OT: NEA grants
Martha Sprowles
Check out http://weber.u.washington.edu/~hodin/NEAArmy/
where a group of artists has requested the entire NEA budget ($99.5
million) which they will use to buy ONE-TWENTIETH of a single B-2
Stealth plane, which they propose to carry about the US much as Jesus
carried his cross.
Kinda made me think.
Martha
NanLeeCro
>Subject: OT: NEA grants
>From: Martha Sprowles <spro...@erols.com>
>Date: Sun, May 24, 1998 07:49 EDT
>where a group of artists has requested the entire NEA budget ($99.5
>million) which they will use to buy ONE-TWENTIETH of a >single B-2 Stealth
plane, which they propose to carry about the >US much as Jesus carried his
cross.
>
>Kinda made me think.
>
>Martha
Dear Martha,
The Stealth Plane has the most incredible design. It is awesome to see it
flying. Those artists have excellent taste.
It is reasonable to ponder giving up funding national security to
patronize the Arts - in a perfect world with perfect people.
Kinda makes me think too. from Nan
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I have seen gross intolerance shown in support of tolerance...Coleridge
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
NanLeeCro
Martha, unfortunately because of a few notorious projects, the very existence
of and funding for NEA is under severe scrutiny.
To defend and justify the few controversial projects serves only to aggravate
negative reaction to the NEA:
THE ARTS: A CONGRESS DIVIDED
JULY 23, 1997 TRANSCRIPT
------------------------------------------------------------------------
To fund or not to fund? That is the question. The debate: the House has voted
to halt additional funding for the NEA; the Senate wants to maintain current
spending. After a backgrounder by Charles Krause, Jim Lehrer leads a debate
with members of the House and Senate.
------------------------------------------------------------------------
A RealAudio version of this NewsHour segment is available.
------------------------------------------------------------------------
July 23, 1997:
Jim Lehrer leads a debate on funding the N.E.A.
------------------------------------------------------------------------
NewsHour Links
------------------------------------------------------------------------
March 10, 1997:
A discussion on federal funding for the National Endowment for the Arts.
------------------------------------------------------------------------
January 29, 1996:
NEA funding supported a Johannes Vermeer exhibit at the National Gallery
CHARLES KRAUSE: From Independence Day celebrations in the nation’s capitol--to
the voices of Harlem--to the bright lights of Broadway--the National Endowment
for the Arts has helped support about 30,000 projects--large and small
alike--in its 32 years of existence. The Cleo Parker Robinson Dance ensemble in
Denver, for example. CLEO PARKER ROBINSON: We are a product of the National
Endowment for the Arts. And we’re a million dollar organization. And we came
from nothing.
And we got support from the National Endowment, and that was a ripple effect.
CHARLES KRAUSE: Most of the NEA's projects have been well-received, but others
have been extremely controversial: This 1995 theater performance in
Minneapolis, for example, which involved blood and bodily injury--and this
exhibit of homoerotic photographs by the late Robert Mapplethorpe, which also
kicked up a storm of conservative outrage. Yet despite the controversies and
congressional efforts to kill the NEA, last April, a blue ribbon committee
appointed by the president called for an increase
in federal funding. Arts Endowment Chairman Jane Alexander strongly supported
that recommendation.
JANE ALEXANDER, NEA: What would be lost if the National Endowment for the Arts
is gone? What would be lost is a sense of national pride. There would be no
representative of all that we are as a creative nation.
CHARLES KRAUSE: But critics in Congress say that in an era of federal
belt-tightening, the arts should be supported privately. Last year, the
Republican-led Congress cut NEA funding by one third, and this year, the
funding battle continues. House Republican Leader Dick Armey recently called
the NEA "the single most visible and deplorable black eye in the arts in
America that I have seen in my lifetime." Last week, led by Armey and other
conservatives, the House voted by a narrow margin to
stop all additional funding for the arts endowment. But today, a Senate panel
voted to keep the NEA alive through the year 2002 and to increase this year’s
$99.5 million budget to $105 million next year. President Clinton, on the other
hand, has called on Congress to increase the Endowment’s funding by more than a
third--to $136 million--and has threatened to veto any legislation the
President believes treats the NEA unfairly.
_______________________________________
NanLeeCro
>From: Martha Sprowles <spro...@erols.com>
>Date: Sun, May 24, 1998 07:49 EDT
Abolishment of the NEA controversy dates back to at least 1995.
It is apparent NEA puts itself at risk by indiscriminate awarding of grants.
_____________________
*Justices to decide whether decency is relevant to arts funding*
By Laurie Asseo / Associated Press
WASHINGTON -- The Supreme Court agreed Wednesday to decide whether federal
grants to artists can be tied to decency standards in a case pitting
free-speech rights against Congress' desire to avoid spending tax dollars on
lewd art.
The justices said they will consider reinstating a law that required the
National Endowment for the Arts to consider decency, as well as artistic merit,
in handing out public money.
(snip of referrence to irrelevant issue)
The arts-funding law was enacted by Congress in 1990 following
public controversy over the NEA's role in funding such works as the homoerotic
images of Robert Mapplethorpe and Andres Serrano's "Piss Christ," a photograph
of a crucifix immersed in urine.
The NEA was created in 1965 to subsidize artists and arts groups, but some
conservatives contend it finances obscenity. House Republicans had vowed to
kill the NEA, but the agency won another year of funding last month.
The 1990 law required the NEA to judge grant applications on
artistic merit, "taking into consideration general standards of decency and
respect for the diverse beliefs and values of the American public."
The law was challenged in court by the National Association of
Artists' Organizations and performance artists Karen Finley, John Fleck, Holly
Hughes and Tim Miller.
A federal judge in Los Angeles ruled the law unconstitutional,
saying it was too vague and violated artists' free-speech rights.
The 9th U.S. Circuit Court of Appeals agreed in November 1996, saying the
law allowed the government to discriminate based on the content of an artist's
work.
Under the law, "funding may be refused because of the artist's
political or social message or because the art or the artist is too
controversial," the appeals court said. "Government funding does not invariably
justify government control of the content of speech."
In the appeal granted Supreme Court review, Justice Department lawyers said
the 9th Circuit court's ruling "prevents Congress from making a legitimate
legislative choice respecting the expenditure of public funds."
NEA funding choices necessarily are based on the content of an
artist's proposed work, but a decency standard does not amount to
viewpoint discrimination, government lawyers said.
The artists' lawyers said the 9th Circuit court correctly ruled that
the law allows government discrimination against any arts project "that an NEA
official deems 'indecent' or 'disrespectful."'
(snip not related to issue The justices also said Wednesday they would: )
Copyright 1997, The Detroit News
Martha Sprowles
NanLeeCro wrote:
>
> Subject: OT: NEA grants> Martha, it is well to read what is said in reaction to
> the NEA Funding controversy:
>
> American Endowments: Helping the Arts and Humanities
> Spencer Abraham
>
> The National Endowment for the Arts is in trouble again. Recently the press
> reported on the summer schedule at "Highways," an NEA-funded performance art
> center in California. Performances included "Dyke Night," described as "our
> series of hot nights with hot dykes," and "Boys 'R' Us," similarly billed as
> "our continuing series of hot summer nights with hot fags." Another number,
> titled "Not For Republicans," included a comedienneÕs discourse on "sex with
> Newt Gingrich's mother."
>
> These intentionally offensive performances are worrisome. More worrisome was
> NEA Chairman Jane Alexander's response to the criticism: "I am concerned that
> once again the Endowment is being criticized for supporting an institution that
> serves its community well."
>
> This refusal to even recognize people's right to be offended by such displays
> helps explain the withering of public support for the NEA. In a Lou Harris poll
> taken in January, 1995, the NEA was at the top of the list of federal programs
> Americans would like abolished -- ahead of the Department of Housing and Urban
> Development, the Public Broadcasting Service, and the Energy Department. 43% of
> respondents wanted the Endowment eliminated.
>
> The National Endowment for the Humanities is no less out of touch with the
> public whose tax dollars it consumes. Though less suitable for sound-bites, the
> NEH's projects may well be more insidious than the NEA's, because they directly
> affect American education. The "national history standards" released last
> January by a group at UCLA were the product of an NEH grant. Intended to
> improve the education of all United States students, the standards were so
> horrendous and anti American that 99 Senators voted to denounce them.
>
> Proposals aimed at eliminating the problem of controversial funding are all
> doomed to failure. Eliminating individual grants can't work. A number of the
> more notorious ndowment-supported projects were made possible by Endowment
> grants to museums and other institutions. For example, New York City's Whitney
> Museum of Art used a portion of its $200,000 NEA grant to sponsor "Abject Art:
> Repulsion and Desire in Art," which exhibited excrement, dead animals, and
> similar objects to make the
> artistic statement of: degrading the purity of an art museum. And block
> granting Endowment money to States will simply allow state agencies to fund
> objectionable "art."
>
> The government can't stop censoring art while still funding it. It is
> simply impossible to design an organization to fund the arts, staffed
> with federal bureaucrats, that does not in some sense rule out funding some
> kinds of art.
>
> Nor can the government escape being charged with discriminating against certain
> states and regions. New York City has an infrastructure Omaha simply can't
> match, and so will continue to receive disproportionate funding.
>
> Sooner or later the Endowments are going to fund one more project so offensive
> that the public will rise up and demand their elimination. Then there will be
> no time to assemble an alternative mechanism to fund the arts and humanities on
> a national level. Many of our States have institutions that are not going be
> able to survive such a withdrawal of federal funds cold turkey.
>
> Now is the time to reconfigure the agencies in a way that is built to
> last. I have submitted a proposal to Congress that does just that. The bill
> combines a gradual phase-out of direct federal funding with inducements to
> privatization, such as earmarking a portion of the funds for private
> fundraising and proposing additional tax incentives for charitable gifts to the
> arts and humanities. My bill will preserve good things about the current system
> by moving toward privately funded endowments. Such endowments will retain the
> imprimatur of a national organization. They will gain nationwide support for
> the arts and humanities. But the government will be out of the business of
> using taxpayer money either to support obscenity or to censor artists.
>
> Gradual phase out also would allow the Endowments to use a portion of their
> budgets to promote private fundraising activities. It could lay the groundwork
> necessary to reconfigure itself as a tax deductible organization in any manner
> it deems desirable. And that organization could succeed.
>
> Although raising money is always hard, NEA and NEH spending takes up only a
> very small part of the nation's total arts and humanities budget. The total
> budget of the NEA for 1995 is $167.4 million. By comparison, in 1993, private
> giving to the arts totalled $9.57 billion. The NEA's total annual funding of
> the arts amount to less than 1.7% of private donations to the arts. It also is
> less than the states' contributions to the arts--$265 million in 1994.
> Moreover, looked at from the perspective of the recipient arts organization,
> NEA and NEH's contributions are still relatively insignificant.
>
> The principal argument for NEA and NEH grants is their glamour -- the
> imprimatur of excellence an Endowment grant provides and its translation into
> further support. And the glamour of an NEA grant will most likely expand
> because of the private interests involved. Corporate sponsors will want to
> publicize the results of their philanthropy -- as will the privately-funded
> Endowment itself, in order to attract more private dollars.
>
> We also can use tax reforms to increase private giving through tax
> reform. The yields of a tax deduction for charitable giving to the arts would
> only have to increase private donations slightly to match current funding.
>
> Funding also could be gained through national events hosted in
> Washington by the President and the Congress. Also of use would be national
> arts and humanities boards. The opportunity to sit on the board of a national
> organization and to be honored at national events will be a great inducement to
> serious art supporters.
>
> Entertainers also could help. During various televised awards
> ceremonies, such as the Oscars and the Tony Awards, one hears support for the
> NEA and NEH. Suppose half the profit from these broadcasts were earmarked for
> the Endowments, rather than profit for the television network? What if major
> performances such as the Academy Awards were shown as pay-per-view events?
> Millions of dollars could easily be raised for the Endowments.
>
> This year 500 million people watched the Academy Awards. Assuming only 10% of
> that audience would have paid $4.95 to view the Awards, the program would have
> grossed $250 million -- substantially more than either the NEA or the NEH's
> entire annual budgets.
>
> There could be other collaborative benefits. The "We Are The World" recording
> brought together forty-five music superstars to record a single song. The
> resulting single, album, video, television and radio specials, merchandise, and
> associated enterprises raised over $61.8 million.
>
> All of these options lay before us. Privately funded endowments for the arts
> and humanities could use any or all of them in order to keep funding coming in.
> But whichever plan they choose, once privatized the endowments would be freed
> from political pressures on both sides of the political/cultural divide, and
> would instead provide no-strings funding to artists without involving the
> taxpayers in the funding of obscenity and without encountering the charge of
> censorship.
>
> The Washington Times Thursday, July 20, 1995
> The content of the article may have been edited by the publisher.
> _________________-
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
> I have seen gross intolerance shown in support of tolerance...Coleridge
> ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
I quit. you win. You're absolutely correct, and I am ashamed of my
arrogance in thinking I had any sort of background or training in art.
Martha
NanLeeCro
Halle 8
>I quit. you win. You're absolutely correct, and I am ashamed of my
>arrogance in thinking I had any sort of background or training in art.
>
>Martha
Y'all just need to clarify the issues under debate. Maybe you could each answer
the following questions:
1. Should experimental art be funded by the NEA?
2. Should "popular art" (e.g., a barbershop choir) be funded if it offers an
educational benefit to children or cultural enrichment to "underserved"
populations?
3. Should our artistic traditions be kept alive through NEA apprenticeship
grants?
4. Should the NEA fund programs that promote awareness and appreciation of our
cultural diversity?
5. Should the NEA fund public artworks (sculptures, murals, etc.)?
6. Should the NEA exist at all?
Looking forward to your responses....
Halle
NanLeeCro
>Subject: Re: OT: NEA grants/Reaction to NEA Obscene Projects
>From: Martha Sprowles <spro...@REMOVETHISerols.com>
>Date: Mon, May 25, 1998 18:33 EDT
The Metropolitan Museum of Art is one of the largest and finest art
museums in the world. Its collections include more than two million
works of art -- several hundred thousand of which are on view at any given time
-- spanning more than 5,000 years of world culture, from prehistory to the
present.
The site is designed to give visitors an overview of the collections on display
in the Museum's galleries. Also available are a Floor Plan, which includes
information on services for visitors, and the Calendar, which offers a detailed
current listing of special exhibitions, concerts, lectures, films, and other
Museum activities, and the Gift and Book Shop, with over 100 of our
best-selling items available. The Metropolitan Museum of Art Guide, an
illustrated handbook that is for sale in all of the Museum's shops, provides
more information about the collections.
___________________________________________________
NanLeeCro
Subject: Re: OT: NEA grants/Reaction to NEA Obscene Projects
From: Martha Sprowles <spro...@REMOVETHISerols.com>
Date: Mon, May 25, 1998 18:33 EDT
, Inventory Catalogue
Francisco Toledo, Juárez da Gracias al Cristo de los Panaderos, 1995. Oil on
wood, 32.0 x 24.0 in. / 81.3 x 61.0 cm
"Mexico Reconfigured"
Apr 30 - Jun 12, 1998
20 West 57th Street
New York, New York 10019
Hours:Tues.-Sat. 10am-6pm
Tel: (212) 399-5510
Fax: (212) 582-9697
Email: a...@agrp.com
Director(s): C. McCranie, E. Steinberger
Associated American Artists: Press Release
Comprised of seven contemporary Mexican artists, Francisco Toledo, Arturo
Elizondo, Sergio Hernández, Julio Galán, Ray Smith, Mónica Castillo and Yishai
Jusidman, this exhibition goes beyond a simple "celebration of diversity".
These artists are the more prominent of those at the forefront of Mexican
painting today. Each of the artists crossed geographical and aesthetic
boundaries to live and work in dramatically different environments. Cultural
globalization has for years assisted to blur notions of an exclusive and
specific national identity. In the struggle for the Mexican artist toward
and/or against
his/her heritage, we find in these artist's works voices which speak of a sense
of tradition. Iconographic images, rich and symbolic colors, figures placed
within a personal or historical context are executed with the obvious hand of
the artist and are most characteristic of this desire to process past and
present - to reconfigure an indentity.
Francisco Toledo, is one of the most remarkable artists in Mexican
history. He serves as the link between the Mexican masters of the past, such as
Diego Rivera, Frida Kahlo, Ruffino Tamayo and the contemporary Mexican artists
of today. One highlight of the exhibition is Toldeo's 1995 oil and encaustic on
wood painting, Juárez da Gracias al Cristo de los Panaderas, a satirical and
irreverent depiction of Christ and Benito Juárez, the mid-19th century and only
full-blooded Indian president of
Mexico. He creates a religious and political work in a unique
revisionist approach where in one realm a universal icon co-exists with a local
hero. The hard red surface of the work in which Christ is heavily and deeply
etched might certainly symbolize blood and earth. The face of Christ is
sculpted and dimensional, painted in bright, festive colors - the somber,
suited Juárez, on his knees, has a face of paper collage. In this one work,
Toledo seems to have incorporated as diverse of an array of technique as there
is reference to various art genres which would include here the Surreal.
Arturo Elizondo's grand, lush Eternidad, a 91" x 63" oil on canvas,
reveals a magical world in which the artist creates an odd trinity
comprised of Andy Warhol, Jean-Michel Basquiat and an anonymous Mexican male.
In this vision, the figues share equal status conveying a spiritual
unification. Warhol and Basquiat, representing two major, celebrated American
artists, reveal thier divine properties as Basquiat is transformed into a
religious saint who floats above the seated Mexican persona and Warhol stands
nearby as a great white haired father/protector armed (ironically) with a gun
in holster at his side. Warhol's arm and hand rests casually upon the fringed
and velvet cushioned chair where the Mexican figure is seated wearing a crown
of flowers and clutching a colorful bouquet. Rainbows shoot and dart out of the
hand of Warhol and across the Mexican's chest. A halo of white dust
encircles Basquiat. One feels at once to be in both heaven or some
celestial domain and an artist's studio.
In the mid-80's, Ray Smith and Julio Galán moved to New York to work. The
highly charged art scene at that time offered overlapping movements such as the
Italian Transvanguardia and German Neo-Expressionism as well as an explosion of
New Yrok dynamics. Smith and Gálan add their own language and direction to this
forum, Smith with his muralistic wood paintings and Galán with unusual
combinations of collage and painted images that would reference his Mexican
roots. Both Julio Galán and Ray
Smith have created works specifically for the exhibition.
Within the panorama taking shape today in Mexico City, Mónica Castillo and
Yisahi Jusidman represent a younger generation that has further pushed the
notions of "Mexican-ness" as expressed in painting. Castillo's contribution to
the exhibition is a remarkable deconstructed self-portrait. Painted on ten
separate small panels, the artist depicts enlarged close-ups of her face, her
hair and her skin.
Exhibition catalogue is available.
Associated American Artists: Works Illustrated Online
Josef Albers
Doug Argue
David Bierk
Mónica Castillo
Richard Diebenkorn
Stephen Dinsmore
Werner Drewes
Arturo Elizondo
Sam Francis
Helen Frankenthaler
Giuseppe Gallo
Julio Galán
Harold Gregor
Sergio Hernández
David Hockney
Ana Mercedes Hoyos
Robert Indiana
Maria Izquierdo
Paul Jenkins
Tom Judd
Yishai Jusidman
Ellen K. Levy
Carlo Maria Mariani
Georges Mathieu
Robert Motherwell
Leon Polk Smith
Ray Smith
Jesus Rafael Soto
Rufino Tamayo
Wayne Thiebaud
Francisco Toledo
Joaquin Torres-García
Ansei Uchima
Victor Vasarely
Associated American Artists: Exhibitions
"On Paper" Jun 10 - Aug 28, 1998
"Mexico Reconfigured" Apr 30 - Jun 12, 1998
"Five Sides to a Square" Mar 26 - Apr 25, 1998
David Bierk "Locked in Migration" Feb 12 - Mar 21, 1998
Ellen K. Levy "Housing Nature" Jan 08 - Feb 07, 1998
Doug Argue "Library of Babel" Dec 04 - Jan 03, 1998
Carlo Maria Mariani "Caerimonia" Oct 30 - Nov 29, 1997
Francis, Jenkins, Mathieu Sep 25 - Oct 25, 1997
Ansei Uchima "Paintings and Works on Paper" Aug 07 - Sep 20, 1997
Victor Vasarely "Retrospective of Paintings and Works on Paper" Jun 18
- Aug 01, 1997
"MEXICO, Self Portraits" May 08 - Jun 13, 1997
"Figured" Mar 27 - May 03, 1997
"The Art Show" Feb 19 - Feb 24, 1997
"The Contemporary Landscape" Feb 13 - Mar 22, 1997
Heinrich Nicolaus "Nine=Zero=Infinity" Jan 16 - Feb 08, 1997
David Bierk "Sanctuary" Dec 05 - Jan 11, 1997
"El Espiritu de la Pintura Latino Americana" Oct 24 - Nov 30, 1996
Werner Drewes "Paintings and Works on Paper" Sep 12 - Oct 19, 1996
Doug Argue "Hypnerotomachia Poliphili" Jun 05 - Jul 19, 1996
Francisco Toledo "Paintings & Gouaches" May 02 - May 31, 1996
Ellen K Levy "Converging Lineages" Mar 21 - Apr 27, 1996
"object: symbol" Feb 08 - Mar 16, 1996
George Grosz "Berlin/New York" Dec 12 - Jan 20, 1996
Ana Mercedes Hoyos "Recent Painting" Oct 26 - Dec 07, 1995
David Bierk "Another History" Sep 14 - Oct 21, 1995
Associated American Artists: Inventory
Associated American Artists Inventory Catalogue
Associated American Artists: Gallery Inventory
Milton Avery
Thomas Hart Benton
Stuart Davis
Richard Diebenkorn
Stephen Dinsmore
Werner Drewes
Sam Francis
Helen Frankenthaler
Adolph Gottlieb
Tracy Grayson
Harold Gregor
Georges Grosz
Ana Mercedes Hoyos
Paul Jenkins
Tom Judd
Ellen Levy
Louis Lozowick
Georges Mathieu
Mark Metcalf
Robert Motherwell
John Sloan
Fernando de Szyszlo
Rufino Tamayo
Wayne Thiebaud
Francisco Toledo
Grant Wood
Martha Sprowles
Dear Nan,
Have you lost your mind? What am I supposed to make of this, and of
your previous post about the Met? Are you saying that these are the
artists you admire? If so, congratulations. I admire many of them,
too. So what? And I know about the Met; go there several times a year.
Martha
NanLeeCro
>Subject: Re: OT: NEA grants/Reaction to NEA Obscene Projects
>From: Martha Sprowles <spro...@REMOVETHISerols.com>
>Dear Nan,
>
>Have you lost your mind? What am I supposed to make of this, and of your
previous post about the Met? Are you saying that these are the artists you
admire? If so, congratulations. I admire many of them, too. So what? And I
know about the Met; go there several times a year.
>Martha
Dear Martha,
Just trying to prove to you that the "art world" goes on without NEA and
without your endorsement as well as being quite beyond "your taste". By nearly
every opinion and comment you have made on this topic, you prove to be the
best choice for reactive conservatives' "poster child" for abolishing the NEA.
Your snobbish elitist opinions do demonstrate your limited knowledge of art is
selective for "effect". The proletariat still pays the way. You imposing a
perverse attitude supporting "pornographic experimental art" is an insult to
artists and art. Furthermore, I don't believe you go to the Met several times
a year at all. Prove it: source? or is it for Effect? Pretention? You
have no credibility with me on these issues of ART, in particular the visual
arts, NEA, and citizens' rights. Unfortunately, your very outre attitudes are
typical of what has always distanced me from a "liberal" affiliation although
my issues' profile tilts to the left of center. You are so far out, you are
beyond the left field, and you do great disservice to the cause of the ARTS and
offend greatly the "people" who might support the ARTS by THEIR labours.
Essentially, I like you, or I wouldn't bother to tell you this. My father
taught me boxing, and I never pull my punches. My conservative friends think I
am a Marxist because I extol the "people" instead of the self-appointed
"elite." The "art world" will ever flourish with or without NEA funding.
Pornography (covert yet!) projects, which you refer to as "experimental",
SHOULD NOT be supported by public funds. I could go on forever about these
issues of the ARTS for I am a very outspoken dilettante and practitioner.
from Nan
Martha Sprowles
Nan, you stupid old woman. I never said that *only* controversial art
should be supported by the NEA. Jesus H. Christ. I give up. Can't you
just drop this?
I've tried not to say this, but I will. You don't have the background
or the experience to argue this with me. I'm killfiling you as of now,
so don't waste your breath chiding me any further.
Martha
NanLeeCro
Subject: Re: OT: NEA grants/Reaction to NEA Obscene Projects
From: Martha Sprowles <spro...@REMOVETHISerols.com>
Martha wrote: Have you lost your mind? What am I supposed to make of this, and
of your previous post about the Met? Are you saying that these are the
artists you admire? If so, congratulations. I admire many of them, too. So
what? And I know about the Met; go there several times a year. Martha
Dear Martha,
Just trying to prove to you that the "art world" goes on without NEA and
without your endorsement as well as being quite beyond "your taste". By nearly
every opinion and comment you have made on this topic, you prove to be the
best choice for reactive conservatives' "poster child" for abolishing the NEA.
Your snobbish elitist opinions do demonstrate your limited knowledge of art is
selective for "effect". The proletariat still pays the way. Your imposing a
perverse attitude supporting "pornographic experimental art" is an insult to
artists and art. Furthermore, I don't believe you go to the Met several times
a year at all. Prove it: source? or is it for Effect? Pretention? You
have no credibility with me on these issues of ART, in particular the visual
arts, NEA, and citizens' rights. Unfortunately, your very outre attitudes are
typical of what has always distanced me from a "liberal" affiliation although
my issues' profile tilts to the left of center. You are so far out, you are
beyond the left field, and you do great disservice to the cause of the ARTS and
offend greatly the "people" who might support the ARTS by THEIR labours.
Essentially, I like you, or I wouldn't bother to tell you this. My father
taught me boxing, and I never pull my punches. My conservative friends think I
am a Marxist because I extol the "people" instead of the self-appointed
"elite." The "art world" will ever flourish with or without NEA funding.
Pornography (covert yet!) projects, which you refer to as "experimental",
SHOULD NOT be supported by public funds. I could go on forever about these
issues of the ARTS for I am a very outspoken dilettante and practitioner.
from Nan
>Nan, you stupid old woman. I never said that *only* controversial art should
be supported by the NEA. Jesus H. Christ. I give up. Can't you just drop
this?
Martha, Your statements, opinions, and attitudes re: this issue are archived.
Martha wrote: I've tried not to say this, but I will. You don't have the
background or the experience to argue this with me.
Nan answers, with contempt: You are self-appointed, Martha.
I have been around too long to accept your proclaiming
"background or experience". You are thoroughly refuted by reason and by your
very own fatuous statements regarding ART.
Martha retreats: I'm killfiling you as of now,
so don't waste your breath chiding me any further.
>Martha
Martha, I am the antagonist which draws you out guaranteeing you will put your
foot in your mouth and cannot withdraw it. By your attitudes you insult ART,
artists and the people. I have pointed that out to those who sincerely care
about this issue. Killfile me - whatever that means. I not really writing to
you, I am refuting your pretentions. from Nan
NanLeeCro
>Subject: Re: OT: NEA grants/Reaction to NEA Obscene Projects
>From: Martha Sprowles <spro...@REMOVETHISerols.com>
When I am intense, I cannot spell straight:
Read pretension(s) for pretention(s).....
The title is: *The Leizure Art of Being Phoney* - one those coffee table
obligatory lush pictorial books full of predictable attitudal poses ala cliche
and caricatures, vintage 1998.
NanLeeCro
>Subject: Re: OT: NEA grants/Reaction to NEA Obscene Projects
>From: Martha Sprowles <spro...@REMOVETHISerols.com>
May 22: William J. Ivey has been unanimously confirmed by the U.S. Senate as
the seventh Chairman of the Arts Endowment. Please go to Endowment News for
more information.
Note: We are in the process of changing email servers, interrupting use of our
regular email address at web...@arts.endow.gov. Please send email
to nea...@tmn.com. We apologize for any inconvenience this may cause and thank
you for your patience. This will not affect your use of the website.
The Arts Endowment announces nearly $60 million in new grants. The awards,
including 768 grants totaling nearly $25 million through Creation &
Presentation and Planning & Stabilization, complete annual Endowment funding in
four major grant categories. State and regional arts agencies will receive
almost $33 million through Partnership agreements, and Leadership Initiatives
will supporting extensive dance touring as well as folk and traditional arts
networks. Please see complete listings of awards .
The new issue of arts.community is now online. Interviews with
director/choreographer Stephan Koplowitz and novelist Valerie Sayers, profiles
of two model after-school arts programs, a copyright primer for artists, and a
look at an unusual partnership between the Arts Endowment and the U.S. Forest
Service. Also new work in the Gallery, features on the Mayors' Institute, the
growth of arts organizations in the U.S., new vision at the Cincinnati Opera,
and a look at how the NEA has promoted
and supported the arts for young people and their families for over 30 years.
Research Division Notes #60 - 68 are now available and can be ordered by email
or downloaded in Microsoft Word. Please see our listing of Research Notes for
more information. Also please see an analysis of the growth of arts
organizations in the U.S.
The President's Committee on the Arts and the Humanities, in partnership with
the National Endowment for the Arts, is initiating the annual Coming Up Taller
Awards program. The awards will highlight and reward exemplary community arts
and humanities programs for children and young people, especially those who
live in circumstances that place them "at risk." Nomination materials for the
1998 awards are now available online.
The ArtsREACH guidelines are now available on the website. This pilot program
is designed to increase direct grant assistance to arts organizations in
underserved areas.
Looking for project funding for your non-profit organization? The Fiscal Year
1999 Grants to Organizations guidelines are available online. The Arts
Endowment revises its guidelines annually. We welcome any suggestions you might
have on our guidelines for next year. Please e-mail your comments to to the
Webmanager.
Acting Chairman Kathryn Higgins and NEA Senior Deputy Chairman Scott
Shanklin-Peterson testified March 26 before the Subcommittee on Interior and
Related Agencies of the U.S. Senate. Shanklin-Peterson's testimony is now
available online.
Deadlines for the second year of the NEA/TCG Theater Residency Program for
Playwrights have been extended. Please see announcement for more detailed
information.
Acting Chairman Kathryn Higgins and NEA Senior Deputy Chairman Scott
Shanklin-Peterson testified March 12 before the Subcommittee on Interior and
Related Agencies of the U.S. House of Representatives. Shanklin-Peterson's
testimony is now available online.
The Arts Endowment announces the first round of 1998 grants totaling nearly
$14.5 million. Grants have been awarded in the Education & Access, Heritage &
Preservation, and Creative Writing Fellowships categories. Please see complete
listings.
Be sure to check out Writing America, the literary anthology celebrating the
American story as told by poets and writers who have received NEA Creative
Writing Fellowships. Please read novelist E.L. Doctorow's A Writer's Place, the
introduction to this free publication.
Also see the American Canvas report, an analysis and examination of the current
state of the nonprofit arts in America.
Many of our publications are available for free. Check out the Arts
Bookstore. Keep abreast of the future of the National Endowment for the Arts
by reading our Legislative Updates and Endowment News. We've been online since
April 1996 and have a tremendous store of articles and features in our
Archives. Great for browsing.
If you are interested in signing up for email notices when we publish new
content, just click here and fill in your address.
Top Image: "Confidente," by Eduardo Calderon
Arts.community contents
Featured Artist
Focus on Community
Feature Articles
Writers Corner
Gallery
Endowment News Arts.community is a monthly online journal of the arts in
America. General interest articles, news and features on artists, innovative
programs in the arts, the Endowment and other funding resources, models,
information and ideas. Rich in links and connections to the nonprofit arts in
America.
Guide to the NEA Contents
A New Look: Guide to the NEA
Get the Facts
Guidelines
Public Partners
NEA StaffGuide to the National Endowment for the Arts -- includes a hypertext
version of our introduction to the agency, application
guidelines, links to other public sector arts funders, and an up-to-date staff
directory.
Welcome to the Arts Resource Center
Accessibility
Arts Bookstore
Arts Library
Public Partners
International Partnership Office
Service Organizations Arts Resource Center -- includes an Arts Bookstore
listing Endowment publications in print (many available free of charge), an
Arts Library of publications online, information about and links to our public
partners and arts service organizations, and other arts resources.
Arts.Community Archive Arts.community Archive -- Items from
arts.community which previously appeared in the Chairman's Column, Focus on
Community, Featured Artist, Arts Links, and Feature Articles.
National Endowment for the Arts, 1100 Pennsylvania Avenue NW, Washington DC
20506
I quit. you win. You're absolutely correct, and I am ashamed of my arrogance
in thinking I had any sort of background or training in art. Martha
Martha,
The NEA issue isn't really about *you*. It is about supporting our cultural
arts' heritage to the benefit of all citizens, especially for the young. from
Nan
Don Sobwick
Dear Martha: This reminds me of something they would have done to protest
the war in the 60's. Pity we didn't think of that<G> Debby
S.<sarg...@injersey.com>
Martha Sprowles wrote:
> Check out http://weber.u.washington.edu/~hodin/NEAArmy/