43 0% 0% 14.0% 27.9% 81.4% Transportation, or parking 54 0% 5.6% 18.5% 35.2% 40.7% accessibility Registration process 60 0% 1.7% 3.3% 40.0% 55.0% TransCultural Exchange 63 website 0% 1.6% 12.7% 27.0% 58.7% Friday evening reception 44 2.3% 4.5% 13.6% 12.3% 52.3% Northeastern University 0% 15 Concert 0% 13.3% 33.3% 53.3% Saturday night gala dinner 42 0% 0% 1.7% 14.3% 69.0% Boston Public Library Readings 16 0% 0% 31.3% 37.5% 31.3% Boston Center for the Arts 0% 0% 21 Panels 19.0% 47.6% 33.3% Northeastern University 0% 15 Panels 0% 26.7% 26.7% 46.7% Overall, the Conference was: 61 0% 3.3% 4.9% 32.8% 59.0%

Table 14a

2009 Very Poor Poor Fair Good Very Good Advance mailings, publicity, 1.9% 11.5% 23.1% 25.0% 38.5% etc. Conference location 5.7% 1.4% 1.4% 22.9% 68.6% Facilities 5.8% 0% 5.8% 33.4% 55.0% Information material provided 6.3% 8.0% 27.0% 36.6% 22.1% (maps, guides, etc.) Conference brochure 3.1% 7.8% 22.1% 45.2% 21.8% Hotel accommodations 0% 8.0% 4.0% 28.0% 60.0% Transportation, or parking 0% 6.5% 6.5% 37.0% 50.0% accessibility Registration process 5.6% 3.1% 5.6% 35.7% 50.0% TransCultural Exchange 5.2% 5.2% 8.6% 53.4% 27.6% website Friday evening reception 8.6% 8.6% 11.4% 40.0% 31.4% Saturday night gala dinner 8% 0% 17.0% 25.0% 50.0% Overall, the Conference was: 7.2% 2.8% 7.2% 40.5% 42.3%

Table 14b

2007 Very Poor Poor Fair Good Excellent Overall, the Conference was: 0.0% 0.6% 17.3% 44.1% 38.0% Advance mailings, publicity, 0.0% 6.1% 17.2% 37.8% 38.9% etc. Conference location 1.1% 5.1% 20.3% 42.4% 31.1% Conference facilities: 0.6% 1.2% 8.1% 53.5% 36.6% Northeastern Conference facilities: Mass 0.6% 1.2% 17.5% 53.0% 27.7% Art Conference facilities: MIT 1.2% 3.6% 8.4% 55.4% 31.3% Information material 1.1% 7.3% 16.8% 44.7% 30.2% provided (maps, guides, etc.) Conference brochure 1.7% 8.5% 17.5% 38.4% 33.9% Hotel accommodations 0.0% 0.0% 5.3% 40.4% 54.4% Accessibility of Conference 1.2% 5.3% 21.2% 40.6% 31.8% facility Registration process 0.0% 2.3% 12.6% 47.7% 37.4% TransCultural Exchange 0.0% 2.3% 16.5% 43.2% 38.1% website Friday evening reception 1.6% 3.2% 14.4% 45.6% 35.2% Saturday night gala dinner 1.4% 0.0% 14.1% 40.8% 43.7% Selection of Panel Topics 0.0% 2.2% 12.8% 50.8% 34.1% Selection of Panel Speakers 0.0% 1.7% 16.3% 42.1% 39.9% Mentoring Session 10.8% 10.8% 17.7% 26.2% 34.6%

5.40 SPENDING DATA

5.41 Approximately how much in total will you spend during your stay in Boston on the following items?

The largest Conference expense per respondent was for travel (between $200- $1500) and hotel/lodging (averaging $219 per night). Direct Conference costs to TransCultural Exchange include: $52,717 for the speakers airfare (of which $26,062 was in-kind) and the speakers’ accommodations at the Omni Parker House Hotel, Club Quarters and other local hotels, which amounted to $62,452 (of which $36,354 was in-kind). Conference meals at the Omni Parker House Hotel totaled $59,304 (of which $17,554 was in-kind). Based on the survey responses to the question “Approximately how much did you spend during your stay in Boston?” the average amount spent was $468.69. In addition Conference registration fees were as follows:

Table 15

Registration Cost

Early Registration (before Dec. 15, 2010, Midnight $275 EST) Registration (Dec. 15, 2010 – Mar. 31, 2011) $345 Late Registration (April 1 -10, 2011) $425 Student Early Registration (before Midnight Dec. $115 15, 2010) Student Registration (Dec. 15, 2010– Mar. 31, $205 2011) Student Late Registration (April 1 -10, 2011) $295 Gala Dinner $85

5.50 INTEREST IN FUTURE CONFERENCES AND CONTACT INFORMATION

5.51 Would you be interested in attending a similar Conference in 2013?

Nearly 90% of respondents (89%) indicated that they are interested in attending a similar Conference in 2013, while 6% are not interested and nearly 5% (4.7%) said that they might be. These numbers reveal an increase from the 2009 and 2007 survey results.

Figure 2 2011

Table 16

2011 Frequency Percent Yes 56 89.0%

No 4 6.0% Maybe 3 4.7% Table 16a Table 16b 2009 Frequency Percent 2007 Frequency Percent Yes 42 63.7% Yes 136 71.2% No 4 6% No 6 3.1% Maybe 20 30.3% Maybe 49 25.6%

5.52 Would you be interested in attending a residency program in the Boston area that included international artists?

The 2011 survey asked if the respondents would be interested in attending a residency program in the Boston area that included international artists. Ninety- seven percent responded yes or maybe.

Table 17 # Answer Response %

1 Yes 42 68% 2 No 2 3% 3 Maybe 18 29% Total 62 100%

5.60 OPEN-ENDED QUESTIONS

5.61 If you attended the 2007 and/or 2009 Conference, how did you benefit from that event?

Table 18 No # of From 2007 and/or Little Some Benefit Strong Benefit Responses 2009 Benefit% Benefit % % Benefit % % Increased Sales 57.9% 5.3% 15.8% 10.5% 10.5% 19 Increase Exposure for 22 your work 9.1% 4.5% 9.1% 18.2% 59.1% Greater Geographical 22 Exposure 4.5% 0.0% 13.6% 18.2% 63.6% More Critical Press 30.0% 10.0% 25.0% 15.0% 20.0% 20 Award Received 64.7% 5.9% 17.6% 5.9% 5.9% 17 Grants Received 47.1% 5.9% 23.5% 17.6% 5.9% 17 Expanded Local 24 Network 8.3% 4.2% 16.7% 16.7% 54.2% Expanded 23 International Network 4.3% 0.0% 8.7% 17.4% 69.6% New Collaboration 4.2% 4.2% 12.5% 25.0% 54.2% 24 New Commissions or 21 Job offer 47.6% 4.8% 14.3% 9.5% 23.8% New skills learned 8.0% 4.0% 20.0% 24.0% 44.0% 25 Awareness of new 26 resources 0.0% 0.0% 19.2% 34.6% 46.2% New creative avenues 23 explored 4.3% 4.3% 26.1% 17.4% 47.8% Change in subject matter or working 18 methods 22.2% 16.7% 27.8% 5.6% 27.8% Greater interest in 25 International trend 4.0% 0.0% 32.0% 24.0% 40.0% Greater involvement 24 in your community 12.5% 0.0% 29.2% 25.0% 33.3% Greater involvement in other world 24 community 0.0% 0.0% 33.3% 29.2% 37.5%

More than half of the respondents to this question cited ‘Increased Exposure” (59.1%), ‘Greater Geographical Exposure” (63.6), ‘Expanded Local Networks” (54.2%), ‘Expanded International Networks” (69.6%) and “New Collaborations” (54.2%) as strong benefits from the 2011 Conferences. Comments include:

• “Expanding international networks are the biggest benefit of the conference.” • “Learning about more opportunities abroad was important. Also, I collaborated with an artist from Italy who I met at the conference in 2009 for a project in 2011.” • “I receive a job offer through people I met at the conference.” • “I have started three international art projects since.” • “I was invited for a residency in Hungary in 2008.” • “Received [a] residency in South Africa, an exhibition, sales and international exhibition collaborative.” • “I have received numerous invitations to exhibit in other countries as I continue to participate in one residency to another.”

“New Creative Avenues Explored” (47.8%), “Awareness of New Resources” (46.2%), “New Skills Learned” (44%) and “Greater Interest in International Trends” (40%) were also frequently mentioned. Comments include:

• “Greater understanding of how to manage an artist’s career.” • “Although not very concrete, it is real, nonetheless, that the attitude engendered by the conference strengthened my commitment to being an artist.”

5.62 Have you participated in any other non-Conference event by TransCultural Exchange?

Nearly 70% (67.3%) of the respondents who responded to the question had not participated in any non-Conference TransCultural Exchange project.

5.63 If you did participate in another non-Conference event by TransCultural Exchange, did you benefit from that experience? How?

Of those who did participate in one or more of TransCultural Exchange’s non- Conference events, they all noted that they benefited either by networking, “expanding contacts” (38%), “community/cultural exposure” (16%), “expanded skills” or “professional development” (11%).

5.64 How do you think this Conference will benefit your career?

Respondents were asked to list ways in which the Conference will benefit their careers. Excellent networking and learning about international and national opportunities were most frequently cited (N=30.83 or 52.3%), followed by obtaining information on residencies and collaborations (N=11.7 or 20%), and gaining increased personal exposure (N=3.5 or 6%) and inspiration (N=3 or 5%). The full list of open-ended responses can be found in Appendix C9. Examples of responses include:

Inspiration • “Inspiring and encouraging. Yes, I am doing what I need to be doing.” • “I now have confidence to move forward . . . as a mature artist, with still a lot of energy to give.” • “The conference provided a lot of inspiration and I gained more clarity regarding my artistic career.” • “I added more people to my network, got very inspired and received even an assignment over. Could I ask for more?”

Networking • “Hopefully it enlarged my circle of contacts to move my work forward and allow me to exchange my skill-set with others.” • “New international contacts, increasing and opening my professional network.” • “Did make some connections and got me thinking more about international opportunities.” • “Yes. I made terrific contacts.” • “Professional connections and introductions to my work will expand my

professional outreach and exposure.” • “I made several professional connections that could prove to be beneficial.” • “The connections at TCE [TransCultural Exchange] are extraordinary.” • “New contacts and strengthening contacts within the Boston network.” • “Meeting and networking [with] artists from various cultures.”

Residencies and Collaboration • “Possible invites to residencies, just new colleagues, always welcome!” • “Already invited to a new residency in August. Received more visibility and positive feedback.” • “May apply for a few residencies in the upcoming year.” • “Helped to learn about more residencies, meet people, and network[ed]. Also I participated in a collaborative project as part of the conference, which included an audio performance.” • “I received two invitations for residencies in Europe and ideas stimulating for my own creative work.” • “More residencies, made new friends, and saw old friends . . . commitment to art!” • “ . . . it showed there is an engaged international community committed to the success of both residency programs and artists.” • “In a few years I will be ready to apply to residencies and I believe that at that time, I will be ready.” • “I will get more involved internationally and with collaboration.” • “IT IS ALREADY A REALITY. [I] received [an] invitation to exhibit in USA and found artists for my own residency program.” • “As a curator and artist it was very important to make new connections for cooperation projects with artists and curators from other countries.

5.65 What new skills/knowledge/expertise did you gain from attending the Conference?

Respondents were asked what they gained from the Conference. (For a complete list of responses see Appendix C2.) Responses include:

• “Networking skills were improved upon and effectively employed during the conference.” • “More of a sense of my place in the international community.” • “The sessions were provocative, they got me thinking, and opened up new and interesting possibilities . . . this is all good.” • “Great networking, new friends, speaking experience.” • “Learned about several residencies and made new connections.” • “Met other arts professionals and learnt about different residency models and management practice in the USA.” • “Concrete knowledge of arts programming around the world and the basic opportunity to network.” • “New ideas for proceeding with my international projects.” • “I learned a great deal about international residencies, some of which are very different from those in the US. I got some good tips about how to apply and what to expect. I met some very interesting people.” • “I learned a lot about residencies and how to look them up, how to do grant writing, and how to copyright my work.”

5.66 How would you improve the TransCultural Exchange Conference?

Respondents were asked to list things that they thought would improve the Conference. Many commended the Conference and said they would not change its format. Others made suggestions that included optimizing simultaneously scheduled sessions (N=8 or 16%), creating an easier to follow schedule of events (N=6 or 12%), keeping all the sessions at one location or in close proximity to one another (N=5 or 10%), insisting that panelists stick to the publicized panel topic (N=5 or 10%) and providing more networking sessions or smaller group discussions outside of the panels (N=5 or 10%). The complete list of comments can be found in start here Appendix C6. Examples of comments include:

• “I know it is hard to schedule everything but there were some lectures or events that I could not attend because they were at the same time. If there was a way to film lectures so we could reference them after that could be helpful.”

• “If possible, I would have all the panels and talks in one central location on all four days. I would ask the panelists and moderators try and address the topics they are to talk about. This is why I found Dr. King's panel so successful - she and the other panelists truly addressed an important topic in a very deep and thoughtful way and engaged the audience in an interesting and lively discourse.”

• “Have all workshops in one place, and not conflicting.” • “Definitely would appreciate a listing of names and contact information for people who attend the conference.”

• “I would like the Conference to be able to produce a post-conference publication and to grant certificates.”

• “The program and panel brochure was confusing to read. I'd redesign it so that it is easier to navigate, to see what is happening when and where.”

5.67 Is there anything you wish you had known before attending the Conference?

Respondents were asked what information they would have liked to have known about before attending the Conference. Overall, 44% (N=14) of respondents felt they had received the information that they needed and that they were “well informed.” Also, in a previous survey question, respondents ranked TransCultural Exchange’s website and the registration process higher than in previous years, with over 60% of respondents evaluating these as good or very good. (A complete list of responses can be found in Appendix C7.) Among the responses regarding anything that they wished they had known before attending the Conference were:

• “More about [the] portfolio reviewers.” • “It will be helpful to know who else (countries, organizations, titles) might attend this conference.”

• “I wish I had realized that the panels on the first two days were quite far apart, so I could have planned on how to get around earlier on.”

5.68 What other kinds of activities would you like to see TransCultural Exchange do?

Respondents were asked to suggest other kinds of activities that they would like to see TransCultural Exchange provide. Many suggested more workshops for other disciplines or smaller, weekend workshops – for instance, one-day seminars or visits in other cities, for example. [N= 7 or 21%]). Other suggestions include having more exhibitions at the Conference as well as hosting biennale international

festivals (N=6 or 18%); smaller informal sessions (N=3 or 9%); residencies (N=3 or 9%); and for TransCultural Exchange to gain more local support and recognition in the art world for the work they do (N=3 or 9%). The complete list of suggestions can be found in Appendix C8. Examples of comments include:

• “Informal group meetings without a speaker where participants can share with each other around a particular topic. People had a LOT to say and a LOT to share, but we were spending a lot of time sitting and listening rather than engaging with one another.” • “I would like the Conference to become a permanent, recognized institution that could have a voice recognized internationally.” • “Panels, workshops, etc. that included people from non-arts or non-cultural professions that dealt with arts and culture topics, or discussions about collaboration between artists and other professionals to create projects that address issues such as economic development, etc.” • “It would be great to have European style invitational short term ‘art-camp’ residencies in the US. Could TCE [TransCultural Exchange] organize this? I would be interested in helping make this happen . . . ”

5.69 Additional Comments

Respondents were asked to provide additional comments, most of which are positive. The major theme was appreciation, thanks and congratulatory remarks. Other comments included appreciation for the networking opportunities and new contacts; inspiration and anticipation of expanding their work internationally; and sponsoring other types of artistic exchange beyond residencies. The complete list of suggestions can be found in Appendix C10. Examples of comments include:

• “I found this conference an exhilarating experience well worth the time and monetary expenditure. The value of international connections cannot be overestimated, and I am still in the process of following through with the wealth of new introductions acquired at this conference.” • “I would like longer reviews, and more direction.” • “Overall, the conference was an inspiring event that provided many opportunities for networking.” • “Loved the fact that the 2011 [Conference] connected visual art, literature, music and architecture.” • “TCE [TransCultural Exchange] is a great organization and performs a unique role in uniting artists across cultures and disseminating information through a network of international artists interested in cross cultural exchange.” • “TCE [TransCultural Exchange] opens new worlds to artists: literally and metaphorically.”

APPENDIX A – SURVEY INSTRUMENT

2011 Conference on International Opportunities in the Arts Evaluation

Organized by TransCultural Exchange

Please take a moment to answer the following questions regarding your experiences at the 2011 Conference on International Opportunities in the Arts. Your responses, comments, and suggestions will help TransCultural Exchange with funding and the planning of future Conferences and programs.

GENERAL INFORMATION 1) What is your zip code? ______

2) What age group do you fall into: Below 30 31- 40 41 - 50 51 - 60 Over 60

3) What is your annual income level: below $20,000 $20,000 - $40,000 $40,000 - $60,000 $60,000 - $80,000 over $80,000

4) Which of the following best describes you? Artist affiliated with a college or university Artist not affiliated with a college or university Student Arts Professional (non-artist) Gallerist/Museum Curator or Administrator Academic (non-artist) Advising Administrator Entrepreneur

5) How long have you held this position? Less than 5 years 5 – 10 years 10 – 20 years More than 20 years

6) If you are an artist, how would you describe your work (please check all that apply): Industrial designer Public Artist Performance Artist Drawing/Mixed media Writer/Critic Activist Sculptor Painter Other Sound Artist Installation Artist

7) In what way did you participate in the Conference? (Please check the appropriate boxes) Attendee Speaker Mentor

Moderator Volunteer Other:______

8) How did you find out about the Conference? College Art Association Massachusetts Cultural Art Deadline List Council Massachusetts College of Art New England Art TransCultural Exchange Art Papers School of Museum of Fine A Colleague Res Artis Arts Direct mail Other Artists Foundation Internet search

9) What activities did you attend during the Conference? Exhibitions Massachusetts Institute Boston Center for the of Technology Tour Arts Event Portfolio Reviews Opening Reception Boston Public Library Boston Institute of Readings Contemporary Art Boston Public Library Panels Harvard Paper Picker Massachusetts College of Press Workshop Art Tour Saturday Conference dinner Northeastern New Music Concert

10) The program session and/or Conference activity I thought was most valuable was… TEXT RESPONSE

11) Overall, how would you rate the quality and efficiency of the following Conference related issues? (Please use the scale below to indicate your responses.) 1 - Excellent | 2 - Good | 3 - Fair | 4 - Poor | 5 – Very Poor | 6 – NA Advance mailings, publicity, etc. 1 2 3 4 5 6 Conference location 1 2 3 4 5 6 Facilities 1 2 3 4 5 6 Information material provided (maps, guides, etc) 1 2 3 4 5 6 Conference brochure 1 2 3 4 5 6 Hotel accommodations 1 2 3 4 5 6 Transportation, or parking accessibility 1 2 3 4 5 6 Registration process 1 2 3 4 5 6 TransCultural Exchange website 1 2 3 4 5 6 Friday evening reception 1 2 3 4 5 6 Northeastern University Concert 1 2 3 4 5 6 Saturday night gala dinner 1 2 3 4 5 6 Boston Public Library Readings 1 2 3 4 5 6 Boston Center for the Arts Panels 1 2 3 4 5 6 Northeastern University Panels 1 2 3 4 5 6 Overall, the Conference was: 1 2 3 4 5 6

12) Is there anything you wish you had known before attending the Conference?

13) What new skills/knowledge/expertise did you gain from attending the Conference?

14) How do you think the Conference will benefit your career?

15) Would you be interested in attending a similar Conference in 2013?

16) Would you be interested in attending a residency program in the Boston area that included international artists? YES NO MAYBE

17) How would you improve the TransCultural Exchange Conference?

18) Approximately how much did you spend during your stay in Boston?

19) If you attended the 2007 and/or the 2009 Conference how did you benefit from that event? 1= No benefit | 2 | 3= Some benefit | 4 | 5= Strong benefit Increased sales Increased exposure for your work Greater geographical exposure More critical press Awards received Grants received Expanded local networks Expanded international networks New collaborations New commissions or job offers New skills learned Awareness of new resources New creative avenues explored Changes in subject matter or working methods Greater interest in international trends Greater involvement in your community Greater involvement in other world communities

20) Any concrete or specific examples related to your responses above would be greatly appreciated:

21) What other kinds of activities would you like to see TransCultural Exchange do?

22) If you have worked with someone from another country - directly or indirectly - as part of any TransCultural Exchange project, please rate your agreement with the statements below: 1= Strongly disagree | 2 | 3= Neither disagree or agree | 4 | 5= Strongly agree In working with someone from another culture, I gained a greater political awareness of that world region In working with someone from another culture, I gained a greater cultural sensitivity In working with someone from another culture, I gained access to new works In working with someone from another culture, I learned a new skill

23) If you have worked with someone from another country, please rate your agreement with the statements below: 1= Strongly disagree | 2 | 3= Neither disagree or agree | 4 | 5= Strongly agree In working with someone from another culture, I gained a greater political awareness of that world region In working with someone from another culture, I gained a greater cultural sensitivity In working with someone from another culture, I gained access to new works In working with someone from another culture, I learned a new skill

24) Have you participated in any other non-Conference event by TransCultural Exchange?

25) If you answered yes above, did you benefit from the experience? How?

26) Any additional comments would be greatly appreciated.

27) Would you be willing to be contacted in the future for follow-up questions? If so please provide us with your address or email.

APPENDIX B – ECONOMIC IMPACT METHODOLOGY

B1. CultureCount

CultureCount is New England Foundation for the Arts' (NEFA) free creative economy database - a centralized source of descriptive, financial, demographic, and geographic information about cultural nonprofits, businesses, and professionals in New England. CultureCount provides a comprehensive representation of the creative economy of New England that supports the advocacy, fundraising, cultural analysis, and policy development efforts of artists, cultural organizations, researchers, and policy makers. CultureCount users can log on to discover cultural organizations, explore their communities, and analyze economic impact.

30,000 active records are included in the CultureCount directory, together comprising a demonstrative cross-section of the creative economy as defined in the NEFA report, The Creative Economy: A New Definition, 2007. Listings come from a variety of data sources, are matched by tax ID number, and cross-coded according to standard federal classification systems of the additional financial, grants, or demographic data.

The Impact Calculator is the interactive cultural economic impact analysis tool built right into CultureCount. It demonstrates the economic impact of the nonprofit cultural sector and then estimates how changes in the sector affect a community or region’s employment, income, and property values. Using property tax information combined with IRS and other data from a sample group of communities, creative industry leaders, community members, and policy makers can use this analysis tool to help advocate for investments in community cultural assets.21

B.2 IMPLAN

The IMPLAN modeling system combines the U.S. Bureau of Economic Analysis’ Input-Output Benchmarks with other data to construct quantitative models of trade flow relationships between businesses and between businesses and final consumers. From this data, one can examine the effects of a change in one or several economic activities to predict its effect on a specific state, regional, or local economy (impact analysis). The IMPLAN input-output accounts capture all monetary market transactions for consumption in a given time period. The IMPLAN input-output accounts are based on industry survey data collected periodically by the U.S. Bureau of Economic Analysis and follow a balanced account format recommended by the United Nations.

B3. DIRECT, INDIRECT, INDUCED, & TOTAL ECONOMIC IMPACTS: METHODOLOGY

Economic impacts consist of direct impacts, indirect impacts, and induced impacts. Direct impacts include payroll expenses and TransCultural Exchange’s budget expenditures such as advertising, printing, office supplies, postage, and travel. Indirect impacts derive primarily from off-site economic activities and occur primarily as a result of non-payroll local expenditures by attendees to TransCultural Exchange, such as airfare, hotel and lodging, food, clothing, miscellaneous retail and admissions to museums. Indirect impacts differ from direct impacts insofar as they originate entirely off-site, although the indirect impacts would not have occurred in the absence of the Conference.

Induced impacts are the multiplier effects of the direct and indirect impacts created by successive rounds of spending by employees and proprietors. For example, a restaurant owner may use

money spent by TransCultural Exchange Conference attendees at his restaurant to purchase gas or a gallon of milk at a local convenience store.

The other statistic given was the impact on employment as a result of this Conference. Data was generated from the CultureCount analytical tool (See below). http://www.culturecount.org/public/coc.aspx

CultureCount, New England’s Cultural Database Selected Town: BOSTON

Hypothetical Organization: TransCultural Exchange

Employment Estimate Selected Town: BOSTON Hypothetical Organization: TransCultural Exchange

The proposed organization will support the following estimated jobs based upon the average weekly wage in the local community: Direct effects are changes in employment in the cultural sector due to the projected change in annual expenditures you entered. For example, when a cultural organization’s expenditures increase by $100,000 annually, the organization is spending that money on specific things. It may include new employment at the organization.

Direct Employment Impact:

9.95

Indirect effects are changes in employment in other sectors as they respond to the new demands for their goods and services generated by an increase in cultural-sector spending. In the example above, part of the increase in expenditure might be spent on mounting one Additional exhibit per year and increased marketing related to it. Preparing the additional exhibit may lead to an increase of employment at the local lumber store of .2 of a position, and the increased marketing may lead to an increase of employment at the local newspaper of .3 of a position. Indirect Employment Impact : 6.39 Induced effects are changes in employment in other sectors as they respond to new demands from households with increased income as a result of changes in cultural-sector spending. In the example above, the new position at the cultural organization, the .2 of a position at the lumber store and .3 of a position at the newspaper all represents new income in the local economy. As the individuals in these positions spend their income locally, it will generate additional positions at places like the school, the real estate office, the doctor’s office, the movie theatre, and restaurants. Induced Employment Impact : 0.66

This is the estimated change in total regional employment based on the projected change in cultural-sector expenditures. The projected change in cultural-sector expenditures can be either positive or negative.

This number is the result of an Input-Output model that represents the pattern of trade and purchases between the different industries and economic sectors within the County. For each sector of the economy, it estimates the number of employees associated with a particular level of annual expenditures.

Total Local Employment Impact:

17.00

APPENDIX C – OPEN-ENDED RESPONSES

C1. Which activity/activities, panel or speaker was the valuable to you? 1. Exchanging views 2. John Busbee!!!!! 3. Portfolio review with Katherine French 4. David Adams on Grant Writing, and presentation on ResArtis website; and portfolio review with with Kathy Black and 5. All, especially international residencies 6. Meeting a portfolio reviewer personally 7. Art and Social Action 8. John Bisbee and the woman from Trans Artists were the best for me. 9. Maiken Derno, Head of Culture and Information Department, Royal Danish Consulate General. 10. I attended many evening events and as many lectures as i could. I found everything to be enriching and valuable even if it was not me specific. 11. Panel discussions, artists presentation 12. Panels at MassArt, panels at MIT 13. The three I attended were all excellent (the CAA should take lessons from you) 14. Art for Social Good 15. There were many, all of equal value. Those speakers discussing and introducing artists international residencies were of most value. 16. The panel on TransCultural Exchange 17. Sat. morn: what do we mean by TransCultural Exchange 18. Art and social action panel, 19. I collaborated with an artist from Italy for the conference, in the spirit of cultural exchange and collaboration. 20. Portfolio reviews and talks on specific residencies 21. Residencies and advocacy opportunities 22. The most important for me was the panel with Ute Meta Bauer at MIT. 23. Portfolio Reviews 24. The entire conference was valuable 25. National Residencies: Regional Aspirations, Location: Tower Auditorium, How to Start A Residency Program, Location: Tower Auditorium, 26. Towards a global transcultural university, Sunday afternoon 27. I loved the panels- the fullbright scholars, and speaking with those who are both administrators and artists were especially helpful to me. 28. Yeb Wiersma, applying for artist in residence programs on Friday morning. 29. I got useful information out of almost every panel, session oder personal encounter 30. MIT / high quality panel 31. I sat in on several panel discussions, which were all helpful to me as an artist. For my institution, however, the panel Academic Partners: Towards a Global University was most helpful. 32. International speakers/panelists 33. Portfolio reviews 34. NA 35. How you can start a residence programme 36. John Bisbee, George Fifield, Jessica Ferguson 37. Interdisciplinary artist collaborations 38. Digital portfolio talk 39. Portfolio reviews with Esther Bourdages & Alison Ferris, sat session - funding the priceless 40. McDowell Colony John Bisbee artist talk 41. All proved very valuable to me 42. The most Valuable panel was "Achieving Star Power, The Mechanisms that Launch an Artist’s Career" and the most valuable speaker was Elaine King, moderator and presenter. in addition the mentoring sessions were excellent, as was the grant writing lecture with David Adams. 43. /panels/ exhibitions

44. The survival kit for electronic music composers, among a few others, but this was the best really! 45. All

C2. What new skills/knowledge/expertise did you gain from attending the Conference? 1. Networking 2. Networking 3. Feedback - dos and don'ts on grant writing, residency applications 4. How to apply for residencies 5. Learned a lot about residencies. 6. New collaborations, Awareness of new resources 7. Confirmed what I already knew, more or less 8. The how to apply sessions were useful. 9. I learned about many programs 10. Understanding better the hope of young artists for a professional career. 11. Exposure to many new opportunities outside of the US 12. The meeting of many very good professional people! 13. Not sure. Inspired by the art for social good wksp 14. Networking skills were improved upon and effectively employed during the conference. 15. Lots of new colleagues 16. More of a sense of my place in the international community 17. Improved self-confidence: next time I'll be able to share my own experience 18. Some insights about transcultural exchange in the panel Friday morning 19. The sessions were provocative, they got me thinking, opened up new and interesting possibilities . . . this is all good 20. Great networking, new friends, speaking experience. 21. Learned about several residencies and made new connections. 22. Understanding there are many more residencies than I knew 23. There is a lot out there in the arts to share your talents with the world. 24. Making connections with people who I otherwise would not have met. 25. Met other arts professionals and learnt about different residency models and management practice in the USA. 26. Insights into the possibility of networking with other artists and with art organizations 27. Concrete knowledge of arts programming around the world and the basic opportunity to network. 28. I now know more about residencies in the EU, which I'm very interested in applying to. 29. New ideas for proceeding with my international projects 30. Creating connection 31. New ways to communicate 32. DIRECT COMMUNICATION IS IMPORTANT - 33. I learned about aligning all social media and what digital tools I need to best market myself as an artist. Each person I met was a wealth of information and willing to share ideas. 34. Transcultural Conference culture, meeting with new artists and academics 35. That there is a demand for artist/writers residencies and that residency programs are serving to fill this need. 36. Additional networking 37. It was great to interact with so many artists and arts professions from Boston and abroad. 38. Better insight to the application review process. 39. Critical skills 40. Networking with various artists 41. Knowledge of different programs around the world. 42. More info on residencies & grant possibilities 43. Networking residency opportunities 44. Simply making many, many new contacts! 45. Information and possibilities

46. I learned a great deal about international residencies, some of which are very different from those in the US. I got some good tips about how to apply and what to expect. I met some very interesting people. 47. Meeting new artists/critics/ curators and broad the artistic circle 48. Mainly networking opportunities. 49. Met more people 50. I have gained a good overall sense of the current situation in the art field. 51. Many 52. Speaking about my work with a range of curators

C3. If you attended the 2007 or 2009 Conference, how did you benefit from that event - Any concrete or specific examples related to your responses above would be greatly appreciated: 1. I would have appreciated a bit more critique in reviews. 2. How to make the most of the conference turned out to be how to improve your web presence. Many presentations praised the "coming" Phd for studio art. 3. Was not able to attend either 4. I did not attend these conferences. 5. I have received numerous invitations to exhibit in other countries as I continue to participate in one residency to another. 6. I knew artists of same and other disciplines and started proficous collaborations 7. The questions are geared to artists and not to residencies, n.a. answer is missing 8. Participated in art education outreach with children while on international residencies. Also donated art to charities. Have traveled a lot due to TCE. Expanding international networks are the biggest benefit of the conference. 9. Learning about more opportunities abroad was important. Also, I collaborated with an artist from Italy who I met at the conference in 2009 for a project in 2011. 10. I receive a job offer through people I met at the conference. 11. Mostly I think the panels were nice because they were intimate to host the personal interactions afterwards . . . Perhaps more interactive activities . . . 12. I made some new connections with artists. 13. I have started three international art projects since 14. Exhibitions abroad and artists for my residencies 15. N/A 16. I met artists in 2009 when I was a speaker that later sent applications for international art projects I curated in Taiwan. 17. Greater understanding of how to manage an artists career 18. One new Boston art biennale 19. Made contact with possible education partners 20. New connections resulted in introducing eastern european artists to MA university audiences, subsequent exchange exhibitions occurred. 21. Contacts with students from other countries, related to the project. 22. It is breathtaking in the scope and range of the contacts

C4. Have you participated in any other non-Conference event by TransCultural Exchange? 1. No (N=32) 2. Yes (N=5) 3. Meetings of the advisory board 4. I participated in a number of the collaborative projects. 5. Here There and Everywhere 6. Tile Project, collaborative exhibitions 7. Yes, in the "Tile Project" and "We and Everybody" 8. "Shimmer" "Here, there, everywhere". . . 9. 2009 10. Several projects

11. I participated as an artist and curator to do the One World - Many Papers project as part of the TCE "Here There and Everywhere" project. 12. Projects 13. Some of the collaborative shows 14. Participated in the Tile project

C5. If you answer yes, did you benefit from that experience? How? 1. N/A= 2 2. Rethinking my international activities 3. My work has taken off in new directions and gained greater exposure. 4. New skills great exposure 5. New friends, international group exhibitions, residencies 6. I got a lot of new international connections. 7. A whole new world opened up for me 8. Learning from other participants to have more courage and self-confidence 9. Local networking 10. Yes. Expanded skills, great networking, travel, future exhibits. 11. Yes, this put me in direct contact with 42 artists from 37 countries who collaborated with me to do this artwork that has been exhibited in USA, Taiwan, Korea, Thailand, England, France and Spain and will be shown in the Philippines and Bulgaria this year. 12. Networking; and as a volunteer by practicing my skills 13. Professional Development. Networking, Friendships 14. Information to follow up on 15. Yes, broad my collaborate work and net work 16. Yes, expanded contacts, new skills. 17. I wish I could see the wall in Beijing where my tile is installed . . . 18. Shared experience builds community, especially important across cultures

C6. How would you improve the TransCultural Exchange Conference? 1. Many of the topics were interesting but the panelists were off topic frequently, which was very frustrating 2. Single location for events, better updated communication for sign-ups for portfolio reviews, more readable program, didn't like the outrageous prices for open bar reception; panelists almost never discussed the topic presented, no interaction, only presented their own programs in too much detail. 3. More targeted information, more specific information, more organized opportunities to speak with residency directors and representatives 4. I need to think about this. 5. Communication needs to be drastically improved. 6. More workshop and seminar possibilities 7. Better panelists, having panelists stick to topic, more directed to the actual attendees, most of whom were mid career women artists. This seemed overly skewed, like everything else in the art world, to the younger artist 8. Definitely would appreciate a listing of names and contact information for people who attend the conference. 9. I know it is hard to schedule everything but there were some lectures or events that I could not attend because they were at the same time. If there was a way to film lectures so we could reference them after that could be helpful. 10. Less conferences and panels running simultaneously 11. I think more open networking sessions for artists and professionals could be built in 12. Have fewer conflicting panels 13. Gear it to more than visual artists. More for "renegade" artists and less on academia 14. As this is my first experience, I think that the general structure of the Conference is quite good; I would like to see more representation from Indian art residencies. 15. More days 16. Sharing my skills

17. Mentoring session not in parallel with panels . . . parallel panels is already an obstacle because you always loose a chance and the mentoring session add to it; vary panels with presentation and ones with discussion in focus and schedule some presentations in order to make the program more diverse 18. Hotel too expensive, it seemed very hectic, not enough time to sit, process with people, share information, addresses etc. I didn't stay at the hotel. I might have felt differently if I had stayed there, but finances made it impossible. 19. Put sponsor tables in a more central location (main hallway) so they can be seen through out the conference. List outside exhibitions affiliated with the conference, such at the one at Hampden Gallery in Amherst, on the web site conference schedule. This show was off the radar of most people. There were many times, I wanted to be at two panels at once. Perhaps panels could be video recorded so paying conference participants could view later. Also, I noticed that some artists at the review panels were rude and impatient. Not sure if this was an organizational issue or just the desperate temperament of the artist. 20. More time for discussions among small groups 21. There are too many important panels parallel. 22. Two of the activities I was interested in were scheduled at the same time. 23. Include visits to different residency locations in Boston and nearby in the program. 24. I would like the Conference to be able to produce a post-conference publication and to grant certificates 25. There needed to be less venues- it was too confusing . . . More people in one place would've been more fruitful. Also, the website could be designed in a cleaner and more efficient way . . . 26. I would provide a yoga class for stretching in the middle of the day. I am a yoga teacher! Will energize participants and exercise is important! 27. No need to improve, but I would love to actively help in the process 28. Maybe more music related section as it is mainly for visual artists 29. Have it annually 30. Yes. 31. Mary Sherman does an extraordinary job organizing and running TCE. It runs like a well- oiled machine. I have no suggestions for improvement. 32. The program and panel brochure was confusing to read. I'd redesign it so that it is easier to navigate, to see what is happening when and where. 33. I think there could be a session for non-professional/amateur artists who work in the arts profession and would like to strengthen their artistic side through residencies, contacts and arts opportunities 34. Combine with other events such as workshops or other conferences 35. Absolutely have time for discussions at panels. This is my huge complaint--it happens at all panels everywhere and to me is an old out of date model of learning, passive listening. There is all this collective knowledge that is lost when presenters show slides of what can be found on websites. Issue based conversations are necessary--we all attend not to be passive but to learn from each other. 36. Include speaker bios in the brochure, create field specific panels (for writers or musicians) 37. Holding creative workshops 38. Have all workshops in one place, and not conflicting 39. Perhaps create an "umbrella" theme that could connect the events. Have more exhibitions highlighting attending artists and speakers. 40. The evening cocktail events should be shorter. 41. Keeping events in one location 42. Everything needs to be closer 43. Fewer panels, more small group discussions 44. More opportunities for meeting fellow attendees . . . seeing their work . . . perhaps an exhibition of attendees on site 45. Nothing comes immediately to mind. 46. If possible, I would have all the panels and talks in one central location on all four days. I would ask the panelists and moderators to try and address the topics they are to talk

about. This is why I found Dr. King's panel so successful - she and the other panelists truly addressed an important topic in a very deep and thoughtful way and engaged the audience in an interesting and lively discourse. 47. I'd like to participate in more exhibitions of the local artists with the international. More contact to galleries, local and others. 48. I'd do my best to be a catalyst and to bring my energy and commitment as a motor for myself and others. 49. Sometimes the presentation did not match with the description and instead were just about pitching residencies. I would like the speakers to be aware of the topic and prepare accordingly. 50. Hire more staff to help

C7: Is there anything you wish you had known before attending the Conference? 1. No = 11 2. Book one-to-one sessions with writers, curators and critics instead of residency programs 3. The descriptions of the presentations were wrong. More than once I checked to see if I was in the correct room! 4. Background information such as biographies of the panel members and the portfolio reviewers 5. More about portfolio reviewers 6. Who else was scheduled to attend? And where I wanted to apply for a residency. 7. I didn't know the mentors wouldn't have computers 8. I did not know most of the presenters, as I am not a visual artist. It would have been helpful to somehow know who would be useful to meet. Also, the workshop about launching your career to stardom was interesting but very narrowly based on gallery contact and not at all about other aspects such as marketing or other areas that would be helpful to a wider audience. 9. How many and what kinds of people would be there -- I had not attended before 10. All the opportunities offered 11. Knew what to expect, but could not take advantage of all the pre-weekend activities due to work . . . 12. Importance of speaking one on one with portfolio reviewers 13. That the portfolio reviews would have offered you a residency "on the spot." I would have selected earlier and more carefully. 14. When I had my mentoring sessions. 15. It will be helpful to know who else (countries, organizations, titles) might attend this conference. 16. I found the information provided to be comprehensive, clear, and overall excellent 17. WiFi at hotel wasn't reliable. I would NOT recommend paying for a portfolio review with Frank Roselli like I did (he wasn't great). 18. The website is full of information, however, it was challenging for me to understand just what the aim of TCE was. 19. How difficult parking would be. 20. The names of all attendees and affiliation and contact names 21. I wish I had realized that the panels on the first two days were quite far apart, so I could have planned on how to get around earlier on. 22. I wish I did more Internet research on the speakers prior to the talks.

C8: What other kinds of activities would you like to see TransCultural Exchange do? 1. On-topic panels 2. More actual DISCUSSIONS and exchanges of opinion on panels (stick to the topic, don't use up all the time making individual presentations!). 3. Small group discussions 4. Improve the social aspect. One fire alarmed mass social doesn't do anything. It could have been an opportunity to network. As it was it was an overwhelming mass of people. Perhaps a few socials, differently conceived.

5. Workshops by international artists, Directory of the participating artists 6. Not certain I'm familiar enough with what TCE currently does to say 7. Get more support of our local agencies, NEFA, MC . . . build more alliances within the Boston area arts network 8. Marketing and website/materials review. Grant writing help- and help to find ops for those of us who are "for profit" 9. I would like to see more representation from Indian art residencies. 10. More exhibitions 11. A Festival or Biennial presenting International Collaborations 12. Informal group meetings without a speaker where participants can share with each other around a particular topic. People had a LOT to say and a LOT to share, but we were spending a lot of time sitting and listening rather than engaging w/one another. 13. It would be great to have European style invitational short term "art-camp" residencies in the US. Could TCE organize this? I would be interested in helping make this happen . . . 14. Show more art that is internationally exhibited. 15. Workshops and conferences that include more fields. 16. Panels, workshops, etc. that included people from non-arts or non-cultural professions that dealt with arts and culture topics, or discussions about collaboration between artists and other professionals to create projects that address issues such as economic development, etc. 17. I would like the Conference to become a permanent, recognized institution that could have a voice recognized internationally 18. Nothing more- if anything less! Less places around the city- more end of the day "re- group" time so you actually get to know people better . . . 19. Boston international residency is a good start. 20. A residency 21. Workshops for writers 22. At the moment I am pleased with the entire program 23. There is all ready so much to do . . . I was unable to take full advantage of the wide spectrum of activities. 24. More exhibitions 25. Facilitate connections between arts leaders and administrators in Boston. 26. Grants for artists to do international cultural exchange projects 27. Biennale art programs 28. More seminars on issues or trends in the arts and perhaps a little less informational seminars about the residencies 29. More international art projects, organize international group art visits. 30. Need more time to think on this. 31. Create the connections. 32. One-day workshops in different cities could be good for those who can't travel for a weekend away. 33. Involvement of attending artists in more exhibitions during the conference 34. Gain visibility for the wonderful work they do

C9: How do you think this Conference will benefit your career? 1. Finding out the cultural diversity in arts 2. I hope so 3. Possible benefit from portfolio review, grant writing panel 4. Hard to say 5. I now have confidence to move forward. As a mature artist, felt a bit , with still a lot of energy to give. 6. I do not think it will. 7. Networking internationally and nationally 8. Not much 9. I'm not certain.

10. Hopefully it enlarged my circle of contacts to move my work forward and allow me to exchange my skill-set with others 11. New international contacts, increasing and opening my professional network 12. Allow me to open up my career to areas outside of the US 13. It might 14. Did make some connections and got me thinking more about international opportunities 15. Professional connections and introductions to my work will expand my professional outreach and exposure. 16. Possible invites to residencies, just new colleagues, always welcome! 17. Yes. I made terrific contacts. 18. I'm already in contact with new realities and following new opportunities 19. I don't think I have a career, I have a passion 20. I have a small project, don't pay myself from it. But the conference connected me to people and ideas that will be of help I think. 21. Already invited to a new residency in August. Received more visibility and positive feedback (on speaking on panel). 22. Helped to learn about more residencies, meet people, and network. Also I participated in a collaborative project as part of the conference, which included an audio performance. This expanded my experience and resume. 23. May apply for a few residencies in the upcoming year. 24. I will get more involved internationally and with collaboration. 25. As a curator and artists it was very important to make new connections for cooperation projects with artists and curators from other countries. 26. It helps very much to know all the resources available. 27. I made several professional connections that could prove to be beneficial 28. I could tell about the program I founded to larger audience and this way increased the visibility of the organization I am running. 29. I received two invitations for residencies in Europe and ideas stimulating for my own creative work 30. The net has been cast wider. 31. Good networking opportunities 32. More residencies, made new friends, and saw old friends . . . commitment to art! 33. I added more people to my network, got very inspired and received even an assignment over. Could I ask for more? 34. By being able to connect with people on my field 35. Expanding networking 36. IT IS ALREADY A REALITY/received invitation to exhibit in USA and found artists for the own residency program 37. The connections at TCE are extraordinary. All ready, several participants have contacted me to lecture, exhibit, collaborate between academic institutions, or enroll at SACI in Florence, Italy. 38. This experience is very important for me and my university. Some artists want to join to our activity 39. First, inspiring and encouraging. Yes, I am doing what i need to be doing. Secondly, it showed there is an engaged international community committed to the success of both residency programs and artists. 40. Global contacts 41. New contacts and strengthening contacts within the Boston network 42. New opportunities 43. Learned about many opportunities, networked, had time to reflect on career vis a vis the conference topics 44. By increasing the network of artists and art professionals 45. Very well 46. Meeting and networking artists from various cultures 47. Networking 48. Networking connections.

49. Made a few valuable contacts - will follow up on them 50. Open up new possibilities introduction to new artists and organizations 51. In positive ways -- expanding contact, locations, possibilities in general. 52. Possibilities 53. In a few years I will be ready to apply to residencies and I believe that at that time, I will be ready. 54. New collaboration in the art 55. Nice connections were established! 56. I have more contacts now 57. The conference provided a lot of inspiration and I gained more clarity regarding my artistic career. 58. Overseas opportunity 59. The connections made during portfolio reviews have raised my profile in Boston and in Europe

C10: Any additional comments are greatly appreciated. 1. I would like longer reviews, and more direction. 2. Somehow the management of this conference needs to be better. I thought the idea was great. I paid for it out of my own pocket. But the communication was terrible. 3. I like the idea of Dutch treat but did not understand what or where that was. What I understood - there would be a designated spot to lunch, which we would pay for allowing us more time to dialogue with other attendees. 4. I found this conference an exhilarating experience well worth the time and monetary expenditure. The value of international connections cannot be overestimated, and I am still in the process of following through with the wealth of new introductions acquired at this conference. 5. I really appreciated the Conference and even more the feeling it left me, a growing desire to share Art with artists from all over the world. 6. Wonder if there should be a reasonable yearly subscription to be a member of TCE--could be tiered (student, artist, etc. ) and would help defray costs. Also, wonder if TCE should be geared more to students in terms of local art school portfolio reviews. Finally, Mary is amazing, but I worry that she is simply too overloaded as the point person at the conference (despite lots help). 7. I feel like I found out about a few possibilities for visiting and working. As a mid-career artist (or even mid-mid career---I look forward to expanding my travels beyond the work I make and teaching in Europe. 8. I hope the TEC organization will go on with international cooperative projects. 9. The International Conference for the Arts brings the world together and making the distance closer. 10. Overall, the conference was an inspiring event that provided many opportunities for networking 11. I had a Fulbright to India in 1992; I've had many international arts experiences. This conference was good! 12. Loved the fact that the 2011 connected visual art, literature, music and architecture 13. I look forward to the next conference 14. And being invited as a speaker at the Conference in 2011 15. Overall, TCE was one of the most beneficial conferences I have ever attended. The participants' accomplishments were astounding. Each person held genuine enthusiasm to share ideas in an open dialogue, extend and expand the discourse of art and higher education. In marketing this conference, perhaps more institutions with a high percentage of international populations should be contacted such as The School of the Art Institute of Chicago, RISD, Brown University, etc. 16. Excellent conference 17. TCE is a great organization and performs a unique role in uniting artists across cultures and disseminating information through a network of international artists interested in cross cultural exchange.

18. Very well 19. TCE opens new worlds to artists: literally and metaphorically 20. I really appreciated receiving a scholarship - without it, I would not have been able to attend. 21. Opportunity to know diverse artists and different art out[side] of my community to the world. 22. I'd like to see a bit more young artists attending the program. And sometimes I think there should be a more picky selection of the speakers. Most of them were great but some other ones weren't so interesting nor very modern. 23. Very satisfactory experience 24. You can change the world doing this!

APPENDIX D – PLACE OF RESIDENCE

Collected from the 2011 Online Registration Records.

INTERNATIONAL UNITED STATES # % # Attendees Attendees % Nigeria 1 0.39 Arizona 2 0.77 Japan 2 0.77 California 4 1.54 Australia 2 0.77 Colorado 3 1.16 Connecticut 5 1.93 China 1 0.39 District Finland 1 0.39 Columbia 2 0.77 Italy 2 0.77 Florida 3 1.16 Germany 3 1.16 Hawaii 2 0.77 Netherland 2 0.77 Illinois 4 1.54 Canada 2 0.77 Indiana 1 0.39 (Québec) Kansas 1 0.39 Taiwan 1 0.39 Kentucky 1 0.39 Brazil 1 0.39 Massachusetts 121 46.72 Total 18 6.95 Maine 3 1.16 Michigan 1 0.39 Minnesota 1 0.39 Missouri 1 0.39 Montana 1 0.39 North Carolina 2 0.77 Nebraska 2 0.77 New Hampshire 3 1.16 New Jersey 4 1.54 New Mexico 1 0.39 New York 58 22.39 Ohio 2 0.77 Oregon 1 0.39 Pennsylvania 5 1.93 Texas 2 0.77 Vermont 3 1.16 Washington 1 0.39 Wisconsin 1 0.39 Total 241 93.05

APPENDIX E – PRESS BIBLIOGRAPHY

Absolutearts.com, "February 15th Deadline Approaching,” January 31, 2011.

Absolutearts.com, "February 15th Deadline Approaching,” February 8, 2011.

Absolutearts.com, "Conference on Opportunities in the Arts," March 14, 2011.

Academia.edu, "Factory as Studio at the Trans Cultural Exchange, April 9, 2011, Boston," by Jane Gavan.

AICA USA (International Association of Art Critics United States Section), "TransCultural Exchange Announces an Opportunity for Critics to participate in its 2011 Conference."

Artscan, "Alumnae Activities," Carnegie Melon School of Art, Elaine A. King, May 2011.

Arts Education Partnership, "TransCultural Exchange's 2011 Conference on International Opportunities in the Arts," December 14, 2010.

Artists in Context, "TransCultural Exchange: Where Art and the World Convene," April 2011.

Artseek: MassCultural Council Blog, "TransCultural Exchange: Making Massachusetts an International Center for Creativity," Interview with Mary Sherman, November 10, 2009.

ArtsBoston, "Grant Writing Workshop," April 2011.

ArtsBoston, "Selected Conference Attendees' Reading," April 2011.

Artspan Blogs, "Boston-TransCultural Exchange," March 31, 2011.

Artspan Forum, "Artspan at the TCE Conference, Boston April 8-10," April 2011.

Artspan Newsletter, "Artspan at the TCE Conference, Boston April 8-10," April 2011, by Eric Sparre.

Bamboo Culture International, "The Director of Bamboo Culture International, Margaret Shiu is invited as one of the keynote speaker for '2011 Conference on International Opportunities in the Arts,'" April 2011.

Bay Area Art Grind, "TransCultural Exchange's 3rd Biennale Conference on International Opportunities in the Arts: The Interconnected World," February 7, 2011, by sjsartidea.

BNN TV, "It's All About Arts," Interview with Canvas Fine Arts and Jean-Baptiste Joly," April 2011.

BNN TV, "It's All About Arts," Interview with Canvas Fine Arts and TransCultural Exchange Conference Speakers, "TransCultural Exchange's 2011 Conference," April 2011.

Beacon Hill Patch, "Transcultural Exchange Conference Events," April 2011, by Kimberly Ashton.

Berkshire Artstart, "Open Call - TransCultural Exchange," February 6, 2011.

Berkshire Creative, "Happenings + Events - TransCultural Exchange's 3rd Biennale Conference on International Opportunities in the Arts: The Interconnected World," March 2011.

Berkshire Fine Arts, "2011 International Opportunities in the Arts," March 15, 2011, by Astrid Hiemer.

Berkshire Fine Arts, "Wrap Up TransCultural Exchange Conference 2011," April 29, 2011, by Astrid Hiemer.

Blogging YOU, "Transcultural Exchange 2011," February 11, 2011, by Don Schaefer.

Boston Globe, "Aiming to make connections," April 7, 2011, by Jeffrey Gantz.

College Art Association, "2011 Conference on International Opportunities in the Arts: The Interconnected World," November 10, 2010.

Demetrius Spaneas, "TransCultural Exchange Conference and TIMI Collaboration" April 4, 2011, by Demetrius Spaneas.

Dig Boston, "Conference on International Opportunities in the Arts," April 6, 2011, by Ami Bennitt.

Factory As Studio, "Factory as Studio Project - a panel discussion at the trans cultural exchange, Boston," April 2, 2011, by Jane Gavan.

Floating World Projects Blog, "TransCultural Exchange Conference 2011," April 5, 2011.

Gypsy Wolf Marketing, "TransCultural Exchange's 2011 Conference on International Opportunities in the Arts," April 12, 2011, by Bonnie Clark.

Hampden Gallery, University of Massachusetts Amherst, "The Interconnected World: Various Projects," Spring 2011.

Inside MassArt, “Save the Date: 2011 Transcultural Exchange Conference,” November 2010.

Mira's List, "Sign Up Now! Transcultural Exchange's 2011 Conference on International Opportunities in the Arts!" January 27, 2011, by Mirabee.

NewSCheonji Newspaper, "Real Interview," August 2011, by Ji In Lee.

National Dance Education Organization, "TransCultural Exchange's Conference on International Opportunities in the Arts," January 31, 2011.

Res Artis, "Res Artis at the TransCultural Exchange Conference," April 15, 2011.

Residency Unlimited, Useful Resources, "Transcultural Exchange."

Rhode Island State Council on the Arts, "TransCultural Exchange: Where Art and the World Convene," January 18, 2011.

Rhode Island State Council on the Arts, "TransCultural Exchange: Where Art and the World Convene," March 3, 2011.

Saksala ArtRadius, "artist-in-residence conference Boston - USA - Index," April 2011.

South End Patch, "TransCultural Exchange Conference Events," April 2011, Editor Alix Roy.

Swissnex Boston, "TransCultural Exchange Conference 2011," April 2011.

The Arts Map, "TransCultural Exchange - Non Profit International Arts Organization," January 2011.

The Tait Global, "TransCultural Exchange Conference," April 8, 2011, by Liv Tait.

Welcome to Germany.info (German Missions in the United States), "Germany represented at the TransCultural Exchange's 3rd Biennale Conference on International Opportunities in the Arts," April 2011.

Wooloo.org, Where Artists Find Open Calls, "2011 Conference On International Opportunities in the Arts," January 2011.

World Journal, "Mr. Candle-Choosing His Own Path," July 21, 2011, by Kitty Huang.

World Journal, "Mr. Candle at MIT," April 8, 2011, by Kitty Huang.

World Journal, "TCE-Interconnected World," April 13, 2011, by Kitty Huang.

World Journal, "MingCheng Huang," July 21, 2011, by Kitty Huang.

Youtube, "TransCultural Exchange Conference 2011," April 27, 2011, by Ralph Brancaccio.

APPENDIX F – CONFERENCE PRESENTERS

Antoine Abi Aad is a graphic designer, lecturer and a coordinator at ALBA, the Academie Libanaise des Beaux-Art. After seven years in Japan, he returned to Lebanon in 2008 to teach at ALBA. He also has exhibited, worked and taught in Japan, Korea, Taiwan, China, Greece, Brazil, Peru, Tunisia, Dubai, Thailand, Viet Nam and Lebanon.

David Adams combines more than twenty years of experience working at the Fulbright Scholar Program and thirteen years as a faculty member at various colleges and universities. Recently, he was given responsibility for extending and expanding the profile of the Rockefeller Foundation-supported Bellagio residencies for artists and scholars. He has extensive experience advising grant applicants on strategies for preparing successful applications.

Azra Aksamija is a Sarajevo-born Austrian artist, architect, and architectural historian. Her broader artistic and academic practice explores representation of Islamic identities in the West, spatial manifestation of identity politics, Orientalism, as well as possibilities of cultural interaction and conflict-mediation through art and architecture. She has published and exhibited her work in various international venues such as the Generali Foundation Vienna, Biennial de Valencia, Gallery for Contemporary Art Leipzig, Liverpool Biennial, Witte de With Rotterdam, Sculpture Center New York City, Secession Vienna, Manifesta 7, and most recently at the Stroom Den Haag and the Jewish Museum Vienna.

Lynne Allen is a Professor of Art and Director of the School of Visual Arts at Boston University. She is an artist whose works have been exhibited widely nationally and internationally including in the Whitney Museum of American Art, Museum of Modern Art Library and the Corcoran Gallery of Art, among others. Her honors include two Fulbright Scholarships (USSR 1990, Jordan 2004-05), two Andrew W. Mellon Foundation Research Grants, a New Jersey State Council on the Arts Fellowship, a Pennsylvania Council on the Arts Grant, a Whiting Foundation Grant and a Pew Fellowship finalist. Other honors include a residency at Grafikens Hus, Stockholm, Sweden as well as residencies in Canada, Belgium, Russia, Jordan and South Africa.

Zsuzsanna Ardó is a London-based photographer, writer and curator. She is a member of BAFTA (British Academy of Film and Television Arts), the British Association of Journalists, and the Editor of HASNotes. She founded the Hampstead Authors' Society, a social and professional network for artists and authors, and has been its chairman for over 12 years, producing a wide variety of arts events featuring the work of artists and authors from the UK and beyond. Her books, films, photos and articles have been published and exhibited widely internationally. She is also the founding curator of the André Kertész Photography Competition and has served as Jury Chair for numerous international photography competitions.

Dr. Nuit Banai is an art historian and critic with a PhD in Art History from Columbia University before joining Tufts University/School of the Museum of Fine Arts, Boston in 2007. Her research interests focus on the post-war and contemporary construction of new publics through the visual arts, especially in Europe and the Middle East. Her writings have appeared in catalogues for the Schirn Kunsthalle in Frankfurt, Centre Georges Pompidou in Paris, Barbican Art Gallery in London, Artists Space, Bronx Museum for the Arts, and the Americas Society in New York City. She served as Assistant Editor RES: Anthropology and Aesthetics (2002-2005), a Contributing Editor for Art Papers, is a regular contributor to Artforum International, and has written for Art Journal, Frieze, Modern Painters, and Time Out New York. Dr. Banai recently completed a manuscript on Yves Klein for the Critical Lives series published by Reaktion Books.

Judith Barry is the Director/Professor in the MFA in Visual Arts at Art Institute of Boston, Lesley University, an artist and writer whose work crosses a number of disciplines: performance, installation, sculpture, architecture, photography and new media. She has exhibited internationally at such venues as the Berlin Biennale, Venice Biennale of Art/Architecture, Sao Paolo Biennale, Nagoya Biennale, Carnegie International, Whitney Biennale and the Sydney Biennale, among others. Her work is

included in such collections as the Museum of Modern Art (NYC), Whitney Museum and Pompidou Center. In 2000, she won the Kiesler Prize for Architecture and the Arts and in 2001, she was awarded "Best Pavilion" at the Cairo Biennale. Her publications include Public Fantasy, a collection of her essays, published by the ICA in London. Her project Cairo Stories premiered at the Sharjah Biennial in March 2011.

Marek Bartelik is the President of the US Chapter of the International Art Critics Association (AICA), Vice-president of AICA International, an art historian and art critic specializing in 20th century art and theory of art, with a Masters of Science degree in Civil Engineering from Columbia University and a Ph.D. in Art History from CUNY Graduate Center. He studied at the Ecole des Beaux Arts in Paris. He is the author of To Invent a Garden: the Life and Art of Adja Yunkers, The Sculpture of Ursula von Rydingsvard (with Dore Ashton and Matti Megged) and GDR/DDR: Contemporary German Painting in Portuguese Collections. He is a regular contributor to Artforum.

Mira Bartók is the author of The Memory Palace, an illustrated memoir, published by Free Press (Simon & Schuster.) She has also been awarded a Fulbright, an artist/writer-in-residence at Ragdale and Centrum, among others, and has won awards for her art and her writing, including the Vogelstein Foundation, The Pen-American and Carnegie Fund for Writers. As a visual artist, Mira has exhibited throughout the United States and abroad, including the Detroit Institute of Art and New York's Franklin Furnace. Mira also lectures on grants and opportunities for artists, writers and musicians and is the founder of Mira's List, a blog for international artists seeking grants, fellowships and residencies.

Ute Meta Bauer is the Director of MIT's new Arts, Culture and Technology (ACT) Program, a merging of the former Center for Advanced Visual Studies and Visual Arts Program. For more than two decades she has worked as an editor and curator, most notably as the artistic director of the 3rd Berlin Biennial for contemporary art and as co-curator in the team of Okwui Enwezor for Documenta11. She also has served as director for various art institutions as well an advisor for a number of cultural boards. She is chairwoman of the Art Advisory Board of the Goethe Institutes, a member of the International Scientific Board of the Bauhaus Foundation in Dessau, and most recently she was nominated as a member of the International Committee of the 3rd Yokohama Triennale 2008.

Cynthia Baron is a teacher, graphic designer, and writer. She is the Academic Director of the Digital Media graduate programs in the College of Professional Studies at Northeastern University. Previously Technical Director and Lecturer in the Department of Visual Arts (now Art+Design), she was executive vice president of a Boston-based graphic design studio for more than a decade. Cynthia has edited, authored or co-authored over a dozen books, including Adobe Photoshop Forensics: Truths, Sleuths and Fauxtography, and Designing a Digital Portfolio, which is in its second edition. She has been a series editor for Rockport Publishers and a contributing editor to the magazines Critique and Computer Graphics World. Cynthia has been profiled or quoted in media ranging from MIT Technology Review to USA Today.

Roberley Bell is an American artist, whose projects examine ideas related to the built environment, exploring the relationship between the manmade and the natural. She has worked internationally, creating both public interventions and gallery exhibits, and is the recipient of grants and fellowships, including the New York Foundation for the Arts, a Pollock Krasner and, most recently, she was a 2010 Fulbright Senior Scholar to Turkey.

Shana Berger is an artist, writer, and curator who lives and works in York, Alabama. Driven by the idea that art can play an integral role in realizing positive social change, her work blends modes of art, activism, organizing, and advertising. Shana is a founder of the Indiana artist group and organization Your Art Here, and currently works as Co-Director of the Coleman Center for the Arts. She is a recipient of an Alabama State Council on the Arts Fellowship, and a Curatorial Fellowship from the Andy Warhol Foundation for the Visual Arts.

John Bisbee has held residencies at the MacDowell Colony and Yaddo, received numerous awards, including the Joan Mitchell Foundation. He has exhibited in a number of museum such as the Albright-

Knox Art Gallery in Buffalo and the Kemper Museum of Contemporary Art in Kansas City.

Kathleen Bitetti is a Boston-based artist, curator and arts/artists activist. Her activism focuses on public policy, advocacy, community building and the development of free or low cost resources/services for artists working in all genres and artist run businesses and organizations. She is the co-author of Stand Up and Be Counted - a survey of Massachusetts' artists on their work lives, socioeconomic status, access to healthcare, and medical and non-medical debt and is the co-founder of the Massachusetts Artists Leaders Coalition and two Massachusetts based working groups: the Artists Health Care Working Group and the State House Artists Working Group.

Kathy Black is the Program Director of the Vermont Studio Center. Prior positions include Visiting Professor at Trinity College of Vermont and Seminar Leader at Goddard College. In addition, she is an artist, whose works have been shown throughout New England and the US, including at the Rhode Island Community College, Laguna Gloria Museum in Texas and the Johnson State College in Vermont.

Boshko Boskovic is the Program Director of Residency Unlimited, a New York based non-profit arts service organization whose mission is to support artists and curators in residence. Additionally he works at the Felix Gonzalez-Torres Foundation and has curated exhibitions at the Contemporary Art Museum in Banja Luka, Bosnia & Herzegovina, the Belgrade Cultural Centre in Serbia and the Speed Art Museum in Louisville, Kentucky. During his tenure as Associate Director at the Sean Kelly Gallery in New York he also worked closely with artists such as Los Carpinteros, Ilya & Emilia Kabakov and Johan Grimonprez.

Esther Bourdages is a long-time collaborator with Quartier Éphemère, a visual art centre based in Montréal, where she works on programming. She also is an art historian, curator, sonic explorer and author of many articles and critical commentaries on contemporary art. She focuses on new forms of sculpture and is interested in field recording, specifically the music potential of sounds from the environment.

Ralph Brancaccio is a multi-disciplined, self-taught conceptual artist, whose work often revolves around social commentary or is politically motivated. He has attended a number of international artist- in-residence programs, and created public art works and interventions nationally and internationally with the New York Foundation for the Arts serving as the umbrella organization. Silent March for HIV Prevention and the Y Project, is an example of his projects, it asked, 'Why do we live so comfortably with an imbalance of human equality and irresponsibility.'

Laura Brown is the Co-Director of Handhouse Studio and an educator, sculptor, artist and builder. She was a member of the 3D Department at MassArt from 1996 to 2002, during that time, she served as Curator for an outdoor sculpture exhibition for the City of Boston's ParkARTS program located in twelve parks throughout the city and the Boston Common for First Night 2000. She has traveled and lectured extensively. Among her skills are exhibition design and installation, architectural design and building, woodworking, foundry, welding, earth technology, concrete, paper making and photography.

Mario A. Caro currently serves as the president of Res Artis, an international network of art residencies. He also serves on the board of the Longhouse Education and Cultural Center, which runs an artist-in-residency program dedicated to serving the needs of indigenous artists from around the globe. He is Assistant Professor/Fellow of the John W. Draper Interdisciplinary Master’s Program in Humanities and Social Thought at New York University. He is strongly committed to combining his interdisciplinary academic training with his community-oriented organizing activities.

Pieranna Cavalchini is the Curator of Contemporary Art at the Isabella Stewart Gardner Museum in Boston. The Isabella Stewart Gardner Museum holds a collection of fine and decorative art and an innovative venue for contemporary artists, musicians and scholars.

Anja Chavez is the Curator of Contemporary Art at The Warehouse Gallery, an international contemporary art venue of SUArt Galleries at Syracuse University. The gallery's mission is to present

exhibitions and programs by artists whose work engages the community in a dialogue about the role the arts play in illuminating critical issues of our life and times.

Joni Maya Cherbo is an independent arts practitioner based in New York City who teaches, researches, and writes on the sociology of art, arts issues, and cultural policy. She is currently the Executive Director of the Resource Center for Cultural Engagement, a contributing editor of the Journal of Arts Management, Law, and Society and an editor of a new series on the arts in America sponsored by Rutgers University Press.

Biljana Ciric is an independent curator based in Shanghai and the current Artistic Director of Ke Center of Contemporary Arts and executive curator for the Intrude Public art project presented by Zendai MoMA. She is also a regular contributor for Chinese and International art publications and an Artforum writer.

Bonnie Clark is an experienced marketing professional with demonstrated strength in developing and implementing marketing and fundraising strategies that bridge the gap between traditional and social/new media marketing to build relationships and communities that deliver value in highly competitive industries. Bonnie is also a mixed media and collage artist working with fibers and textiles, a member of the Southern Graphics Council, the American Print Alliance, the Surface Design Association, the Handweavers Guild of America, the American Tapestry Alliance, the National Polymer Clay Guild, the International Society of Altered Book Artists, the Association for Gravestone Studies and Mensa.

Jean-Yves Coffre is the Director of CAMAC, a creative, multi-disciplinary center offering international residency programs for artists, scientists and technologists working with new media. While at CAMAC, Jean-Yves has organized and curated renowned exhibitions of works by contemporary artists, such as Julia Lohmann, Alice Anderson, Steve Shada and Marisa Jahn. He has also curated three versions of Rodeo Performance, an international festival of performances; and in 2008 he was invited to China to write a book on the city of Hangzhou, published in 2009. Among his projects is a pedagogical program for children, which now serves more than 5,000 people per year.

Margaret Cogswell has been the Program Officer for Visual Arts at the Asian Cultural Council since 1999. During her tenure at the ACC she has worked to expand ACC’s collaborative relationships with different residency programs throughout the United States and Asia. She also maintains an active career as an artist. She is the recipient of a Guggenheim Fellowship, two NYFA fellowships and two Pollock-Krasner grants. Her River Fugues project is an ongoing series of site-specific/ mixed-media installations being developed and presented throughout the United States.

Roger Colombik works on a wide range of projects that include public sculpture and documentary studies on cultural identity - often in collaboration with his wife, Jerolyn Bahm-Colombik. Roger was a Fulbright Scholar to the Republic of Georgia in 2003, received a CECArtslink Project Award to Armenia in 2010 and Republic of Georgia in 2005, and has been an artist-in-resident at the Museu de Arta Comparat, Singeorz-Bai, Romania, Haslla Art World, Gangneung, South Korea and Center For Polish Sculpture, Oronsko, Poland.

T. Allan Comp has received national awards for his work with the people of the Appalachian coal country. He has been successful engaging the arts and humanities in environmental recovery and is noted for his remarkable choreography of multiple federal agency partnerships, particularly with VISTA, in working with rural mining communities. An employee of the Department of the Interior Office of Surface Mining, he was named a Purpose Prize Fellow by Civic Ventures in 2007 and, in 2009, was the first federal employee to be named a National River Hero by River Network. In 2009, he was awarded the Service to America Medal, the highest award a federal employee can receive. An historian of technology with a long engagement in cultural resources, community redevelopment and environmental reclamation, he is committed to the recovery of Appalachian mining communities from a century of pre-regulatory exploitation and neglect - and to the expansion of that experience to the rural mining communities of the Mountain West and elsewhere.

Lynne Cooney is currently the Exhibitions Director at Boston University’s School of Visual Arts and Director of the Boston University Art Gallery. Previously, she was the Exhibitions and Program Manager for Southern Exposure, a non-profit arts organization in San Francisco, where she organized solo and group exhibitions, performances, panel and artist talks and related programs. Prior to joining Boston University, Lynne was the Assistant Director of Development for the Boston Center for the Arts, fundraising for the BCA’s diverse visual and performing arts programming.

Lies Coppens is the Director Het Entrepot in Bruges, Belgium,a creative art lab for young artists who need time and space to create and to experiment. She holds a Masters in Art History (Ghent University, Belgium) and a Masters in Cultural Anthropology (Catholic University, Leuven, Belgium). After her studies she left for Shanghai, China, where she started work in an art gallery for contemporary Chinese art and organized residencies for foreign artists. She then moved on to Zendai MoMA, where she was working in the curatorial department of the museum as project coordinator of the Intrude 366 project, a large-scale project about art in public spaces.

George Creamer is an artist and Dean of Graduate Programs at Massachusetts College of Art and Design. In this capacity, he has expanded MassArt’s graduate programs to include a low-residency MFA Program offered in conjunction with the Fine Arts Work Center in Provincetown, MA. He has exhibited his work widely in galleries in Boston, New York and Los Angeles as well as other institutions such as Boston’s Institute of Contemporary Art. His other academic affiliations include Yale University, Middlebury College, Mount Holyoke College and Tufts University.

Ralph Crispino, Jr. is the founder of the I-Park Foundation, Inc., a 10-year-old artists’ residency program and facility in East Haddam, Connecticut.

Taylor Davis is a professor at Massachusetts College of Art and Design, co-chair of sculpture at the Milton Avery Graduate School of the Arts at Bard College and, currently, a Radcliffe fellow. Davis has recently exhibited her work at the Horton Gallery and at White Columns in New York, Office Baroque Gallery in Antwerp and Samson Projects in Boston. She also showed in the inaugural exhibition of the permanent collection at the Institute of Contemporary Art, Boston, and was selected for the Whitney Biennial 2004. Davis has been awarded an Anonymous Was a Woman Award, the 2001 ICA Artist Prize, two International Association of Art Critics awards and a Massachusetts Cultural Council Grant.

David Deitcher is a writer, art historian and critic whose essays have appeared in Artforum, Art in America, Parkett, the Village Voice, and other periodicals, as well as in numerous anthologies and monographs on such artists as Felix Gonzales-Torres, Isaac Julien, and Wolfgang Tillmans. He is the author of Dear Friends: American Photographs of Men Together, 1840-1918 and curator of the exhibition of the same name at New York’s International Center of Photography. He was the editor of The Question of Equality: Lesbian and Gay Politics in America Since Stonewall (Scribner, 1995), and has been core faculty at the International Center of Photography/Bard College Program in Advanced Photographic Studies since 2003 as well as core faculty at the Vermont College of Fine Arts /Visual Arts Department since 1997

Marja De Jong is the Founder and Director of Saksala ArtRadius, a residency where young, international artists can stay for several months to work, meet, discuss and establish contacts in the art world, while discovering their own artistic vision. Saksala ArtRadius provides support to create cooperation between artists and the local inhabitants and crafts people.

Maiken T. Derno is the Cultural Attaché and Head of Culture, Press and Public Diplomacy at the Consulate General of Denmark in New York. Her background is in Comparative Literature and Cultural Studies; she has previously taught at Columbia University and the University of Copenhagen. She is the author and editor of several books and journals, including Bad Music: The Music We Love to Hate and Trafficking Boundaries. Women and Performance: a Journal of Feminist Theory. From 2006-08, she was the special advisor to the Danish Arts Council on the DaNY Arts Collaboration Programme.

Marco Dessardo is a sculptor based in France whose site-specific works have been shown throughout the world from Korea to Germany to Sweden to the United States. He also has participated in a number of art festivals, including the Busan Biennale and Geumgang Nature Art Biennale, and created temporary and permanent pieces at such institutions as the I-Park Foundation in East Haddam, Connecticut. He constructs inhospitable folding houses, unstable drifting boats, rocking bridges leading to nowhere, leaking aqueducts to random irrigations and winding walls.

Dirk Drijbooms is the Director Apothiki Art Center. The Apothiki is an Art Center situated in the Kastro, the historical heart of Parikia, capital of the Cycladic island of Paros. In cooperation with artists, art galleries, foundations and cultural institutions - both Greek and international, this multi- functional space hosts contemporary art exhibitions and cultural events and provide a working and living space for artists in residence.

Janeil Engelstad's award winning projects have examined and given voice to some of the most important issues of our times, including gang violence, homelessness, peace and ecology. Working in partnership with foundations, universities, governments, NGOs, and major corporations her work has created positive environmental and social change in communities throughout the world. She is currently developing an international project and touring exhibition titled "Make Art With Purpose (MAP)," that will present the work of artists and organizations working in public practice.

José Luis Falconi is a Fellow at the Department of History of Art and Architecture and Curator of the Art Forum Program for Latino and Latin American Art at the David Rockefeller Center for Latin American Studies at Harvard University. He has contributed to several Latin American, European and U.S. magazines and journals as a writer, editor and photographer. In addition his photographic work has been exhibited widely in the United States and Latin America.

Jesseca Ferguson is a pinhole photographer who combines hand-made photographic processes and collage. She has been an artist-in-resident at Debrecen (Hungary), Skopelos (Greece), St. Vincent & the Grenadines (invited by the Engelhard Foundation) and Strasbourg (France) as part of the Boston/Strasbourg Sister Cities Program.

George Fifield is a new media curator, a writer about art and technology and teacher. He is the founding director of Boston Cyberarts Inc., a nonprofit arts organization, which produces the Boston Cyberarts Festival. This international biennial Festival of artists working in new technologies involves numerous exhibitions of visual arts; music, dance, and theatrical performances; film and video presentations and symposia at numerous arts and educational organizations throughout Massachusetts.

Dorothea Fleiss is the Director of the Dorothea Fleiss East-West Artist Symposia in Carei, Romania and organizer of programs such as the Donau Summer Academy and the International Summer Academy in Shandong, China. The Symposia offers a 10-day residency program and symposia in rural Romania, culminating in an exhibition. Dorothea’s art works have been widely exhibited at the Salon de l'Art Contemporain, Luxemburg, Belgium, 10th Kermesse of Contemporary Art, International and Biennial Edition, Torino, Italy and Inner Mongolian Museum of Art, and Hu He Hao Te, China.

Ana Flores is a Cuban-American sculptor, ecological designer, writer, and activist who lives in Charlestown, Rhode Island and Nova Scotia, Canada. Her sculptural work, focusing on cultural and ecological narratives, is shown internationally and included in private, corporate and institutional collections throughout the United States. She has also served as a juror for a number of organizations; and, in 2008, she was honored with a TogetherGreen Fellowship for her leadership skills in conservation.

Yannick Franck is a Belgian sound and visual artist and the founder of the electroacoustic project Y.E.R.M.O. (Venice Biennale 2009, Pavilion of Luxembourg). He composes soundtracks and performs live music for films and theater performances for the National Theater in Brussels as well as various independent companies.

Andrea Frank received her MFA from Parsons in NY, where she participated in the Whitney Independent Study Program. She is the recipient of numerous grants and fellowships including the DAAD, Rotary International Foundation, Danner Stiftung, Vermont Studio Center, Studienstiftung des Deutschen Volkes and the MIT Council for the Arts. She currently teaches Photography and Related Media at the MIT Program in Art, Culture and Technology. Her work has been exhibited internationally, with recent solo exhibitions at Carroll and Sons in Boston, Galleria Michela Rizzo in Venice, The MIT Museum Compton Gallery, and the Kunsthalle Göppingen in Germany.

Katherine French is currently the Director of the Danforth Museum of Art, where she has curated numerous exhibitions exploring Boston Expressionism, including Jack Levine: Political Discourse, Hyman Bloom: A Spiritual Embrace and David Aronson: The Paradox. Other notable shows include John Walker: Passing Bells, George Nick: Spirit of Place, and Gerry Bergstein: Effort at Speech. In 2007 she received an award for curatorial excellence for Joan Snyder, A Painting Survey, 1969-2005 from the New England chapter of the International Association of Art Critics, and was named 'Best Curator of Locally Made Art' at the 2010 Boston Art Awards. Under her direction, the Danforth Museum of Art has been named an 'Outstanding Cultural Organization' by the Massachusetts Arts Education Collaborative.

Hanneke Frühauf was curator of BINZ39, a gallery and artists-studio project in Zurich, and now the curator for Bridge Guard residence centre in Slovakia. She is also a member of the Res Artis’ advisory committee and art director of dutchartdesk.ch, a foundation that enhances the perception and mutual understanding between Switzerland and the Netherlands through art and culture projects.

Karol Frühauf is the Director of the Bridge Guard Art/Science Residence Center, Štúrovo, Slovakia. It supports all artistic and scientific disciplines, with the main characteristic being "bridging" - intertwining disciplines, uniting opposites, exploring and moving boundaries in social contexts - during a 3 to 6 month sojourn in the 'Bridge Guard' residence.

Jane Gavan is the Associate Dean of Learning and Teaching at Sydney College of the Arts, University of Sydney in Sydney, Australia. The Sydney College of the Arts Residency program provides professional artists, scholars and curators access to world-class facilities in generous spaces overlooking Sydney Harbor. Artists in residence engage in the presentation or development of research and artistic works. Research residents contribute to the academic program and SCA research community through interaction with staff and students.

Hakki Engin Giderer is a Turkish artist and writer, including the author of The End of Painting, a book that focuses on modern Western and Turkish painting. He has served as the Associate Dean of the newly established Çankiri Karatekin University’s Faculty of Fine Arts program and is the director of the university’s summer academy. The summer academy is one of the most important activities of the Fine Arts’ program with a mandate to provide an international dimension to the university.

Dr. Benoit Granier is a composer/visual artist, working out of Beijing, Singapore and Dublin. He teaches computer music, composition, and digital and interactive media at the Beijing Central Conservatory.

José Guerreiro is a Lisbon-based social worker and a theater teacher, who works with youth with fewer opportunities. He has organized arts festivals, international youth exchanges and educational projects.

Hans Guggenheim is an artist, art historian, anthropologist and director of Project Guggenheim. In 1956, he traveled the world for LIFE magazine, drawing and reporting on artists and exhibitions. Other past positions also include a Professorship of Anthropology at MIT and Visiting Scholar at Harvard’s Center for International Affairs. He has worked in Mali to build water-granaries and small dams during the drought, and as an artist and supporter of traditional art and craft around the world. Based on his years of experience in remote corners of the world, he founded Project Guggenheim in 1997 to

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provide high quality training in the traditional arts and contemporary skills for students. Their schools and programs (in Tibet, Mali, Guatemala and northern Canada among the Inuit) support traditional arts and encourage innovation - understanding that for traditions to survive, they must respond creatively to new cultural and economic challenges.

Jeannette Guillemin is the assistant director of the Boston University School of Visual Arts. She works closely with the director on a variety of projects and counsels art students and runs the internship program. She launched and continues to direct the Visual Arts Summer Institute, an arts program for youth. With a diverse background in creative writing, theatre, and visual arts, Jeannette is interested in the powerful role that art plays in society. She serves on several boards including her local arts commission and Art Street, Inc.

Debbie Hagan is editor-in-chief of Art New England magazine and has been writing about the visual arts for three decades. She teaches creative writing at New Hampshire Institute of Art.

Machiko Harada is the former Curator for the Akiyoshidai International Art Village as well as an Assistant Director for the Artist in Residence Program, which featured artists such as Anya Gallacio and Anish Kapoor. She has curated exhibitions at the Kanazawa College of Art and was the Coordinator for Artport in Nagoya. The Akiyoshidai International Art Village, established in 1998, is a public cultural institution whose mission is to support creative activities through the residency program with an aim to serve as a place to create and promote arts and culture.

Mags Harries is best known for her site-specific artwork, which ranges from major permanent public works to temporary events and performances. She has exhibited nationally and internationally, and was recently a Fellow at the Bogliasco Foundation. For the past ten years, Mags has worked collaboratively on public art projects with architect Lajos Héder as the Harries Héder Collaborative. They have completed public art works throughout the US, including SunFlowers, an Electric Garden in Austin, TX; bridges and seating for the Highline Canal in Phoenix, AZ; MoonTide Garden in Portland, ME; The Big Question at the Science Center in Des Moines, IA; and Terra Fugit at the Miramar Regional Park, FL.

Laura Harrison is the Associate Director of Administration at the Bogliasco Foundation. She is a documentary filmmaker and has taught media literacy, video production and film history. Her award winning documentaries include Secret People (2000) and Thurmond, W. Va (1995). She most recently co-produced, directed and edited Space, Land and Time: Underground Adventures with ANT FARM, a feature-length documentary about the renegade 1970s architecture collective best known for Cadillac Ranch. The film was the recipient of the Cine Golden Eagle Award.

Astrid Hiemer has been a writer, photographer and associate editor at Berkshire Fine Arts, a digital magazine, for the last five years, since its inception. She has also worked with countless national and international artists in the past thirty years, mostly as an administrator for projects, exhibitions, conferences and events in the US and abroad.

Dr. Maria Hirvi-Ijäs is a contemporary art researcher with the University of Helsinki. Her research areas are exhibition theory and the rhetorics of the artwork. Her background is in higher art education as well as strategic leadership and development, and curating, including at such institutions as the Museum of Contemporary Art, Kiasma in Helsinki, the Royal University College of Fine Arts in Stockholm and the Finnish National Gallery.

Lillian Hsu is an artist and the Director of Public Art at the Cambridge Arts Council (CAC) where she administers the Percent-for-Art program for the City of Cambridge. She also has directed the education and outreach programming for the CAC Public Art Program, including Public Art ACTS and Public Art/Moving Site, which was awarded one of the best public art projects of 2006 by the Americans for the Arts/Public Art Network. As an artist, she has been the recipient of grants from the Radcliffe Bunting Institute for Advanced Study, the Edward Ingersoll Browne Fund and the Massachusetts Cultural Council, among others.

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Kayoko Iemura is an architect and Program Director of Tokyo Wonder Site. As an architect, she created projects such as the Site of Reversible Destiny, Yoro Park, together with Shusaku Arakawa and Madeline Gins and the Lifescape Association, which involved the holistic use of clothing, food, agriculture and living spaces for people of all ages. Since 2001, Kayoko has managed the programs at Tokyo Wonder Site to support and nurture emerging artists, and to exchange global creativity through collaborations between the visual arts, contemporary music, and performing and traditional arts.

Marisa Jahn is an artist/writer/community organizer, co-founder of REV- (a non-profit organization that fosters socially-engaged art, design and pedagogy), and current Director of Architecture at Art Omi. She has been an artist-in-residence at programs such as MIT’s Media Lab and the Elizabeth Foundation for the Arts, and is the co-editor of Recipes for an Encounter, byproducts: On the Excess of Embedded Art Practices and Where We Are Now: Locating Art and Politics in NYC. Her work has been presented in museums world-wide and been featured in Art in America, LA Times, NY Times, Discovery Channel and NPR, among others.

Jean-Baptiste Joly is the Chairman of the Board of the Foundation Akademie Schloss Solitude and founding Director and Artistic Director of the Akademie. He is an honorary professor at the Kunsthochschule Weißensee, Hochschule für Gestaltung, Berlin. Quoting Nicholas Tsoutas, Director of Sydney's Artspace, "Akademie Schloss Solitude is a pre-eminent studio residency organization that has not only challenged the very meanings of residencies, cultural exchanges and global mobility – but has challenged and set the very standards and expectations by which residency centers operate."

Gianni Jetzer is a curator and critic living in New York. Since 2006 he is the Director of Swiss Institute - Contemporary Art, an independent art space in Downtown Manhattan. He has realized numerous exhibitions with international artists at Migros Museum für Gegenwartskunst in Zurich (Curator, 1998-2001), Kunsthalle St. Gallen (Director, 2001-2006) and the Swiss Institute New York. He has written numerous contributions for catalogues, art magazines, and newspapers such as Kaleidoscope, Parkett, Flash Art, Spike and Neue Zürcher Zeitung.

Arlette Kayafas is the director of Gallery Kayafas, a fine art photography gallery operating in Boston's South End since 2003. She opened her gallery after 43+ years of collecting photography and contemporary art. The gallery is dedicated to showing the finest photography and contemporary work mixing established with emerging artists.

Elaine A. King is a professor of the History of Art/Theory/Museum Studies at Carnegie Mellon University. She also has curated over 20 solo exhibitions and catalogues, organized and curated over 35 group exhibitions, and guest curated Likeness at Pittsburgh's Mattress Factory, Museum of Contemporary Art. In 2006, she co-edited Ethics and the Visual Arts with Gail Levin, published by Allworth Press. She is also a freelance critic who writes for several art publications; has been invited by the State Department to nominate artists for the Venice Biennale, Sao Paulo, and the Cairo Biennials; and has given lectures on art and culture nationally and internationally.

Csaba and Suzanne Kiss are Co-Directors of At Home Gallery Synagogue Association for Arts and Culture, Samorin, Slovakia. It is a unique center for contemporary arts, incorporating a historical synagogue and a home-like residence for artists, writers and musicians with the possibility to exhibit or perform in the synagogue. The residence was ceremonially opened by the Dalai Lama in 2000.

Knoll+Cella have been collaborating on projects since 1998, and in 2004 founded Transart Institute. Knoll also is an assistant professor of photography at University of Hawaii Manoa in Honolulu; and with Cella, they have jointly shown at the Museum of Modern Art, Salzburg; Honolulu Academy of Arts Museum; Queens Museum of Art, New York; Art Complex Museum, Boston; and the Tallinn Print Triennial, Estonia. Knoll+Cella were recently visiting artists at the Lingnan University Visual Studies Program in Hong Kong.

Aysegul Kurtel is the Founder and Director of K2 in Izmir, Turkey. It is a non-profit organization with

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20 artists' studios, a documentation center and gallery that aims to create an open platform, especially geared towards young artists. Its purpose is to give a chance for new approaches and experimental ideas so that contemporary art at an interdisciplinary level can be presented and also exhibited. Workshops, conferences, and discussions at the K2 Art Center are expected to create an international interaction between artists.

Anne La Prade Seuthe is the Curator of The Hampden and Central Galleries at the University of Massachusetts, Amherst. Hampden Gallery is one of two Fine Arts Center Galleries located in Residential Areas at the university. It has a reputation for being the launching pad for emerging artists working in all disciplines. Its active programming schedule runs throughout the academic year and features solo, group and thesis exhibitions that are enhanced through opening receptions, artist talks and workshops.

Michelle Lampa is currently a Manager of Business Development for Asia and Eurasia at the Massachusetts Office of International Trade & Investment (MOITI). She also directs the social media initiatives for MOITI. Prior to her current role at MOITI, she worked at the Massachusetts Executive Office of Housing and Economic Development and the Massachusetts Life Sciences Center.

Claudia Lefko is a life-long educator, activist and advocate for children. In 2000, she founded The Iraqi Children's Art Exchange in Northampton, MA. ICAE organizes and supports professional artist exchanges and collaborative projects between these artists and US and Iraqi children and youth. Since 2006, ICAE projects have been shown at such venues as MASS MoCA and the Delaware Art Museum and included Iraqi artists in Jordan in collaboration with individuals and institutions - the Dar Al Anda and Orfali Galleries, SAVE the Children, CARE and the Jordan Children's Museum. In 2009, ICAE re- established its connection with the children's cancer unit at Baghdad’s Children's Welfare Teaching Hospital in Medical City, where the project first began.

Leonard Lehrer is the co-chair of the Fulbright Arts Task Force. He is a painter and printmaker whose work has been widely exhibited and collected, including by NY’s Museum of Modern Art and Washington DC’s National Gallery of Art. He has served as the Chair of New York University's Department of Art and Arts Professions, Columbia College's Dean of the School of Fine and Performing Art and is presently the University of Texas, Austin's Visiting Professor and Director of the Printmaking Convergence Program, College of Fine Arts and Department of Art & Art History. Lehrer is a Founding Trustee of the International Print Center New York (IPCNY); on the Board of Directors of Apex Art Curatorial Program (NYC) and is Chair of the College Board’s National Task Force on Arts in Education. His awards include the Gold Medal Award of Distinction of the National Society of Arts and Letters and a Lifetime Achievement Award in Printmaking from the Southern Graphics Council International, among others.

Linda Lighton is sculptor and arts activist, who helped establish the one percent for Art Program in Kansas City. She has served on numerous boards, including at the Nelson Atkins Museum, Review Magazine and the Kansas City Ballet; and currently serves on the Kansas City Jewish Museum Board, the National Committee at the Kemper Museum and Advisory Committee for the Kansas City Artists Coalition. As an artist, she has participated in numerous international residencies and helped send more than 82 artists to 46 countries with the help of the Kansas City Artists Coalition.

Greg Lindquist is a Brooklyn-based artist and writer. He writes about art for artcritical.com, The Brooklyn Rail, Hyperallergic and ARTnews. He is the 2009-10 Pollock-Krasner Foundation Grantee and the Sally & Milton Avery Arts Foundation Grantee for the 2009 Art Omi International Artist Residency. His most recent work addressed architectural decay and entropy through an immersive installation of painting and sculpture. He participated in Frozen Moments: Architecture Speaks Back, organized by the Laura Palmer Foundation (based in Warsaw) in The Ministry of Transportation building in Tbilisi, Georgia.

Janna Longacre is a Professor at the Massachusetts College of Art + Design. Janna was the curator for MassArt In Cuba, which included artwork and projects based on and inspired by Cuba from invited

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faculty and alumni who have been involved with the history of the island.

David Macy is the Resident Director at the MacDowell Colony, a pioneering force and contemporary leader in the field of artists’ residency programs. Before joining MacDowell in 1994, David was the program and facilities manager at the Djerassi Resident Artists Program in Woodside, California. For twenty years he has been committed to creating ideal working and social conditions for creative artists of all disciplines. He serves on the boards of the Alliance of Artists Communities and Monadnock Arts Alive.

Sarat Maharaj was co-curator of Documenta X1 (Kassel. 2002). With Richard Hamilton and Ecke Bonk, he curated Retinal. Optical. Visual. Conceptual . . . on Marcel Duchamp (Boijmans Van Beuningen, Rotterdam. 2002), was co-curator of Farewell to Postcolonialism, Guangzhou Triennial, 2008 and editor/curator: Printed Projects 11 (Dublin), Querying the GT 2008 at the Republic of Ireland/Northern Ireland Pavilion for the 2009 Venice Biennale. He also was the co-curator of last year's San Paolo Biennale, Knowledge-Politics-Art and is the curator of the Gothenburg Biennale: Pandemonium: art in a time of creativity fever (2011). In addition, he is Professor of Visual Art & Knowledge Systems, at Lund University & the Malmo Art Academies, Sweden.

Dyan Marie is a visual artist who creates projects that explore urban issues and contemporary cultural experience. She is the founder of Bloor Magazine, Cold City Gallery, ARTATWORK and DIG IN. She co-founded C Magazine, Urban Surface and BIG and is also director of a project space Dupont/Dyan Marie Projects and a board member of the City of Toronto’s Art for Public Places Committee, the Centennial College Advisory Committee and the Bloordale BIA. She has received numerous awards, including the Urban Leadership award from the Canadian Urban Institute, the Government of Canada’s Community Builders Award, the Ontario Provincial Government Good Citizen Award and City of Toronto's Clean and Beautiful Award.

Dr. Tucker J. Marion is an Assistant Professor in Northeastern University’s College of Business, School of Technological Entrepreneurship. His research concentrates on product development, innovation, and entrepreneurship. In 2001, he co-founded the Innovation Factory, where he headed product development and operations. In 2004, he began FlashPoint Development, a boutique product design firm specializing in working with new ventures.

Murray McKay is an artist and Associate Director of Enrollment Management with Studio Art Centers International (SACI) in Florence, Italy. He teaches portfolio preparation workshops throughout North America to artists and educators in all mediums. His work has been exhibited, screened and performed at The Terra Museum of American Art, Art Institute of Chicago, Field Museum, Royal College of Art in London and Blue Man Group.

James McLeod is an Associate Professor Fine Arts 3D / Glass at the Massachusetts College of Art + Design and the Executive Director and co-founder of Floating World Projects, a non-profit arts organization that transcends cultural stereotypes and prejudices via arts education and artistic collaboration. Floating World Projects aims to develop and sustain cross-cultural media projects that highlight how cultures form positive symbiotic relationships in our new global age. Currently, Floating World Projects is involved in facilitating a number of collaborative art and educational projects in New York, Turkey, Israel and Palestine

Veronique Le Melle is the Executive Director the Boston Center for the Arts. Prior to joining the BCA, she was the Executive Director of the Louisiana Division of the Arts. As the Division’s Executive Director, she successfully restructured Louisiana’s Grants Program and implemented a streamlined grant application process. During her tenure, she was also instrumental in creating the structure and mission for Louisiana’s first private cultural foundation, the Louisiana Cultural Economy Foundation. Additionally, she has served as the Director of Culture and Tourism in the Office of Queens Borough President and as Executive Director of the Jamaica Center for Arts & Learning, Inc.

Christopher Merrill has published four collections of poetry, including Brilliant Water and Watch Fire,

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for which he received the Peter I. B. Lavan Younger Poets Award from the Academy of American Poets; translations of Ales Debeljak’s Anxious Moments and The City and the Child; several edited volumes, among them, The Forgotten Language: Contemporary Poets and Nature and From the Faraway Nearby: Georgia O’Keeffe as Icon; and four books of nonfiction, The Grass of Another Country: A Journey Through the World of Soccer, The Old Bridge: The Third Balkan War and the Age of the Refugee, Only the Nails Remain: Scenes from the Balkan Wars and Things of the Hidden God: Journey to the Holy Mountain. His work has been translated into twenty-five languages, and his honors include a knighthood in arts and letters from the French government. He directs the International Writing Program at the University of Iowa.

Kaiwan Mehta is an author (Alice in Bhuleshwar-Navigating a Mumbai Neighborhood), lecturer, translator, theorist and critic in the fields of visual culture and architecture. He has served as a fellow at Akademie Schloss Solitude, Stuttgart from 2007-2010; and from 2008-2009 worked as an urban researcher with the ADACH (Abu Dhabi Authority for Culture and Heritage) Pavilion for the Visual Arts at the 2009 Venice Biennale.

John Michalczk is Chair of Fine Arts and Co-Director of Film Studies at Boston College. He has produced documentaries for PBS television dealing with conflict resolution, disabilities and social justice. His publications and films deal with such topics as anti-Semitism, World War II and the Holocaust. At present, he is engaged in producing a documentary on the widespread violence that swept Kenya after the national elections of 2007-2008.

Patricia Milder is a Brooklyn based art writer and critic. She is the Managing Art Editor at The Brooklyn Rail; her writings on art, performance and dance have appeared in The Brooklyn Rail, PAJ: A Journal of Art and Performance, Artcritical.com, The L Magazine and in various exhibition catalogues. In 2010, she was a guest lecturer at the School of Visual Arts, in the Visual and Critical Studies Department. She is currently curating an alternative space exhibition of art and performance with the artist Lizzie Scott.

Francine Koslow Miller has been a Boston-area critic for Artforum for over twenty years and a recent contributor of features to Sculpture Magazine. She also has taught at liberal arts institutions (including McGill University, the University of Massachusetts and Northeastern University) and art colleges (MassArt, The School of the Museum of Fine Arts and Montserrat College of Art). She has published numerous art catalogues, three art monographs and currently is awaiting the publication of The Rape of the Rose, a personal and factual account of the saga surrounding the attempts to sell Brandies University's invaluable collection of contemporary art.

Katherine Louise Mitchell is an interdisciplinary artist, educator, and administrator. In addition to her work as a professional artist, she serves as the Community Programs Coordinator at the School of the Museum of Fine Arts, Boston (SMFA). Her work has been practiced/exhibited nationally in venues including SomArts Cultural Center, 66balmy, Crucible Steel Gallery, Grossman Gallery, the School of the Museum of Fine Arts, Boston, 57Delle Project Space and the Massachusetts Campus Compact Conference on Civic Engagement. Publications include the Vincent Curtis Educational Register: Interdisciplinary Art Education: Creativity in a Culture of Choice.

Regina Maria Möller is a Berlin/Trondheim based artist, author, founding editor of the magazine regina and creator of the label embodiment. Shown internationally, her work and position is cross disciplinary - she addresses topics, using a wide range of formats. She has taught at numerous international academies and universities; and, currently, is a professor at the Trondheim Academy of Fine Art, Faculty of Architecture and Fine Art, Norwegian University of Science and Technology, NTNU.

Dana Moser is a musician, film/video and digital media artist. As a curator, he has assembled numerous exhibitions of interactive installation/kinetic sculpture including Electroland, The Ballad of Wires and Hands and Path to Ground. He is Department Chair of the Studio for Interrelated Media at the MassArt where he develops curricula for Internet art and electronic projects.

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Susanne Mueller-Baji is an independent art critic, journalist, artist and curator based in Stuttgart/Germany. Presently, she is curating three international art projects: Scriptease, Seascape – art and environmental protection and Hinterlassenschaften/Verlassenschaften, which focuses on the way Germany is perceived today. Her writings – primarily on fine art and literature – have been published in Germany, Hungary, Italy and the United Kingdom; and she is currently working on her first book. As an artist, she has taken part in residencies, art projects and exhibitions throughout the world.

Tran Thi Huynh Nga founded the Blue Space Contemporary Art Center, the first non-profit arts organization in Vietnam, and the first arts organization in Vietnam to receive a grant from the Ford Foundation. She has also curated and organized several exhibitions and workshops in various parts of the world, including the Cultural Representation in Transition - New Vietnamese Paintings in Bangkok, organized by Siam Society of Thailand; the Meeting Point 98 workshop for Thai and Vietnamese artists; the Gap Vietnam exhibition in Berlin, organized by Cultural House of the World; the international workshop at Long Hai Beach, Vietnam, for artists from England, USA, Canada, Spain and Vietnam; as well as TransCultural Exchange's Tile Project: Destination, the World.

Elisabeth Ochsenfeld is a Timisoara/Romania-born, Heidelberg/Frankfurt-based visual artist, curator and residency founder. Her interest is to create and sustain a platform for and with international artists and to support the cultural heritage of Wolfsberg-Garana in the Western Carpathian Mountains. In Heidelberg/Frankfurt and Wolfsberg/Garana, she offers residencies for people involved in the international cultural process. She intends to open a museum in Wolfsberg-Garana with a large art collection representing the village's ethnographical richness.

Aaron T. O'Connor is the founding director of The Arctic Circle expeditionary residency program. This unique residency takes place aboard a specially outfitted, century old sailing vessel in the High Arctic. The Arctic Circle program is open to international artists of all disciplines, scientists, architects, innovators and educators who seek out areas of collaborative exploration. The Arctic Circle supports the creation and exhibition of new and pioneering work, and cultivates the residents’ professional development, with a focus on public engagement.

Michael Ogilvie is the Arts/Industry Coordinator for the John Michael Kohler Arts Center in Sheboygan, Wisconsin. He has taught at the University of Nevada, Las Vegas, worked for the Las Vegas Arts Commission and managed the Percent for the Arts Program. He is also a visual artist who has exhibited nationally and internationally and has self-published two works of visual poetry (comics) and has co-published the graphic novel Drunk: A Comic About Bart Stories.

Carrie Webb Olson is a partner in Day Pitney's Intellectual Property Group and is resident in the Boston office. Carrie's practice area focuses on all aspects of copyright and trademark law, from acquisition and maintenance to exploitation and enforcement. She provides general counseling regarding the selection, use and protection of company trademarks, nationally and abroad. Carrie is experienced in providing brand expansion guidance and advice to clients from start-ups to Fortune 500 companies. She is well-versed in negotiating and drafting intellectual property licenses, assignments, and settlement agreements. Carrie regularly represents and counsels clients involved in disputes before the United States Patent and Trademark Office's Trademark Trial and Appeal Board and the Federal Courts concerning trademark and copyright claims. Carrie also has extensive experience with domain name disputes and related arbitration proceedings. Carrie is an active member of the International Trademark Association and sits on the INTA Roundtable Project Team (Programs Committee).

Hope O'Reilly is the Director of Development and Communications at The Bogliasco Foundation. The Bogliasco Foundation was established in 1991 as a non-profit entity devoted to the support of the arts and humanities through its support of the Liguria Study Centre for the Arts and Humanities. The Study Centre offers residential fellowships to persons doing advanced creative work or scholarly research in the traditional disciplines of the arts and humanities. The Foundation also awards special fellowships intermittently to specific disciplines or to persons coming from different countries or regions.

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Michèle Oshima is the Director of the Sorenson Center for the Arts at Babson College. Previous jobs include serving as the Coordinator of the MIT Program in Women’s Studies and then Director of the Student and Artist-in-Residence Programs in the MIT Office of the Arts, where she worked with such artists as Chris Abani, Margaret Atwood, Junot Díaz and Michel Gondry. She plays trumpet in a number of local bands, including the big band and The Mood Swings, and recently also played with Anthony Braxton in the Sonic Genome Project at the 2010 Vancouver Cultural Olympiad.

Marta Oslin is the Program Manager at ArtCorps, where she manages artist recruitment and communications, helping to spread Art for Social Action. With a background in community-based programs and participatory research, she is passionate about engaging communities in social change and building local leadership and creative thinking skills. Prior to joining ArtCorps, Marta conducted research on health disparities at Tufts University and evaluated Oxfam America’s gender equity and microfinance programs in Latin America. She served as a Peace Corps volunteer in West Africa and holds an MA in Sustainable International Development from the Heller School for Social Policy and Management at Brandeis University.

Shin Jung Park is the Chief Director and curator of the Haslla Art World Park & Exhibition Center, the Haslla Museum Hotel and several projects on Cultural Street and University Street in Kangnung City. She received a B.F.A in Sculpture at Ewha Woman's University and a M.F.A. in Sculpture at the Graduate School of Ewha Woman's University. Since her first Road exhibition in 1994, at the Press Center of Seoul and went on to have several more exhibitions in Korea and Japan. Her work is included in permanent collections at Taiwan's Wood Carving Museum, Korea's Gyeongju Municipal Library and the Haslla Art World Museum.

Pavel Petras is a professor at the Academy of Arts in Banska Bystrica, where he served as the Assistant Dean for science and art activities from 1997-2001. From 1995 to the present, he has curated nineteen art symposiums in Liptov, Bratislava and Prague. In 2003, he co-founded the nonprofit organization Park Umenia to support artists and their work.

Amertah E. Perman is trained in the field of International Education and Interpersonal Intercultural Communication. Her background is in interdisciplinary arts programming, adult learning, and community education. She was first introduced to the world of artist mobility through the Red Gate Gallery in Beijing, China, where she worked as the Residency Program Director in 2008/2009. Today, she specializes in best practices within artist mobility programming and continues to seek out new forms of engagement with the arts community.

Richard Perram is the Director of the Bathurst Regional Art Gallery in Bathurst New South Wales, Australia. Bathurst Regional Art Gallery (BRAG) is one of the oldest regional galleries in NSW. It is a well-equipped and professionally staffed facility owned and operated by Bathurst Regional Council. Since 1990, the gallery has continued to enjoy widespread community support and to develop a reputation as one of the leading regional galleries in NSW. A diverse exhibition program, a focus on community access and a commitment to the provision of innovative educational and public programs underpin the gallery's operations.

Danièle Perrier is the director of the Künstlerhaus Schloss Balmoral, Bad Ems. From 2001-2004 she was the coordinator for Germany of the Pépinières Européennes pour jeunes artistes. She has worked at the auction house Gallery Koller in Zurich, the Dr. Ursula Krinzinger Gallery in Vienna and as a curator at the Musée d'Art et d'Histoire, Fribourg, where she organized her first major exhibition Vienna at the search of Eden. From 1991 - 1996, she was the founding director of the Ludwig Museum im Deutschherrenhaus, Koblenz, dedicated to French Art after 1945; and from 1996 - 1999 she was a visiting lecturer of modern and contemporary art at the University of Koblenz-Landau, Campus Koblenz. Her main research interest are French art; kinetic art and its interface to design and architecture; sound and sculpture, time and space; art and techniques; and art and media art.

Klaus Postler was the co-founder and director of One Step Beyond Gallery and Artists Space in

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Brattleboro, VT. He is the founder and director of Fort Mallary Gallery (a brick and mortar/virtual gallery hybrid) and co-founder and director of G.O. (Global Opportunities in the Visual Arts), which stages international exhibitions and artists residencies. He served as the co-founder and co-curator of the New England New York New Talent, a (nearly) bi-annual exhibition of emerging artists at the University of Massachusetts' Central and Hampden Galleries.

Nathan Purath is an artist and Co-Director of the Coleman Center for the Arts in York, Alabama. He is a founding member of the non-profit organization Your Art Here, which uses billboards as public art spaces. Driven by the role that art can play in realizing positive social change, his work facilitates opportunities for artist and communities while blending modes of art and organizing.

Angelika Rinnhofer is a visual artist who immigrated from Germany to the US in 1995. Since 2005, she has committed herself exclusively to teaching and to her art practice, exhibiting nationally and internationally at such venues as the New Britain Museum of Art and the Museum Industriekultur in Nuremberg. In her work, Angelika probes the importance of belonging and its effect on memory. Her investigations rely on philosophical, historical, and scientific aspects of Western origin to inform her artistic concepts.

Frank Roselli is the owner/director of Boston’s Soprafina Gallery, which exhibits contemporary painting, prints, photography and sculpture by emerging, mid-career and established artists. Roselli is a painter in his own right, and previously was the owner/manager of specialty printing and manufacturing company.

Francine Royer is the regional and international affairs development officer at the Conseil des arts et des lettres du Québec. She manages the studios and studio-apartment of the Professional Artists Grant Program and handles the numerous international agreements of the Conseil with its Québecois and foreign partners. She is responsible for special measures the Conseil offers to artists, writers and organizations in regards to cultural diversity. An anthropologist by training, prior to the Conseil, she held various professional functions at the Ministère des Affaires culturelles du Québec in the fields of heritage, museums and support for artists.

Dr. Nitin Sawhney is research fellow and lecturer in the MIT Program in Art, Culture and Technology. He co-founded Voices Beyond Walls, a participatory media initiative to supportive digital storytelling and civic empowerment among Palestinian children and youth in refugee camps in the West Bank and Gaza.

Ellie Schimelman is an artist and Director of Cross Cultural Collaborative, Inc an educational non- profit promoting cultural exchange and understanding through the arts by bringing creative people together at a cultural center in Ghana. The programs emphasize multigenerational and multicultural collaborations encouraging participants to find rewards in different forms of creativity. Artists from different cultures are brought together in a supportive environment where they can get to know each other through the language of art. At the core of the program is the belief that interaction between African and non-African artists enrich the creativity of both groups.

Ellen Schön is Adjunct Faculty in Fine Arts and Clay Studio Supervisor at the Art Institute of Boston at Lesley University. She has exhibited in numerous shows around the country and is a past Massachusetts Council on the Arts and Humanities’ Artist Foundation Fellowship recipient. She participated in international artist symposia/residencies in Finland, Croatia, Hungary, and Turkey; and has organized interdisciplinary, thematic exhibitions in non-profit venues in the Boston area. Recently, she co-curated MINDmatters at Laconia Gallery; and Vessel as Metaphor and, Waterfall (a benefit show for WaterAid) at the Nave Gallery, Somerville.

Abbe Schriber is a writer and curator based in Brooklyn. She works in the curatorial department at The Studio Museum in Harlem. She holds a BA in Art History from Oberlin College, where she additionally co-curated the exhibitions To Make Things Visible: Art in the Shadow of World War I and Envisioning Edo’s Splendor: 'The Floating World' and Beyond.

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Margaret Shiu Tan is the Director of Bamboo Curtain Studio in Taipei County, Taiwan. The studio provides working space and equipment for ceramists, sculptors and mixed media artists; consultative, research and implementation services for arts related projects; production of site-specific arts in public spaces; and space for experimentation and development of multi-media art.

Joanne Silver is the New England correspondent for ARTnews magazine, was the art critic for the Boston Herald for 18 years, and has written extensively for The Providence Journal, Patriot Ledger, The Concord, New Hampshire Monitor and Albany Times Union.

Janet Simpson is the Executive Director of the Kansas City Artists Coalition. Trained as an artist, she has served as a nominator and panelist for such organizations as the Kansas City Avenue of the Arts and the Charlotte Street Awards, and currently serves on a number of committees and boards, including the Kansas City Visual Arts Consortium, the Creative Capital Foundation Professional Development Selection Panel and KC Artist LINC.

Joel Slayton is the Executive Director of ZER01 and a professor at San Jose State University where he is Director of the CADRE Laboratory for New Media, an interdisciplinary academic program in the School of Art and Design dedicated to the development of experimental applications involving information technology and art. Joel serves on the Board of Directors of Leonardo/ISAST (International Society for Art, Science and Technology), and was Editor and Chief of the Leonardo-MIT Press Book Series from 1999-2005.

Laura Smith is an Art Education facilitator who has dedicated her art and passion to creating positive change with the people of El Salvador in their communities. After graduating from UMass Dartmouth with a BFA in Elementary Art Education, she has worked as an art teacher and community-based artist. During her time with ArtCorps, she has worked with women, youth and staff of FUNDAHMER, a Salvadoran NGO, to explore the power of art and creativity in personal and social transformation. She works with a wide range of visual arts techniques and enjoys bringing play and body movement into her workshops.

Doris Sommer is the Ira Jewell Williams, Jr., Professor of Romance Languages and Literatures and in African and African American Studies at Harvard University. She is widely published and also the Director of Cultural Agents promoting the arts and humanities as social resources. Cultural Agents foster creativity and scholarship that measurably contribute to the education and development of communities worldwide. Identifying creative agents of change, reflecting on best practices, and inspiring their replication, Cultural Agents shows that creativity sustains healthy democracies by developing the moral imagination and resourcefulness in citizens.

Maggie Stark is a Boston-based artist whose work has been shown throughout the region, including at the Nielsen Gallery in Boston, Dartmouth College in Hanover, NH and the Institute of Contemporary Art in Portland, ME. For nine years, she was a member of the Boston Sculptors Gallery and has been an artist-in-residence at the Corning Museum of Glass, the Millay Colony and the Vermont Studio Center, among others. She was recently awarded a Cultural Fellowship from the Goethe Institute in Berlin and an Artist Residency Fellowship at the Haslla Art World Museum in South Korea. For over a decade she directed the Nesto Gallery, overseeing its renovation and expanding its scope. She is currently on the faculty at Milton Academy.

Caitlin Strokosch is the Executive Director of the Alliance of Artists Communities. Prior to joining the Alliance, Caitlin managed several nonprofit professional music ensembles in Chicago and she worked for a PR firm specializing in nonprofit arts organizations, including the National Youth Orchestra Festival and the Stradivarius Society. She has been a guest speaker and lecturer at conferences and colleges around the country, including Columbia College Chicago, Roosevelt University, Brown University, Roger Williams University, and the Rhode Island School of Design on a range of topics - from grant-writing to contemporary music to intersections of art and architecture.

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Yaohau Su is the Director of AIR Taipei, Taiwan's premiere residency program, which oversees three very different and unique arts-in-residence campuses around the city of Taipei – the Taipei Artist Village, Grass Mountain Arts Village and Treasure Hill Arts Village. She also teaches arts administration at the National Taiwan Art University and National Taipei Normal University. Since 2007, she has served on the Board of Trustees of the Contemporary Art Foundation, appointed by the Department of Cultural Affairs, Taipei City. She consults for the Taipei City Government's Public Arts Fund and the Visual Art Grant of the National Culture and Arts Foundation, Taiwan.

Sarah Tanguy is a curator at the ART in Embassies, U.S. Department of State. Established in 1963, AIE is an international program of exhibitions, collections and exchanges at over 200 U.S. diplomatic venues. As the primary arm of the U.S. government dedicated to international collaborative projects, ART in Embassies is seeking new partnerships between U.S. artists and their host countries to expand its mission of cultural diplomacy. Sarah is also an independent curator and critic, including a frequent contributor to Sculpture Magazine.

Pamela Tatge is the Director of the Center for the Arts at Wesleyan University where she has worked to re-imagine the role of artists in curricular and co-curricular life, including designing long-term residencies for choreographers Liz Lerman (Biology), Eiko Otake (East Asian Studies & History) and Ann Carlson (Environmental Studies). Most recently, she mounted Feet to the Fire, an 18-month exploration of climate change through the arts, that included pedagogical exchanges between artists and scientists; and two major festivals that included performances, visual art exhibitions and installations, and commissioned works by student, faculty and visiting artists. With her colleague, Sam Miller, she co-founded the Institute for Curatorial Practice in Performance set to launch in Summer, 2011.

Karola Teschler is the Director of the European Artists Association, based in Velbert, near Essen, Germany. The organization accepts international members and has held symposia/residencies since 2003 in Germany and other countries. Exhibitions have usually followed the program, which give international exposure to resulting works. The European Artists Association holds a two-week residency program/symposium in Essen, Germany around the theme of intercultural dialogue.

C. David Thomas graduated from the Rhode Island School of Design with an MFA in printmaking in 1974, and is currently Director of the Indochina Arts Partnership. He joined the U.S. Army in 1968, and was sent to Pleiku, South Vietnam, as a combat engineer/artist. In 1987, he returned to Vietnam and he has made more than seventy-five trips to Vietnam since then to research and conduct programs of cultural exchange between the United States and Vietnam. In 2000, he was awarded the "Vietnam Art Medal" by the government of Vietnam in recognition of his contributions to the arts in that country. He received a Fulbright Senior Scholar Grant in 2002 to conduct his work in residence in Hanoi and designed the book HO CHI MINH - A Portrait, published in 2003. He has had over thirty-one person and hundreds of group exhibitions over the past thirty years.

E. Tornai Thyssen is an art historian and curator, whose research interests are in American art and its intersections with artists and movements in former Soviet block countries. Among her curatorial projects are Insights into Suburbia, a traveling exhibition for the National Association of Women Artists, with Penny Dell. Currently, she teaches at Montserrat College of Art.

Mkrtich Tonoyan is an Armenian artist, president of the AKOS Cultural NGO, founder and director of ACOSS (Art Center of Social Studies) and Art Commune artists-in-residence programs, and a member of Artists' Union of Armenia.

Thomas D. Trummer is the Curator of Visual Arts at Siemens Stiftung, Munich. Previous positions include the Hall Curatorial Fellow at The Aldrich Contemporary Art Museum and Curator for modern and contemporary art at the Oesterreichische Galerie Belvedere (Vienna) and Guest Curator at the Graz Kunstverein. Among his curated exhibits are Egon Schiele and the Round Table, Belvedere Vienna; Voice & Void, The Aldrich Contemporary Art Museum; I Repeat Myself When Under Stress, Museum of Contemporary Art, Detroit; Several Silences, Renaissance Society, Chicago; Actors &

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Extras, Brussels; Coral Visual, Casa de la Cultura, Buenos Aires; The Science of Imagination, Ludwig Muzéum Budapest, Artistic Research, MIT; and Before The Law, Ludwig Museum Cologne. Besides his curatorial work, Trummer was a Visiting Scholar at MIT's Program in Art, Culture and Technology; Visiting Professor at the University for Applied Arts Vienna and Visiting Professor at the University for Art and Design, Linz. He has edited various books on art and published widely on issues of contemporary art and aesthetics.

Nicholas Tsoutas is currently the Zelda Stedman Lecturer in Visual Arts at the Sydney College of the Arts, University of Sydney. Previously, he was director of major residency centers/programs across Australia including Artspace Visual Arts Centre, the Casula Powerhouse as well as The Instititute of Modern Art and Performance Space. He has contributed extensively nationally and internationally to the global discussions on residencies and residency centers and has been an Executive Board Member of Res Artis, the international artist residency network for almost a decade.

Julie Upmeyer is an artist and initiator based in Istanbul, Turkey. After a three-year nomadic life working in India, Germany, Austria, The Netherlands and Greece, she moved to Istanbul in 2006. She is website editor for Res Artis, the worldwide network of artist residencies, and co-director and initiator of Caravansarai, an independent project space, meeting point, collaborative production space and artist-residency in Istanbul.

Nomeda & Gediminas Urbonas have established an international reputation for socially interactive and interdisciplinary practice exploring the conflicts and contradictions posed by the economic, social and political conditions in the former Soviet countries. Combining the tools of new and traditional media, their work frequently involves collective activities such as workshops, lectures, debates, TV programs, Internet chat-rooms and public protests that stand at the intersection of art, technology and social criticism. They are the cofounders of JUTEMPUS interdisciplinary art program, VILMA (Vilnius Interdisciplinary Lab for Media Art), VOICE, a net based publication on media culture; cofounders of the Transaction Archive and the co-directors of the award winning Pro-test Lab Archive. They have exhibited at the San Paulo, Berlin, Moscow, Lyon and Gwangju Biennales – and Manifesta and Documenta exhibitions – among numerous others, including a solo show at the Venice Biennale and MACBA in Barcelona. Awards include the Lithuanian National Prize (2007); a fellowship at the Montalvo Arts Center in California (2007/08); Prize for the Best International Artist at the Gwangju Biennale (2006) and the Prize for the best national pavilion at the Venice Biennale (2007).

Ilgim Veryeri-Alaca is an Assistant Professor in the Department of Media and Visual Arts at Koç University in Sariyer-Istanbul. She has lectured and taught workshops on Turkish culture and cross- cultural perspectives, written extensively on printmaking, book arts and international artist residences as well as is an artist who has exhibited widely in Turkey, the United States, Italy, Georgia, Germany, Poland and Bulgaria.

Judith Vichniac is the Associate Dean of the Radcliffe Institute Fellowship Program. An expert on Western European politics and more recently history and memory, she has taught courses on social and political theory, political sociology, history and memory, and French politics. She is the author of The Management of Labor: The British and French Iron and Steel Industries 1860-1918 and an edited collection, Democracy, Revolution and History, co-edited with Theda Skocpol, George Ross and Tony Smith. She has contributed essays to a number of journals and books on many topics including "Religious Toleration and Jewish Emancipation;" "French Socialists and Droit à la Différence: A Changing Dynamic" and "Jewish Identity Politics and the Scarf Affairs in France."

Deb Todd Wheeler is an artist who has served on the Fulbright Selection Committee for Sculpture and Installation Art. For her own work, Deb is a recipient of a LEF Contemporary Work Fund Artist grant in inter-media, a Massachusetts Cultural Council Grant in Sculpture and Installation and an Artist Resource Trust Grant. She is a member of the Graduate Faculty of the Art Institute of Boston and teaches in the 3D Department at Massachusetts College of Art and Design.

Jessica Tamsin White is a Curator, Art Education facilitator, and Writer. She is founder of several

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international art projects in Austria, Japan and UK that explore the central importance of breaking conventions and stereotypes in visual representation. Among other activities, in Vienna, she has been developing a variety of creative projects in association with Michael Wimmer at EDUCULT in the Museums Quartier, and is currently co-curating (with Julian Stallabrass of the Courtauld Institute of Art) a photography exhibition of Afghani civilians.

Yeb Wiersma is an artist, who has served as an artist-in-residence at many programs, and is a frequent workshop presenter for Trans Artists. Trans Artists is the leading resource for information about international artist-in-residency programs as well as other opportunities for artists to stay and work elsewhere 'for art's sake'. Trans Artists operates mainly from the artists' perspective and usually cooperates with a wide range of partners throughout the world. Trans Artists makes the enormous labyrinth of residencies accessible and usable to artists through its website, newsletter, research and workshop programs.

Dr. Margaret Wyszomirski is a faculty member at Ohio State University of both the Department of Art Education and the School of Public Policy and Management. She has served as staff director for the bipartisan Independent Commission on the National Endowment for the Arts, as director of the Office of Policy Planning, Research and Budget at the National Endowment for the Arts, and as director of the Graduate Public Policy Program at Georgetown University. She joined the faculty of the Federal Executive Institute of the U.S. Office of Personnel Management in 1988. She has been on national advisory committees for a Foundation Center analysis of arts funding, for the economic impact study of arts and tourism conducted by the Port Authority of New York and New Jersey, and the National Center for Charitable Statistics. She was a founding member of the Research Advisory Committee of the American Council for the Arts, and was chairman of the steering committee for the 1997 American Assembly on "The Arts and the Public Purpose." She is currently chairman of the Research Task Force of the Center for Arts and Culture in Washington, DC.

Howard Yezerski is the Director of the Howard Yezerski Gallery, one of the leading contemporary art galleries in Boston. The gallery's primary focus is on contemporary photography, painting, and sculptures with a mixture of mid-career and emerging artists.

Tiffany Shea York joined the Isabella Stewart Gardner Museum in Boston in 2000 to manage the Artist-in-Residence program as well as all contemporary exhibitions, related materials and public programs. Since then she has worked with over 50 artists from around the world and helped to realize nearly 20 exhibitions and artist’s projects at the Gardner. Before coming to the Gardner, she worked as a studio jeweler and co-founded and directed Boston’s White Elephant Gallery, which exhibited work of up-and-coming artists in all media.

Steven Zevitas is the Director of Open Studio Press. Open Studio Press was founded in 1993 as a vehicle for facilitating contact between artists and art enthusiasts. Their critically acclaimed periodical New American Paintings has featured the work of over 3000 painters from throughout the United States. While included painters receive international exposure, those with an interest in contemporary painting are provided with an invaluable resource for discovering new artistic talent.

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APPENDIX G – 2011 CONFERENCE PROGRAM SCHEDULE

Clickable maps and links for more information are available online at http://www.transculturalexchange.org/conference_2011/schedule.htm

Conference Hotel and Primary Venue (Friday – Sunday) Omni Parker House Hotel, 60 School Street: The Wheatley, Alcott, Alcott Foyer, Press, Kennedy, Brandeis and Longfellow Rooms and Rooftop Ballroom.

Other Venues in Boston (Thursday – Friday) Boston Center for the Arts, 539 Tremont Street Boston Public Library, 700 Boylston Street Isabella Stewart Gardner Museum, 280 Fenway Massachusetts College of Art and Design, 621 Huntington Avenue Northeastern University, 360 Huntington Avenue

Other Venues in Cambridge (Friday only) Massachusetts Institute of Technology (MIT) Program in Art, Culture and Technology Program, 20 Ames Street, Bartos Theater, E15 Lower Level - Wiesner Building, Harvard University, CGIS, Room S-250, 1730 Cambridge Street

Thursday, April 7, 2011 9:30 am – 5:00 pm

AT THE MASSACHUSETTS COLLEGE OF ART AND DESIGN: Registration Check-In, Location: Tower Lobby, 621 Huntington Avenue. Including general information, registration pick-up and sign-ups for Dutch-treat lunches and dinners.

Thursday, April 7, 2011 MORNING SESSIONS

AT THE MASSACHUSETTS COLLEGE OF ART AND DESIGN:

10:30 am – noon National Residencies: Regional Aspirations, Location: Tower Auditorium, 621 Huntington Avenue. Most U.S. residencies are still based on the idea of sequestering artists away into rural retreats; whereas other countries’ programs more typically bring artists together for short-term ‘symposia’ and/or to promote regional strengths. A look at the differences and benefits of each. Moderator: Hunter O’Hanian, Chairman of the Board of the Alliance for Artists Communities, Vice President of Institutional Advancement, the Massachusetts College of Art and Design.

Maiken Derno, Head of Culture and Information Department, Royal Danish Consulate General.

Hanneke Frühauf, former curator of BINZ39, a gallery and artists-studio project in Zurich, and now the curator for Bridge Guard. She is also a member of the Res Artis’ advisory committee and art director of dutchartdesk.ch.

Francine Royer, regional and international affairs development officer at the Conseil des arts et des lettres du Québec.

Nicholas Tsoutas, Zelda Stedman Lecturer in Visual Arts Practice Sydney College of the Arts, The University of Sydney, Australia.

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Thursday, April 7, 2011 Noon – 1:00 pm LUNCH on your own or Dutch-Treat. Thursday, April 7, 2011 1:00 – 2:00 pm Tours of the Massachusetts College of Art and Design. Meet in the Tower Auditorium.

Thursday, April 7, 2011 AFTERNOON SESSIONS

AT THE MASSACHUSETTS COLLEGE OF ART AND DESIGN:

2:00 – 3:45 pm Art in Public Spaces, Location: Tower Auditorium, 621 Huntington Avenue. This panel of artists and programs that support the creation of public art works will address the challenges and benefits of taking art into the public arena. Moderator: Laura Brown, Co-Director of Handhouse Studio, Massachusetts.

Dyan Marie, a Toronto-based artist, activist, board member of the City of Toronto’s Art for Public Places Committee and founder of Bloor Magazine, Cold City Gallery, ARTATWORK and DIG IN!

Mags Harries, artist of the Boston-based Public Art Collaborative, whose most recent works include SunFlowers, an Electric Garden in Austin, TX; bridges and seating for the Highline Canal in Phoenix, AZ; Moon Tide Garden in Portland, ME; The Big Question at the Science Center in Des Moines, IA; and Terra Fugit at the Miramar Regional Park, FL.

Janeil Engelstad, an artist who has produced award winning public and community art projects throughout the world, including billboards, video projections, public interventions and temporary and permanent sculptures.

Ana Flores, Cuban-American sculptor, ecological designer, writer, and activist whose work focuses on cultural and ecological narratives. In 2008 Flores was honored with a TogetherGreen Fellowship for her leadership skills in conservation.

Shana Berger, Director, Coleman Center for the Arts and Inda Hightower Artists-in-Residence Program, York, AL. The Coleman Center for the Arts offers residencies to professional artists in three program areas: Visual Arts, Public and Community Arts, and Art Education and Theory. All areas of the program bring contemporary professional artists to a rural Alabama community and offer artists a direct introduction to Alabama’s Black Belt Region.

4:00 – 5:00 pm How to Start A Residency Program, Location: Tower Auditorium. Speaker: Caitlin Strokosch, Executive Director, Alliance of Artists Communities.

AT NORTHEASTERN UNIVERSITY:

2:00 – 2:45 pm Digital Portfolios for Artists, Location: Room 440, Curry Student Center. Making the transition from paper and slides to digital formats for presenting your work.

Cynthia Baron, Academic Director, Digital Media Programs, College of Professional Studies, Northeastern University and author of Designing a Digital Portfolio, published by New Riders Press, a division of Pearson Education.

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3:00 – 3:45 pm The Collision of Art and New Technologies: Creativity, Entrepreneurship and Technology, Location: Room 440, Curry Student Center. From bronze casting to the invention of oil paint, new materials and technologies have played a role in the art of their time. In what ways are new technologies not only effecting how artists create today, but how we define, perceive and experience contemporary art?

Dr. Tucker J. Marion, Assistant Professor, School of Technological Entrepreneurship College of Business Administration, Northeastern University.

4:00 – 4:45 pm The Siemens Art Program, Location: Room 440, Curry Student Center. The Siemens Stiftung is dedicated to cope with global challenges between the contradictory contexts of society, technology and culture: it considers itself a driver of innovations, ideas and cultural ideals. In its Arts and Culture sphere of activity the foundation focuses on themes of social change, cultural education and knowledge transfer within cultural scenes. A team of curators develops international programs in the fields of visual arts, music, theater as well as culture and knowledge, realizing these in cooperation with leading cultural institutions. This talk will discuss the Program’s various activities and will give an overview of how the notion of “foundation” can be theoretically determined.

Thomas D. Trummer, Curator Visual Arts, Siemens Stiftung, Munich.

AT THE BOSTON PUBLIC LIBRARY: Location: 700 Boylston Street

1:30 – 3:30 pm Selected Attendees’ Reading, Location: Conference Room 06. Moderator: Michele Oshima, Director, Sorenson Center for the Arts, Babson College.

10, 10-minute Readings of Selected Attendees’ works. Schedule of Readers to be announced.

1:30 – 3:30 pm What a New Generation of Young Art Critics Thinks, organized by AICA-USA in collaboration with The Brooklyn Rail, Location: Boston Room. What is the role of young critics in the current art world? The panelists will discuss their relevance as vital voices shaping our understanding of contemporary art. Moderator: Marek Bartelik, President, the National Chapter of the International Art Critics Association (AICA).

Greg Lindquist, writer for artcritical.com, The Brooklyn Rail, Hyperallergic and ARTnews. He also is a contributing editor for artcritical.com and Art Books in Review Editor for The Brooklyn Rail.

Patricia Milder, Managing Art Editor at The Brooklyn Rail. Her writings on art, performance and dance also have appeared in The Brooklyn Rail, PAJ: A Journal of Art and Performance, Artcritical.com, The L Magazine and in various exhibition catalogues.

Abbe Schribe, regular contributor for several online publications, including artcritical.com and the new literary magazine Full Stop.

Thursday, April 7, 2011

5:30 - 7:00 or 7:30 - 9:00 DINNER on your own or Dutch-Treat.

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Thursday, April 7, 2011 EVENING PROGRAMS

AT THE BOSTON PUBLIC LIBRARY: Location: 700 Boylston Street.

FEATURED WRITERS READING: Free Admission Introduced by Christopher Merrill, Director, International Writing Program, The University of Iowa.

5:30- 6:15 pm Illustrated Novel, Location: Rabb Auditorium. Reif Larsen, author of The Selected Works of T.S. Spivet.

6:30- 7:15 pm Memoir, Location: Rabb Auditorium. Mira Bartók, author of The Memory Palace, an illustrated memoir.

7:30 - 8:15 pm Fiction, Location: Rabb Auditorium. Jayne Anne Phillips, author of Lark and Termite, Machine Dreams, Black Tickets and Shelter, among others.

AT NORTHEASTERN UNIVERSITY: Location: The Fenway Center, 77 St. Stephen Street, on the corner of St. Stephen Street and Gainsborough Street.

8:00 - 10:00 pm Concert: Free Admission World Music - the Next Generation featuring Timi (the Modern Music ensemble), the only professional modern music ensemble in Beijing.

AT THE BOSTON HARRISON AVENUE GALLERIES: Location: 450 Harrison Avenue (at Thayer Street) and 486 Harrison Avenue

5:00 - 7:00 pm Special opening night reception at the South End Galleries for the Conference attendees and speakers: Free Admission

AT THE INSTITUTE OF CONTEMPORARY ART: Location: 100 Northern Avenue, Boston

5:00 - 9:00 pm Thursday Nights: Free Admission

AT THE ISABELLA STEWART GARDNER MUSEUM, BOSTON: Location: 280 Fenway

11:00 am - 5:00 pm Tickets are $12; College Students: $5 with current I.D.

AT THE MUSEUM OF FINE ARTS, BOSTON: Location: 465 Huntington Avenue

The mfa is open from 10 am to 9:45 pm on Thursday and Friday; and from 10 am to 4:45 pm on Saturday and Sunday. Tickets are $20.00.

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Friday, April 8, 2011

AT THE OMNI PARKER HOUSE HOTEL:

9:00 am – 5:00 pm Registration Check-In, Location: Mezzanine/Alcott Foyer. Including general information, registration pick-up and sign-ups for Dutch-treat lunches and dinners.

10:00 am – 5:00 pm Exhibitors Hall, Location: Brandeis. A showcase of new products and sponsoring programs.

Screenings, Location: Longfellow. Screening of Video Program, organized by the Goethe-Institut Boston; PowerPoint presentations of Attendees’ Works and Images from TransCultural Exchange’s Here, There and Everywhere: The Art of Collaboration project.

3:00 – 5:00 pm Portfolio Reviews/Mentoring Sessions, Location: Wheatley. Scheduled, one-on-one, 20-minute sessions with the international guests (critics, program directors, curators, etc.) will take place throughout the conference. During these sessions, the international guests will be available to look at attendees’ works and portfolios. These sessions are available for an additional $30 on a first-come, first-serve basis. To sign up for a review session, please go to online Registration.

Friday, April 8, 2011 MORNING SESSIONS

AT THE OMNI PARKER HOUSE HOTEL:

10:00 am – noon Finding the Best Fit: Researching and Applying for Artist-in-Residence Programs - Primarily for Visual Artists, Location: Kennedy. A workshop on how to research and prepare your application for residency programs. Introduced by Dr. E. Tornai Thyssen, Visiting Faculty at Montserrat College of Art, Independent Curator and Art Historian.

Presenter: Yeb Wiersma, artist, workshop presenter and former education director for Trans Artists.

AT THE BOSTON CENTER FOR THE ARTS:

10:30 am – noon Engaging Public Officials, Location: The Mills Gallery. A look at how Massachusetts’ area artists and organizations are taking their concerns to the State House; their successes, strategies and goals and how to apply them elsewhere. Moderator: Kathy Bitetti, Artist, Advocate and, among others, co-founder of ArtistsUndertheDome.org, ArtistsAlliance.us and the Massachusetts Artists Leaders Coalition.

Charles Coe, Co-Chair of the Boston Chapter of the National Writers Union. Veronique Le Melle, Executive Director of the Boston Center for the Arts. Lillian Hsu, Director of Public Art & Exhibitions, Cambridge Arts Council. Michelle Lampa, Manager of Business Development for Asia and Eurasia at the Massachusetts Office of International Trade & Investment (MOITI).

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10:30 am – noon Finding the Best Fit: Researching and Applying for Artist-in-Residence Programs - Multi- disciplinary Presentation, Location: Rehearsal Room A. Introduced by Mario Caro, Preseident, Res Artis.

A workshop on how to research and prepare your application for residency programs. Presenter: Julie Upmeyer, Res Artis Website Editor and Representative.

AT HARVARD UNIVERISTY

10:30 am – noon Paper Picker Press Workshop, Location: CGIS, Room S-250, 1730 Cambridge Street, Cambridge, MA. Presenter: José Luis Falconi, Fellow at the Department of History of Art and Architecture and Curator of the Art Forum Program for Latino and Latin American Art at the David Rockefeller Center for Latin American Studies at Harvard University.

Explore literature as recyclable material with the Paper Picker Press, an innovative arts-based literacy workshop. This workshop includes book making and other activities that provide educators of all ages with units of instruction that foster a love for reading, writing and critical thinking by fusing art and creative play with learning.

AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY, MIT

11:00 am – noon Art and Architecture Tour, MIT’S Art & Architecture, Location Start: MIT List Visual Art Center, 20 Ames Street, Building E15, Lower Level - Wiesner Building Meet at MIT’s List Visual Art Center, 20 Ames Street, Cambridge – LIMITED TO 30 PEOPLE.

Friday, April 8, 2011 Noon – 1:00 pm LUNCH on your own or Dutch-Treat

Friday, April 8, 2011 AFTERNOON SESSIONS

AT THE BOSTON PUBLIC LIBRARY

1:30 – 3:30 pm Grant Writing Workshop, Location: C05/C06, 700 Boylston Street Moderator: Deb Todd Wheeler, Faculty, Massachusetts College of Art and Design.

David Adams, Senior Program Officer at the Council for International Exchange of Scholars, a Division of the Institute of International Education, Washington, DC. David Adams combines more than twenty years of experience working on the Fulbright Scholar Program with extensive experience advising grant applicants on strategies for preparing applications.

1:30 – 3:30 pm First Books: Emerging Authors Share their Experience from Finding an Agent to Promoting Their First Book, Location: Boston Room. Moderator and Speaker: Mira Bartok, artist and author: The Memory Place and founder of Mira’s List.

Jedediah Berry, author: The Manual of Detection and Managing Editor of Small Beer Press. Marisa Crawford, author: The Haunted House.

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AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY (MIT), CAMBRIDGE:

1:30 – 3:15 pm Residencies as Research Clusters, Location: MIT’s Art, Culture and Technology Program, Bartos Theater, 20 Ames St., Building E15 Lower Level - Wiesner Building. A look at post-graduate school programs - primarily artists-in-residence and fellowship programs. What are the benefits to the artists? To the programs? To Critical Thinking and Discourse? Moderator and Speaker: Ute Meta Bauer, Director of the MIT's Program in Art, Culture and Technology.

Judith Vichniac, Associate Dean, Radcliffe Institute Fellowship Program.

Taylor Davis, artist and Radcliffe Institute Fellow.

Marco Scotini, Director of Visual Arts and Curatorial Studies, Nuova Accademia di Belle Artis, Milan, Italy.

Laura Harrison, The Bogliasco Foundation, Bogliasco, Italy. The Bogliasco Foundation was established in 1991 to the support the Liguria Study Centre for the Arts and Humanities, which offers residential fellowships to persons doing advanced creative work or scholarly research in the traditional disciplines of the arts and humanities.

Lajos Héder, former Bogliasco Fellow and collaborator with Mags Harries of the Boston-based Public Art Collaborative.

Pamela Tatge, Director of the Center for the Arts, Wesleyan University.

3:30 – 4:30 pm Pecha Kucha Presentations by the MIT Program in Art, Culture and Technology, Location: MIT’s Art, Culture and Technology Program, Bartos Theater, 20 Ames Street, Building E15 Lower Level - Wiesner Building.

AT THE BOSTON CENTER FOR THE ARTS:

2:00 – 4:00 pm Electronic Musicians/Composers Survival Kit, Location: The Mills Gallery. A discussion focused on how to create opportunities for musicians and composers working in the unorthodox field of electronic music, where there are few models for touring, distribution or critical response. This panel will offer tips and guidance on how to not only survive but also excel in this non- traditional career path. Moderator: Dan Hirsch, Director of Music Programs for ArtsEmerson at Emerson College.

Jason Gross, Editor and publisher of Perfect Sound Forever magazine. Micah Silver, Experimental Music Curator for the Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute. Hans Tutchku, Director of Harvard University's Studio for Electroacoustic Composition.

‘ AT THE BOSTON OMNI PARKER HOUSE HOTEL:

1:00 – 2:00 pm Workshop: Making the Most of the Conference - How to Network, Location: Kennedy. Bonnie Clark, Marketing Consultant, Gypsy Wolf Marketing.

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2:15 – 3:45 pm The Growing Popularity of Low-Residency MFA Programs and the Needs They Serve, Location: Kennedy. What can be learned from these programs? What advantages/disadvantages do they offer artists? And, can this mix of working on one’s own and then coming together for short periods of intense critique and feedback by experts be successfully adopted for other means beyond conferring a diploma? Should residency programs, for instance, consider adopting this model and think to take on this role? What other fields and organizations might benefit from this model? Moderator: Lynne Allen, Director, School of Visual Arts, Boston University's College of Fine Arts.

Judith Barry, The Art Institute of Boston at Lesley University. Kathy Black, Program Director, Vermont Studio Center. Knoll+Cella, Founders and Directors, Transart Institute, NY. Transart Institute in cooperation with the University of Plymouth, UK offers an international low- residency, two -year graduate art program leading to a Master of Fine Arts (MFA) in Creative Practice. (Summer residencies take place in cooperation with arts organizations in Europe.) David Deitcher and Faith Wilding, Faculty, Vermont College of Fine Arts, VT. George Creamer, Dean of Graduate Programs, Massachusetts College of Art and Design

4:00 - 5:00 pm The Lawyer is In: Understanding Copyright and Trademark Law, Location: Kennedy. Introduced by Thad Beal, Artist and Board of Trustee, TransCultural Exchange.

Carrie Webb Olson, Partner in Day Pitney's Intellectual Property Group. Carrie's practice focuses on all aspects of copyright and trademark law, from acquisition and maintenance to exploitation and enforcement. She provides general counseling regarding the use and protection of company trademarks, nationally and abroad. In addition, Carrie is experienced in providing brand expansion guidance and advice to clients from start-ups to Fortune 500 companies. She is also well-versed in negotiating and drafting intellectual property licenses, assignments and settlement agreements.

Friday, April 8, 2011 5:30 - 7:30 pm Opening Night Reception and Kick-Off Event, Location: Alcott.

Sponsored by Massachusetts College of Art and Design

8:00 – 11:00 pm Speakers and Sponsors Dinner, Location: The Ballroom.