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National Endowment for the Arts Annual Report 1982
Nat]onal Endowment for the Arts National Endowment for the Arts Washington, D.C. Dear Mr. President: I have the honor to submit to you the Annual Report of the National Endowment for the Arts and the National Council on the Arts for the Fiscal Year ended September 30, 1982. Respectfully, F. S. M. Hodsoll Chairman The President The White House Washington, D.C. March 1983 Contents Chairman’s Statement 3 The Agency and Its Functions 6 The National Council on the Arts 7 Programs 8 Dance 10 Design Arts 30 Expansion Arts 46 Folk Arts 70 Inter-Arts 82 International 96 Literature 98 Media Arts: Film/Radio/Television 114 Museum 132 Music 160 Opera-Musical Theater 200 Theater 210 Visual Arts 230 Policy, Planning and Research 252 Challenge Grants 254 Endowment Fellows 259 Research 261 Special Constituencies 262 Office for Partnership 264 Artists in Education 266 State Programs 272 Financial Summary 277 History of Authorizations and Appropriations 278 The descriptions of the 5,090 grants listed in this matching grants, advocacy, and information. In 1982 Annual Report represent a rich variety of terms of public funding, we are complemented at artistic creativity taking place throughout the the state and local levels by state and local arts country. These grants testify to the central impor agencies. tance of the arts in American life and to the TheEndowment’s1982budgetwas$143million. fundamental fact that the arts ate alive and, in State appropriations from 50 states and six special many cases, flourishing, jurisdictions aggregated $120 million--an 8.9 per The diversity of artistic activity in America is cent gain over state appropriations for FY 81. -
2016 SXSW Midnighters, Festival Favorites, Shorts & Special Events
P.O. Box 685289 | Austin, Texas | 78768 T: 512.467.7979 | F: 512.451.0754 sxsw.com SXSW FILM ANNOUNCES 2016 MIDNIGHTERS, FESTIVAL FAVORITES, SHORTS PROGRAMS AND SPECIAL EVENTS Austin, Texas – February 9, 2016 – The South by Southwest® (SXSW®) Film Conference and Festival announced the remainder of its program with the Midnighters, Festival Favorites, Shorts Programs and Special Events for its 23rd edition, running March 11-19, 2016 in Austin, Texas. The acclaimed program draws thousands of fans, filmmakers, press and industry leaders to immerse in some of the most innovative, smart and entertaining new films around. The SXSW Midnighters section is always a favorite with SXSW audiences who relish in the weird, electrifying and sometimes, downright terrifying. Featuring 10 genre films, including 6 World Premieres, the slate includes thrillers, sci-fi and dark comedies from a mix of new and established filmmakers. These 10 Midnighters as well as the 13 Festival Favorites, 5 Special Events, and additional feature titles are included in 139 total features screening at SXSW Film 2016. “Deep and dark character studies, crazy Japanese Manga come to life, daddy-issues, handicaps, survival, revenge and even a little remastering are all on display this year,” said SXSW Producer & Senior Programmer Jarod Neece. “You’ll hear from veteran directors and producers perfecting their craft to filmmakers that are about to burst onto the scene. And don’t sleep on the Festival Favorites and Special Events, lots of weird and wild films in those screening sections, too!” 114 short films were selected from 4,784 short film submissions. A comprehensive list of the Short Film Program is detailed below, all of which will screen as part of ten curated shorts programs. -
Whose "Sense of Place"?: Topophilia
:KRVH6HQVHRI3ODFH"7RSRSKLOLDWKH*UDVVURRWV DQG8UEDQL]DWLRQLQ$XVWLQ7H[DV $QGUHZ%XVFK American Quarterly, Volume 63, Number 2, June 2011, pp. 399-408 (Review) 3XEOLVKHGE\-RKQV+RSNLQV8QLYHUVLW\3UHVV DOI: 10.1353/aq.2011.0025 For additional information about this article http://muse.jhu.edu/journals/aq/summary/v063/63.2.busch.html Access provided by The University Of Texas at Austin, General Libraries (28 May 2015 21:46 GMT) Grassroots and Urbanization in Austin | 399 Whose “Sense of Place”? Topophilia, the Grassroots, and Urbanization in Austin, Texas Andrew Busch Environmental City: People, Place, Politics, and the Meaning of Modern Austin. By William Scott Swearingen Jr. Austin: University of Texas Press, 2010. 295 pages. $50.00 (cloth). Weird City: Sense of Place and Creative Resistance in Austin, Texas. By Joshua Long. Austin: University of Texas Press, 2010. 211 pages. $50.00 (cloth). $25.00 (paper). Chainsaws, Slackers, and Spykids: Thirty Years of Filmmaking in Austin, Texas. By Alison Macor. Austin: University of Texas Press, 2010. 392 pages. $45.00 (cloth). $24.95 (paper). Grassroots social movements have often formed the basis for academic study of urban culture. Indeed, sociologist Manuel Castells’s majestic 1983 The City and the Grassroots vigorously proclaimed the importance of understanding how social movements affect spatial form, cultural production, and relationships in cities. To Castells, collective social practice aimed at changing dominant social and political urban landscapes has the ability to produce truly democratic urban space. The City and the Grassroots was a sweeping analysis of multiple case studies, from the 1871 Paris Commune to the gay rights movement in 1970s San Francisco. -
Stugov Hopefuls Stump for Votes by Sara Tirrito Larson Said He Wants to Be “I’Ll Be Able to Make Sure That Government,” Aguinaga Said
WE’RE THERE WHEN YOU CAN’T BE © 2011, Baylor University WEDNESDAY | APRIL 13, 2011 www.baylorlariat.com Vol. 112 No. 44 The Baylor Lariat Student Body President Candidates BenAguinaga CristinaGalvan NateLarson ZachRogers ALL PHOTOS BY JED DEAN | LARIAT PHOTO EDITOR StuGov hopefuls stump for votes By Sara Tirrito Larson said he wants to be “I’ll be able to make sure that government,” Aguinaga said. “Af- Staff Writer hands-on and use his computer the student voice isn’t ignored or ter working there for two years, I coding skills to improve the effi- pushed aside throughout these recognize the dangers of becom- Campaign season has been ciency of student government. talks and when we submit our ing complacent within the orga- External Vice President largely unproblematic so far this “I feel like a lot of tasks can report to the university,” Galvan nization.” year — with only one charge be automated and be made better said. Aguinaga said he hopes to Candidates brought against a student govern- through the use of computers and Galvan also said she hopes to help student government flour- ment candidate — which some that’s why I feel like it’s important help improve relations with alum- ish by getting students involved believe is a result of the recent re- that I’m able to code computers,” ni to encourage them to give to the in discussions that go deeper than visions to the electoral code. The Larson said. “I feel like you could university. Additionally, she wants politics. season will begin wrapping up automate a lot, like a lot of the red to improve student government “The central theme of my ef- today, with voting beginning at 8 tape stuff; a lot of the processes itself and make it more relevant to forts is to endeavor not to make a.m. -
The 56Th Annual Conference of the International Council of Fine Arts Deans AT&T CONFERENCE CENTER AUSTIN, TEXAS OCTOBER 2 – 5, 2019 DEFY CONVENTION
INTERNATIONAL COUNCIL OF FINE ARTS DEANS A MULTI-NAT IONAL ALLIANCE OF EXECUTIVE ARTS ADMINISTRATORS The 56th Annual Conference of the International Council of Fine Arts Deans AT&T CONFERENCE CENTER AUSTIN, TEXAS OCTOBER 2 – 5, 2019 DEFY CONVENTION. CHALLENGE PERSPECTIVES. CELEBRATE TRADITION. SMU Meadows School of the Arts celebrates its 50th anniversary this year! The school was formally named in 1969 in honor of benefactor Algur H. Meadows, a Dallas oilman who was a staunch supporter of the arts at SMU. Learn more about the story of the school, our remarkable faculty and alumni through the years, and the work we do to prepare students for vibrant lives as professionals and to ensure there is a financially healthy arts and cultural community in which they can thrive. Visit smu.edu/meadows50. Southern Methodist University (SMU) will not discriminate in any employment practice, education program, education activity, or admissions on the basis of race, color, religion, national origin, sex, age, disability, genetic informa- tion, or veteran status. SMU’s commitment to equal opportunity includes nondiscrimination on the basis of sexual orientation and gender identity and expression. The Executive Director for Access and Equity/Title IX1 Coordinator is designated to handle inquiries regarding the nondiscrimination policies, including the prohibition of sex discrimination under Title IX. The Executive Director/Title IX Coordinator may be reached at the Perkins Administration Building, Room 204, 6425 Boaz Lane, Dallas, TX 75205, 214-768-3601, [email protected]. Inquiries regarding the application of Title IX may also be directed to the Assistant Secretary for Civil Rights of the U.S. -
Lost Film by Texas Filmmaker Eagle Pennell to Screen at Bullock Museum Dec
FOR IMMEDIATE RELEASE MEDIA CONTACT Elizabeth Page (512) 936-4607 [email protected] Lost film by Texas filmmaker Eagle Pennell to screen at Bullock Museum Dec. 16 Regional classic that inspired Sundance part of Texas Focus lineup DECEMBER 3, 2015 (AUSTIN, TX) — Texas filmmaker Eagle Pennell's 1978 film, "The Whole Shootin' Match," will be shown in the Bullock Texas State History Museum's Texas Spirit Theater on Wednesday, Dec. 16 at 7 p.m., followed by a Q&A with one of the film's stars, Sonny Carl Davis ("Thelma & Louise," "Bernie," "Fast Times at Ridgemont High"). The film is part of the Bullock Museum's Texas Focus film series, and this screening is offered in partnership with the University of Texas Press, which released Pennell's indie classic on DVD this year with South by Southwest founder Louis Black serving as executive producer."The Whole Shootin' Match" has been a lost film for years with rare screenings and no known decent prints available in any medium. Finally, a near-mint film print was located and has been digitally restored and this version will be shown at the Bullock Museum. "The Whole Shootin' Match" tells the story of two middle-aged country boys and close friends, Lloyd (Lou Perryman) and Frank (Sonny Carl Davis), who work as partners on a variety of manual labor jobs in order to scrape by. In search of fast cash, Lloyd and Frank pursue an idea they hope will bring them steady cash flow, only to find the associates they've entrusted with their plan have deceived them. -
A Guide to the Lin Sutherland Collection of Eagle Pennell
A Guide to the Lin Sutherland Collection of Eagle Pennell 1977-1990 Collection 119 Descriptive Summary Creator: Eagle Pennell Title: The Lin Sutherland Collection of Eagle Pennell Dates: 1977-1990 Abstract: The Lin Sutherland Collection of Eagle Pennell spans 1977-1990 and documents the films, publicity, and business career of Eagle Pennell, a Texas film director. The collection is separated into nine series: Script Development, Production Crew, Media, Publicity, Film Distribution, Business Information for Maverick Films, Inc., Correspondence, Other Writings by Eagle Pennell and Lin Sutherland, and Artifacts. The collection includes script development of The Whole Shootin’ Match, a large number of articles and reviews relating to The Whole Shootin’ Match, and the business records of Maverick Films, Inc. Identification: Collection 119 Extent: 2 boxes (.50 linear feet) Language: English Repository: The Wittliff Collections, Texas State University Biographical Sketch Eagle Pennell, originally named Glenn Irwin Pennell, was born July 28, 1952 in Andrews, Texas. Pennell showed an interest in film at an early age, filming skits at home with the family Super 8 camera. After high school Pennell attended the University of Texas, studying in the Radio-Film-Television program. He dropped out his junior year to pursue a career in film. In the early 70s Pennell legally changed his name, his last name paying homage to both director Arthur Penn and Lt. Ross Pennell, a character from John Ford’s She Wore a Yellow Ribbon. His first name is rumored to have been changed to Eagle because he was once told that his nose looked like the beak of an eagle.