National 

Endowment 

for the Arts 
National Endowment for the Arts 

Washington, D.C. 20506 

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, 1979. 

Respectfully, 

Livingston L. Biddle, Jr. 

Chairman 

The President 

The White House 

Washington, D.C. 

February 1980 
 

 

 

 

 

 

 

 

 

1 

Contents
 

Chairman’s Statement 2
 

The Agency and Its Functions 4
 

National Council on the Arts 5
 

Programs 

Deputy Chairman’s Statemen~ 8
 

Dance 10
 

Design Arts 30
 

Expansion Arts 50
 

Folk Arts 84
 

Literature 100
 

Media Arts: Film/Radio/Television 118
 

Museum 140
 

Music 172
 

Opera-Musical Theater 202
 

Special Projects 212
 

Theater 222
 

Visual Arts 240
 

Policy and Planning 

Challenge Grants 272
 

Evaluation 282
 

International/Fellows 283
 

Research 286
 

Special Constituencies 288
 

Office for Partnership 

Executive Director’s Statement 296
 

Education (Artists-in-Schools) 299
 

Federal-State Partnership (State 

Programs) 305
 

Intergovernmental Activities 312
 

Financial Summary 314
 

History of Authorizations and Appropriations 315
 
Chairman’s Statement
 

A Common Cause for the Arts 

Perhaps nothing is raore enviable--or raore 

daunting--than the opportunity to raake a practical reality out of a visionary dreara. I happen 

to have this unusual privilege. As special assistant to Senator Claiborne Pell frora 1963 to 

1965, I helped draft the legislation establishing 

the National Foundation on the Arts and the 

Huraanities. As chairraan of the National Endowraent for the Arts, I ara now in the procesa 

of turning those carefully worded phrases into 

goals, prograras, and accoraplishraents, 

This A~nual Repo~4t provides a raeasure of 

how far the dreara has corae. To skira through 

the pages of this book, with its careful docuraenting of each grant awarded, is to be irapressed again with the enorraous vitality and 

diversity of the arts in Araerica. Here, for exaraple, is a record of a]l the coraraunities into 

which our finest dance corapanies toured; of 

historic buildings preserved and adapted for 

use as art centers; of festivals and exhibits and 

workshops; of street theater and jazz c]asses; 

of great rausic; of the institutions which 

strengthen our country’s cultural life and of developing organizations which strengthen its 

cultural diversity; of residencies for poeta and 

writers in every corner of the United States. 

Here, too, are listed the individuals judged 

worthy by panels of experts and by the National Council on the Arts to receive fellowships 

--gifts of tirae to develop their talents. Here 

are the grants that will help preserve the traditional arts and crafts of our diverse people, 

from the Eskimos to the Micronesians. And 

here is a record of an expanding awareness of 

the artistic needs of minority groups and recognition of the validity and importance of their 

art. Free outdoor concerts, ticket discount programs for the elderly, touch museums for the 

blind--the Endowment has played a part in 

supporting them all. To read through the list 

presented here is to realize that the arts, with 

their special capacities to enrich lives, are 

reaching into every corner of our land--from 

isolated rural coraraunities to the barrios and 

ghettoes of our inner cities. The dreara---that 

of access for all Araericans to the best in art-­

is becoraing reality. 

But reality, as we all know, is a thorny 

thing, with catches, snares and tangles. And so 

ir is with the arts today. 

The greatest prob|era facing the arts asa 

whole, I believe, is the danger of fragraentation. The arts have corae lar in the last decade; 

now ir seeras that many of those in the arts concentrate too narrowly on their own particular 

interests. Too few groups are willing to look 

constructively at the whole picture, to take the 

long view. The overriding need in the arts 

world today is for these groups to unite, to see 

their own interests within the larger context, to 

work to~:ether toward coraraon goals. 

By "fragmentation" in the arts, I do not 

raean that single-rainded dedication to a cause 

ora discipline that is essential for the achieveraent of high artistic goals. I refer to a process 

that begins with the narrow self-interest of ah 

organization, a discipline, ora cause--a process 

where the ends are not idealistic, where the 

ultiraate purpose is self-aggrandizement. Those 

who fall into this trap lose sight of the cause 

that first drew us together---the enriching, 

imagination-extending value of the arts. And 

when too raany forget the larger purpose, that 

purpose is in danger. 

Fragraentation threatens the quality of the 

arts. Art is diminished when ir is narrowly 

shackled--even to a very worthy cause. Wherever art is forced to serve special interests, the 

results may well further the interests, but they 

can dirainish the value of the art. For, although 

art does a great many good things in the world 

fora great many people, ir does them best when 

ir is free. When artists bicker over resources 

and relative status, they can bring a pettiness 

and discord into the arts which haraper their 

flourishing. 

No task is raore important now than to 

keep the arts free--free from their own politic­
 

Chairman’s Statement 3 

ization, free from limiting special interests, 

free to experiment and explore. Free to pursue 

excellence. 

Toward this end, we need ah arts world 

working together for a common purpose, united 

by a vision of what the arts can become in this 

society. This cannot be a vision of ~vhat the Arts 

Endowment alone mandates for the arts, íor 

the Endowment does not set national policy for 

the arts themselves. It should never dictate 

taste. These matters are to be determined by 

the private sector, 

Our vision must be of ~vhat can be accomplished, with the help of government, if the private arts communities unite in purpose, 

The Arts Endowment was established to 

develop programs that support the arts. As the 

only federal agency with this exclusive mission, 

the Arts Endowment has the responsibility to 

represent all the arts: to see the arts world 

whole and to help develop the kinds of programs that respond to this need. The arts in 

their multiplicityand immense diversity--these 

are the ingredients of the whole. And it is diminished when any one part is neglected. It is 

diminished to the detriment of a íull and complete vision, 

Most important of all, the Arts Endowment has the greatest resources in the land to 

bring to bear in the service of the arts. I refer 

to the expertise of our panelists and members 

of the National Council for the Arts. I often 

think of the Arts Endoxvment as ah agency 

íundamentally linked with the private world, 

Primarily members of the private sector, the 

500 panelists, whose views are so important in 

the selection of projects and fello~vship winners, outnumber the Endo~vment’s 300 staff 

members, justas the 26 Council members outand to take the initiative that will enable the 

arts to continue to grow and to flourish. 

My confidence in the íuture of the arts 

rests also on another factor. The American people are developing a vision of what the arts can 

mean to the country, to their communities, and 

to individual lives. The growth of the arts in 

recent years has been phenomenal. Since 1966, 

the number oí major symphony orchestras and 

opera companies has more than doubled; the 

number of resident professional theaters has 

quadrupled; and the number of resident professional dance companies is more than ten times 

~vhat it ~vas. Annual state appropriations for 

the arts have increased from $4 million to more 

than $80 million. The number of community 

arts agencies has leaped from about 150 in 1966 

to nearly 2,000 today. 

Wherever I go, I see gro~ving evidence of 

this spontaneous upsurge oí interest, which 

seems to speak for a profound longing, most 

difficult to demonstrate in practical terms, yet 

demonstrably essential to the human spirit. 

Wherever I go, also, I see that, as the American 

people have more opportunities to experience 

the arts, their demand for greater availability 

becomes insistent, and their perception of quality becomes sharper. This confirms my democratic faith that the arts recognize no boundaries ; it strengthens my resolve to work to~vard 

the goal I envisioned ~vhen I became chairman 

of the Arts Endowment--the vision of "access 

to the best"--access for all Americans to art of 

the highest quality. 

The Arts Endo~vment has proved to be ah 

extraordinarily effective and uniquely American catalyst in bringing us íorward toward this 

goal. 

number the chairman and t~vo deputies. This-­

kind of partnership is wha~ I envisioned when 

I ~vas drafting the original legislation. I have " 

confidence that this partnership of government 

and the private world is the soundest possible Livingston L. Biddle 

one to give unified purpose to the arts world Chairman, National Endowment for the Arts 
 

4 

The Agency and 

Its Functions 

The National Foundation on the Arts and the 

Humanities 

In 1965, Congress created the National Foundation on the Arts and the Humanities as an 

independent agency of the Executive Branch 

of the Federal Government. The Act, Public 

Law 89-209, was last amended by Public Law 

94-462 in October 1976. The Foundation is 

composed of the National Endowment íor the 

Arts, the National Endowment for the Humanities, anda coordinating council of federal 

officials called the Federal Council on the Arts 

and the Humanities. The Foundation has no 

administrative or programming identity separate from its components. Each of the two Endowments is served by its respective advisory 

body, the National Council on the Arts or the 

National Council on the Humanities. 

Federal Council on the Arts and the 

Humanities 

The Federal Council on the Arts and the Humanities is composed of the Chairmen of the 

two Endowments and 18 highly placed government officials. Joan Mondale serves as honorary 

chairman. 

The Federal Council promotes coordination between the programs of the two Endowments and those of other federal agencies which 

support the arts and the humanities. It also 

undertakes research related to these programs. 

The National Council on the Arts 

Formed in 1964, the National Council on the 

Arts preceded by one year the establishment of 

the National Foundation on the Arts and the 

Humanities. 

The Council is composed of the Chairman 

of the National Endowment for the Arts, who 

serves as Chairman of the Council, and 26 

presidentially appointed citizens who are recognized for their knowledge of the arts, or for 

their expertise or profound interest in the arts. 

T~e Council is mandated by law to advise the 

Chairman on policies, programs, and procedures. Ir also must review and make recommendations on applications for grants. 

The National Endowment for the Arts 

effect, ah independent federal agency, with its 

own Chairman, National Council, staff, programs, and budget. 

Both legislatively and by Council policy, 

the Arts Endowment was conceived asa catalyst to increase opportunities for artists and 

to spur involvement in the arts on the part of 

private citizens, public and private organizations, and the states and communities. The Endownment’s relationship to the primarily private and local cultural community is one of 

partnership, in which the federal role is to 

respond to the needs of the field rather than 

director interfere in the creative activities of 

individual artists or cultural organizations. 

Endowment Panels 

The panels serve the individual programs of 

the Endowment muchas the National Council 

on the Arts serves the Endowment asa whole. 

Together the Council and panels provide a sysrem of professional peer review to evaluate 

applications, identify problems, and develop the 

policies and programs ~hrough which the Endowment responds to changing conditions. 

More than 500 private citizens serve on 

these panels, whose membership rotates regularly. Panelists are appointed by the Chairman 

with the advice of the Council and staff as well 

as other organizations and leaders in the field. 

Methods of Funding 

Grant money authorized by Congress comes to 

the Endowment in program funds, the Treasury Fund, and Challenge Grant funds. Most 

direct grants to organizations and individuals 

come from program funds. These grants must 

be matched dollar-for-dollar. 

The Treasury Fund arrangement allows 

private donors to pledge gifts to specific Endowment grantees. Each pledge frees an equal 

amount for the grantee from the Treasury 

Fund, which is maintained at the Treasury 

Department. Grantees must then match the 

combined total of the donor’s pledge and the 

Treasury Fund disbursement. 

Challenge Grants are awarded for projects 

that contribute to the long-term financial stability of grantee organizations and must be 

The National Endowment for the Arts is, in matched on a three-to-one basis. 
5 

National Council
 

on the Arts
 

Members with terms expiring in 1980:	 Harold Prince 

Director, Producer 

Angus Bowmer* Franklin J. Schaffner Educator, Theatrical Director Film Director 

Van Cliburn 

Geraldine Stutz Concert Pianist Corporate Executive 

Fashion Leader Jerome Robbins** 

Choreographer Members with terms expiring in 1984 : 

Gunther Schuller Thomas P. Bergin Composer, Educator, Conductor Educator 

George C. Seybolt Norman B. Champ, Jr. Corporate Executive Arts Patron/Trustee Museum Official 

Maureene Dees Harry M. Weese Community Theater Architect 

Martin Friedman Dolores Wharton Museum Director Arts Patron/Trustee 

Jacob Lawrence 

Painter 

Members with terms expiring in 1982: Bernard Blas Lopez 

Martina Arts Administrator Arroyo 

Concert and Opera Singer James Rosenquist 

Painter Theodore Bikel 

Actor, Singer Robert Shaw 

Conductor 

Willard Boy~t 

University President Jessie A. Woods 

Arts Administrator 

J. C. Dickinson, Jr. 

Museum Director	 Rosalind Wiener Wyman 

Arts Patron/Administrator 

William H. Eells 

Corporate Executive * deceased 

Arts Patron/Trustee ** resigned
Prograrns
 
Deputy Chairman’s Staternent 

Dance 

Design Arts 

Expansion A rts 

Folk A rts 

Literature 

Media Arts: 

Film/Radio/ Television 

Museum 

Music 

Opera-Musical Theater 

Special Projects 

Theater 

Visual Arts 
8 

Deputy Chairman’s
 

Statement
 

By its nature, a government agency dedicated 

to the arts exists in a constant state of tension, 

pulled between the thought and action of the 

individual, which is the core of the artistic 

endeavor, and the deference to group judgment, so fundamental to our form of governance, so mucha part of the American sensibility. For many, government seems antithetical to the arts, since its emphasis on collective 

decision-making always threatens a drift toward compromise. The individual vision, on the 

other hand, can produce flashing insights and 

idiosyncratic--sometimes brilliantmdecisions. 

However, such unilateral judgments may well 

destroy a federal agency’s due process, clearly 

the right of every citizen. This year, as in every 

year since the Arts Endowment was established, 

the staff and panels have had to decide when to 

go with that single, inspired voice and when to 

put the matter into the hands of a committee 

and say, "Thrash ir out." 

Though this issue is a constant, 1979 saw 

many new decision-makers try their hand at the 

task. First came the new program directors. 

Changes here reflect the Chairman’s policy of 

periodically rotating the top staff positions to 

keep the programs responsive to changes in the 

arts. Al1 of the new directors carne to the Endowment from the art forms they now serve. They 

are individuals who have themselves made or 

studied art; most have administered arts institutions, applied for grants--and sometimes 

been rejected. They are feisty, defiantly antibureaucratic; and program directors’ meetings 

ring with their challenges to the status quo. 

In this very diverse group, two commitments 

are held in common: a determination to sitaplify procedures, especially those for applicants, and to reappraise who and what we 

fund--and why. What I hear from program 

directors every day is that the Arts Endowment must be willing to take risks, and that ir 

must remain free from extra-artistic concerns. 

Butat the Endowment, the staff, even such 

enlightened ones as these, do not make the 

íunding decisions. All recommendations on 

grants (subject to review by the National 

Council and the Chairman) are made by some 

500 experts who come to the Endowment for 

a few days each year from their own work in 

the arts. In 1979, as the result of a year-long 

evaluation, a revised panel structure went into 

effect, bringing many new panelists to the 

Endowment. The new system calls for two 

types of panels--policy and grant-makingm 

whose memberships overlap but whose responsibilities are distinct, as their titles imply. Panel 

discussions are informed by an ambitious schedule of site visits. Our goal is to have all grantseeking institutions seen by two or three panelists or consultants every eighteen months. 

Panels are constructed to generate passionate 

discussion. The staff works at assembling a 

chorus of informed but dissenting opinions. 

One obvious way to get a variety of perspectives is to get people together from different 

parts of the country. A museum panel, for 

example, is made up of directors of museums 

from New York City to Portland, Oregon, since 

applications come from everywhere in the 

nation and firsthand knowledge is essential. 

Geography is a relatively simple part of the 

equation. Our first consideration, lar less tangible an element in panel construction, is artistic 

diversity. Dance panels represent everything 

from classical ballet to the most experimental 

forms; the theater program brings together 

actors, playwrigh~s, directors, critics, designers, 

and administrators. Were American culture a 

little less multiform, a bit more cohesive, this 

quest for artistic pluralism would be easier. 

As ir is, we are engaged in a constant and 
Deputy Chairman’s Statement 9 

impossible search for that one more voice that 

will help us see the arts in this country whole, 

How panelists are selected seems to be a 

subject of particular interest to the arts community. Here, then, I must confess what is 

surely ah unusual (though hardly unique) 

method fora government agency---our process 

is a subjective one. No computer print-out or 

system of voting is employed, though such 

approaches are suggested to us periodically, 

Instead, the staff, generally the program director in consultation with individuals in and 

outside the Endowment, makes the list, with 

at least one third of the panel changing every 

year. No more objective system seems capable 

of producing the spectrum of opinion that is 

needed, nor of sensing the special chemistry 

that allows persons with very different points 

of view to come together and produce decisions 

born not of compromise but of mutual respect, 

In 1979, many citizens sought to raise the consciousness of the Endowment staff about the 

place of minorities and women in American art. 

But while panel and staff appointments in this 

year reflect the growing understanding that resulted from these exchanges--26 percent of our 

1979 panels belong to a minority group, 39 percent of our panelists are women--they were 

never mandated by them. We have no quot~s 

here. A successful panel requires the complex 

mixture of elements that were outlined above. ~~er~ ~~ ~o w

by a formula. 

Decisions made by panels in 1979 will be 

evident within one or two fiscal years. They 

have had no profound effect on the 1979 grants 

listed in this Annual Report. The basic directions, however, may be evident: With their 

increased authority and freedom--in 1979 for 

example, ceilings on grant amounts were eliminated--the panels have been willing to make 

larger commitments to major institutions as 

well as to reach out to younger, smaller organizations. They were also highly responsive to 

the needs of the individual artist and, we can 

say with pride, totally dedicated to qualitym 

though the definitions of quality areas varied 

as the panelists’ aesthetic víewpoints. 

In the pages that follow, you will find introductory essays by the program directors; the 

essays precede lists of each program’s panelists 

and grantees. Though there are many different 

voices in these essays, certain themes recurro 

the search for first quality work in all its manifestations, a recognition of the breadth of 

American art, the desire to balance responsiveness with leadership, to explore new territories 

without relinquishing a commitment to traditional forms. Taken together, I hope these 

essays, with their accompanying lists, can begin to suggest the range of individual and 

collective concerns and efforts that guided the 

National Endowment for the Arts in 1979. 

Mary Ann Tighe 

Deputy Chairman for Programs 

11 

Dance
 

This country is extraordinarily rich in dance tial audience, and the Endowment acted as a 

of all kinds. We are the center, virtually the catalyst to bring them together. 

Mecca, of the international dance community. Now dance is establishing itself as a major 

Many seminal dance figures are at work here. American art form. A few large ballet and 

There are choreographers who use classical modern companies are firmly ensconced in pervocabularies and choreographers who invent forming arts centers, along with opera, orcheswhole new languages of movement. There is tras, and theater. Dance also is a creative art movement influenced by our nation’s many cul- without boundaries. We can see ir regularly in 

tures and races, movement straight off the theaters, gymnasiums, lofts, museums, galleries, 

street, impossible movement made possible alternate spaces, parks, on rooftops, on barges 

through television and film technology. America floating down the Hudson, and in the canyons 

has seen the rise of many of the best artists of of Yellowstone National Park. 

our time. Though we have few national dance In 1979 the Dance Program re-evaluated conservatories and though training in this its support to more fully address the current 

country has evolved independently and errat­ realities of the dance community. Most pro­ ically, much of our teaching and our dancers’ íessional dance companies now plan their actechnical and performance standards are among tivities in terms of the full fiscal year, not of 

the world’s finest. Still, acceptance has not come easily, small spurts of seasonal activity. With that in

mind, we pulled together all our areas of sup- Though American dance in all its forms began port to dance companies as "Grants to Dance to take hold in the 1930’s, a few years ago our Companies," with one deadline. We retained best companies still faced tremendous difficulty all our old areas of support (choreography, in performing with regularity and in finding professional companies in residence, manage- theaters in which to períorm and audiences ment and administration, and dance/film/ 

large enough to sustain regular performance video) and added two new ones: "Artistic Per- seasons. Even the most popular groups could sonnel," which aids a company in paying barely employ their dancers for 20 weeks a current artistic staff or in hiring new staff year. In 1965 there were only a handful of high members, and "Rehearsal Support," which quality, fully professional dance companies in helps companies pay for rehearsal time to keep the United States, almost all of them in New their repertories in top performance condition. 

York. 

The Endowment committed itself to assist We have re-evaluated our support of dance 

American dance. Ir offered direct support to presentation at home and on tour. To help

companies find spaces and sponsors in their dance companies and choreographers; it gave 

grants to strengthen companies’ managerial own communities, the Program has initiated a

pilot, "Sponsors of Local Companies," designed staffs; it promoted and supported dance presentation throughout the country; and ir sought to encourage local presentors to include the 

best of their own dance companies in their to remedy one major problem--lack of knowledge of, and exposure to, dance by the public, regular seasons. The Dance Touring Program

This support has proven tremendously success- has been changed in two ways: companies are

now chosen by the Dance Advisory Panel, and ful. The dancers were there, as was the potenPhoto: Martha Swope 
12 Dance 

Alvin Ailey American Dance Theater in "Revelations." 

Photo: Bi]l Hilton. 

funded weeks have replaced the old first-comefirst-served system, 

But there are still other issues. Large 

ballet and modern repertory companies need 

new choreographers, but the costs involved 

in taking a chance on an unknown are prohibitive. And the numbers of young choreographers 

are growing enormously. (In 1978, there were 

350 choreography fellowship applicants; in 

1979, 520.) Can the Endowment have a positive 

effect in this area? 

Dance still lacks national stature in corporate and foundation fund-raising. While 

ballet and certain modern choreographers and 

companies are being accepted, there are few 

national performance sponsors and opportunities for avant-garde, post-modern dance artists. 

Can we help educate patrons and audiences to 

these lesser-known forms? 

While the public knows and accepts dance 

still not good. Dancers and choreographers remain among the lowest-paid of all artists. More 

appropriate studio space is badly needed, as are 

good dance theaters of all sizes, even in major 

cities. Commissioningnewmusic and livemusic 

performances is so expensive that choreographers are hemmed in by financial limitations. 

In addition, the Dance Program needs to decide 

what to do about offering support for dance 

training. 

In areas such as these, we still have more 

questions than answers. But we will certainly 

keep exploring. Dancers and dance companies 

as good as ours deserve all the help we can 

give them. 

’~ 

more, and companies are performing more than Rhoda Grauer 

ever before, conditions in the dance world are Director, Dance Program 
 

Dance 13 

Dance Advisory Panel
 

Po]icy Panel 

David Gordon, Chairman

Choreographer/Dancer 

New York, New York 

Michael Smuin, Co-Chairman 

Co-Artistic Director, Choreographer 

San Francisco, California 

Maria Benitez 

Artistic Director, Choreographer, 

Dancer 

New York, New York 

Arlene Croce 

Dance Writer, Critic 

New York, New York 

Margaret Jenkins 

Artistic Director, Choreographer, 

Dancer 

San Francisco, California 

Harvey Lichtenstein 

Director, Academy of Music 

New York, New York 

Bruce Marks 

Artistic Director, Choreographer 

Salt Lake City, Utah 

Donald McKayle 

Choreographer 

Sherman Oaks, California 

Arthur Mitchell 

Artistic Director, Choreographer 

New York, New York 

Mary Regan 

Executive Director 

North Carolina Arts Council 

Raleigh, North Carolina 

Francisco Reynders 

Artistic Director, Mime

Lake Oswego, Oregon 

Laura Shapiro 

Dance Writer, Critic
 

Seattle, Washington
 

Ann Smith 

Board Member, ballet company
 

Pepper Pike, Ohio
 

Gwen Verdon
 

Dancer
 

New York, New York
 

Edward Villella
 

Dancer
 

New York, New York
 

Dance Company Grants Panel 

David Gordon, Chairman Choreographer, Dancer
 

New York, New York
 

Michael Smuin, Co-Chairman Emile Ardolino 

Artistic Director, Choreographer Television Director 

New York, New York San Francisco, California 

David Atwood Talley Beatty 

Choreographer Television Producer

New York, New York New York, New York 

Bruce Hoover Ron Colton Performing Arts Technical Consultant Artistic Director, Choreographer New York, New York Augusta, Georgia 

Darlene Neel 

Arlene Croce Dance Company Manager 

Dance Writer, Critic Los Angeles, California 

New York, New York 

Mary Regan 

Sandra Hale Executive Director 

Chairman North Carolina School of the Arts 

Minnesota State Arts Board Raleigh, North Carolina 

Minneapolis, Minnesota 

Francisco Reynders 

Bruce Marks Mime

Artistic Director, Choreographer Lake Oswego, Oregon

Salt Lake City, Utah Edward Villella 

Dancer Charles McWhorter New York, New York Board Member, Attorney 

New York, New York Madelyn Voigts 

Dance Touring Coordinator 

Joe Nash Mid-America Arts Alliance 

Historian Kansas City, Missouri 

New York, New York David Wttite 

Darlene Neel Dance Presenter New York, New York Dance Company Manager 

Los Angeles, California 

Francisco Reynders 

Artistic Director, Mime Dance Touring Program,

Lake Oswego, Oregon Long-Term Dance Residencies 

Review
 

David Saltonstall
 

Foundation Director David Gordon, Chairman
 New York, New York Choreographer/Dancer 

New York, New York
 

Laura Shapiro
 

Dance Wñter, Critic Ron Colton
 

Seattle, Washington Artistic Director, Augusta Ballet

Augusta, Georgia 

Ann Smith Arlene Croce 

Board Member, ballet company Dance Writer, Critic Pepper Pike, Ohio New York, New York 

Margaret Jenkins 

Artistic Director, Choreographer 

Dancer Dance/Film/Video, Sponsors of San Francisco, California Local Companies, General
 

Bruce Marks
 Services to the Field Review Artistic Director
 Panels Salt Lake City, Utah
 

Harvey Lichtenstein, Chairman Donald McKayle
 

Director, Academy of Music Choreographer
 

New York, New York Sherman Oaks, California 

Ann Smith, Chairman Arthur Mitchell 

Board Member, ballet company Artistic Director, Choreographer

Pepper Pike, Ohio New York, New York 
14 Dance 

Teo Morca
 

Artistic Director, Choreographer
 

Bellingham, Washington
 

Mareus Overton
 

Dance Sponsor
 

Chicago, Illinois
 

Mary Regan
 

Executive Director
 

North Carolina Arts Council
 

Raleigh, North Carolina
 

Francisco Reynders
 

Mime
 

Lake Oswego, Oregon
 

Allen Robertson
 

Critic
 

Minneapolis, Minnesota
 

David Saltonstall
 

Foundation Executive
 

New York, New York
 

Laura Shapiro
 

Dance Writer, Critic
 

Seattle, Washington
 

Ann Smith
 

Board Member, Ballet Company


Pepper Pike, Ohio
 

Edward Villella
 

Dancer
 

New York, New York
 

Dance Grants
 

Dance 

Touring Program : 

Small Companies 

Affiliated State Arts Agencies of the 

Upper Midwest 

Minneapolis, Minnesota 

Arkansas State Arts and Humanities, 

Office of 

Líttle Rock, Arkansas 

Arts Alaska 

Anchorage, Alaska 

California Arts Council 

Sacramento, California 

D. C. Commission on the Arts 

and Humanities 

Washington, D.C. 

Fine Arts Council of Florida 

Tallahassee, Florida 

Georgia Council for the Arts 

and Humanities 

Atlanta, Georgia 

Madelyn Voigts
 

Dance Touring Coordinator
 

Mid-America Arts Alliance
 

Kansas City, Missouri
 

Choreographer Fellowships 

Review Panel 

David Gordon, Chairman 

Choreographer, Dancer 

New York, New York 

Sally Banes 

Dance Teacher, Writer 

New York, New York 

Talley Beatty 

Choreographer 

New York, New York 

Arlene Croce 

Dance Writer, Critic 

New York, New York 

Carol Egan 

Former Dancer, Teacher 

Berkeley, California 

Bruce Marks 

Artistic Director, Choreographer 

Salt Lake City, Utah 

Teo Morca
 

Artistic Director, Choreographer
 

Dancer
 

Bellingham, Washington
 

Duncan Noble 

Choreographer, Teacher 

Winston-Salem, North Carolina 

Mary Regan 

Executive Director, 

North Carolina Arts Council 

Raleigh, North Carolina 

Francisco Reynders 

Artistic Director, Choreographer 

Lake Oswego, Oregon 

Allen Robertson 

Critic 

Minneapolis, Minnesota 

Laura Shapiro 

Dance Writer, Critic 

Seattle, Washington 

Ann Smith 

Board Member, ballet company 

Pepper Pike, Ohio 

David White 

Dance Presenter 

New York, New York 

Program funds: $7,918,605 

Treasury funds: $ 97,000 Private gifts: $ 97,000 

Grants were made to the following state or regional arts agencies 

which, in turn, gave grants to local sponsors of eligible touring dance 

companies for engagements of at least two-and-a-half days. 

Program funds: $2,197,059 

$146,592 Hawaii State Foundation on Culture 28,452 

and the Arts 

Honolulu, Hawaii 

6,064 Illinois ArtsCouncil 

Chicago, Illinois 112,635 

20,790 Indiana Arts Commission 

Indianapolis, Indiana 

38,370 

226,217 Louisiana State Arts Council 

Baton Rouge, Louisiana 24,433 

32,667 

Maryland Arts Council 

Baltimore, Maryland 26,250 

84,108 Michigan Council for the Arts 

Detroit, Michigan 137,005 

18,200 

Mid-America Arts Alliance 

Kansas City, Missouri 

115,425 
Dance 15 

Middlesex County Arts Council 

Edison, New Jersey 

19,693 Puerto Rico, University of 

Rio Piedras, Puerto Rico 

4,200 

Missouri State Council on the Arts 50,578 Southern Arts Federation 102,817 

Saint Louis, Missouri Atlanta, Georgia 

New England Foundation for the Arts 

Cambridge, Massachusetts 

120,600 Texas Commission on the Arts 

and Humanities 

61,130 

New York State Council on the Arts 217,374 Austin, Texas 

New York, New York Virginia Commission on the Arts 21,072 

North Carolina Arts Council 98,073 and Humanities 

Raleigh, North Carolina Richmond, Virginia 

Ohio Arts Council 

Columbus, Ohio 

70,419 West Virginia Arts and Humanities Commission 8,400 

Charleston, West Virginia 

Pennsylvania Council on the Arts, 

Commonwealth of 

101,217 

Western States Arts Foundation 304,278 

Harrisburg, Pennsylvania Denver, Colorado 

Dance To aid groups that want to sponsor an engagement by any of the

three largest dance companies: American Ballet Theatre, Joffrey, TouriHg Program: Ballet, and the New York City Ballet. 

Large Companies	 Program funds: $1,827,533 

$60,000 Ballet Theatre Foundation	 For two weeks of the American Ballet Theatre at the ChiNew York, New York cago Civic Opera House.

For costs incurred by the American Ballet Theatre during 136,875 

New York, New York 

Ballet Theatre Foundation 

Dance Touring Program engagements. 

10,650 Boston University, Trustees of For one-half week of the Joffrey Ballet. 

Boston, Massachusetts 

Detroit Symphony Orchestra For one weck of the Joffrey Ballet. 21,300 

Detroit, Michigan 

60,000 

San Francisco, California 

Fine Arts Development Foundation	 For two weeks of the American Ballet Theatre. 

Joffrey Ballet, Foundation for the For costs b~carrcd daring Da~~cc Touring Program e~~gage- 285,158 

New York, New York ~nents. 

Joffrey Ballet, Foundation for the For a one-week engagement at the Seattle Opera House. 21,750 

Ne~v York, New York 

Kennedy (John F.) Center for the For sevcn weeks of the Amer~can Ballet Theatre and for 286,500 

Performing Arts two weeks of the New York City Ballet during the 1978-79 

Washington, D.C.	 scason. 

Kennedy (John F.) Center for the For three weeks of the Ncw York City Ballet during the 130,500
 

Performing Arts 1979-80 season.
 

Washington, D. C.
 

Lewis and Clark College For one week of the Joffrey Ballet. 21,750 

Portland, Oregon 

Minnesota, University of	 30,000 For one week of the A~~~erican Ballet Theatrc. 

Minneapolis, Minnesota 

150,000 Music Center Presentations For fivc wceks of the American Ballet Thcatre.

Los Angeles, California 

Musical Arts Association For one and one-half weeks of the Jof]rey Ballet. 33,150

Cleveland, Ohio 

New York City Ballet	 For costs incurred during Dance Touring Program engage- 116,250 

New York, New York ments.
16 Dance 

Philadelphia CoIlege for the
 

Performing Arts
 

Philadelphia, Pennsylvania
 

Ravinia Festival Association
 

Chicago, Illinois
 

Rochester Philharmonic Orchestra 

Rochester, New York 

Rochester Philharmonic Orchestra 

Rochester, New York 

Roosevelt University
 

Chicago, Illinois
 

San Francisco Symphony
 

Association
 

San Francisco, California
 

Saratoga Performing Arts Center 

Saratoga, New York 

Society for the Performing Arts 

Houston, Texas 

Society for the Performing Arts
 

Houston, Texas
 

Wolf Trap Foundation for the
 

Performing Arts
 

Vienna, Virginia
 

Dance
 

Touring Program :
 

Long-Term
 

Dance Engagements
 

Alaska, University of
 

Anchorage, Alaska
 

American Shakespeare Festival
 

Stratford, Connecticut
 

American University 

Washington, D.C. 

Aspen Foundation for the Arts 

Aspen, Colorado 

Centrum Foundation 

Port Townsend, Washington 

Chinese Culture Foundation 

San Francisco, California 

Cornish Institute of Allied Arts 

Seattle, Washington 

Dance Concert Society 

St. Louis, Missouri 

Dartmouth College 

Hanover, New Hampshire 

Manhattanville, College 

Purchase, New York 

Maryland, University of 

College Park, Maryland 

For one-hal] week of the Jo]rey Ballet. 10,650 

For one week of the Jol~rey Ballet. 23,550 

For two weeks and two days of the New York City Ballet. 91,800 

For one-half week of the Jo]rey Ballet. 11,400 

For two weeks of the Jo~rey Ballet, and for two weeks of 117,300 the New York City Ballet. 

For two weeks of the Jo]rey Ballet. 43,500 

For three weeks of the New York City Ballet. 121,500 

For one-half week of the Joffrey Balle~ in San Antonio. 10,650 

For one-half week of the Jo]rey Ballet in Houston. 10,650 

For one week oÍ the Joffrey Ballet. 22,650 

To support sponsors willing to engage dance companies for two or 

more weeks. Such engagements often include community activities, 

such as classes, workshops, open rehearsals, or collaborative efforts 

with local arts organizations. 

Program funds: $304,100 

For a 8ix-week residency of the 5 by ~ Plus Dance Com­ $29,420 

pany. 

Fora three-week residency of the Connecticut Ballet. 14,000 

For a four-week residency of the José Limon Dance Com­ 36,110 pany. 

For a six-week residency of the Ballet West. 58,180 

For a Íour-week residency of the First Chamber Dance 16,075 Company.
 

Fora three-week residency oÍ the Chiang Ching Dance
 16,375 Company.
 

Fora two-week residency of the Merce Cunningham Dance
 20,635 Company.
 

Fora two-week residency of the Phyllis Lamhut Dance
 6,210 Company. 

For a two-week residence of the Arthur Hall Afro Ameri­ 6,950 can Dance Ensemble.
 

For a five-week residence o] the Don Redlich Dance Com­ 13,330 

pany.
 

Fora /our-week residency of the Lar Lubovitch Dance
 16,480 Company. 
Dance 17 

14,725 Natural tteritage]Artpark	 For a two-week residency of the Bella Lewitzky Dance 

Company. Lewiston, New York 

3,330 For a two-week residency by Senta Driver. Private Arts Foundation of 

Washington 

Washington, D. C. 

10,180 Project Dance Rhode Island	 For a three-week residency of the Bill Evans Dance Company. Providence, Rhode Island 

11,710 Spoleto Festival, U.S.A.	 Fora two-week residency of the Joyce Trisler DanscomCharleston, South Carolina pany.

13,330 Triangle Dance Guild Fora three-week residency of the Washington Ballet.

Raleigh, North Carolina 

16,560 Walker Art Center
 For a four-week residency of the Laura Dean Dancers and

Minneapolis, Minnesota Musicians.
 

To help companies achieve greater financial stability and greater


Resident visibility in their home cities and in their communities.
 

Professional Program funds: $444,400 Dance Companies 

$7,000 For six weeks of rehearsal time and to assist the company Aman Folk Ensemble in developing a concert season throughout southern Cali- Hollywood, California fornia. 

18,000 Atlanta Ballet
 For the touring ensemble’s performances in 10 communio

Atlanta, Georgia fíes.
 

6,500 Ballet Folk of Moscow
 Fora series of performances of Ballet Folk of Moseow

Moscow, Idaho
 with the Boise Philharmonic. 

35,000 To expand the regular season to include specially adapted
 

Salt Lake City, Utah shows in four smaller communities.
 

Ballet West 

24,500 Boston Ballet For touring performances in New England.

Boston, ~Iassachusetts 

20,000 Cincinnati Ballet Company To add a Sunday matinee performance to the subscription

season, to conduct ah audience survey, to establish the Cincinnati, Ohio position of company production manager, and to enable the 

company to perform with the Cincinnati Orchestra during 

the annual summer festival. 

10,000 For lecture/demonstrations and performance to junior and Cleveland, Ballet Guild of senior high school students in the Cleveland publie schools. Cleveland, Ohio 

7,000

Dallas Ballet To establish ballet seasons in towns and cities within a

Dallas, Texas £O0-mile radius of Dallas.

13,000

Dance Associates Foundation For six weeks of rehearsal time and expansion of regional

activities for the Bella Lewitzky Dance Company. Los Angeles, Califorrtia 

11,500 To tour Zl communities, giving an evening performance Dayton Civic Ballet 

Dayton, Ohio	 anda master class, lecture/demonstration, or noontime
 

performance for downtown shoppers and workers.
 

20,000 

Graham (Martha)Dance Company	 For four to six weeks of rehearsal time for Martha 

Graham’s second season at the Metropolitan Opera House. New York, New York 

12,300 

Hartford Ballet Company	 For rehearsal salaries for 16 daneers, the ballet master,
 

Hartford, Connecticut and the artistic director of the Hartford Ballet for four


weeks. 

15,000 To hire an assistant to the artistie director anda ballet 

mistress. 

Itouston Ballet Foundation 

Houston, Texas 

7,400 Kentucky Dance Festival
 To e~pand the ~’egional touring program of the Louisvitle

Louisville, Kentucky Ballet.
 
18 Dance 

Maryland Ballet 

Baltimore, Maryland 

Milwaukee, Ballet Foundation of 

Milwaukee, Wisconsin 

Morse (Richard) Mime Theatre 

New York, New York 

New York City Hispanic-American 

Dance Company 

New York, New York 

North Carolina Dance Theatre 

Winston-Salem, North Carolina 

Oakland Ballet Company 

Oakland, California 

Ohio Chamber Ballet 

Akron, Ohio 

Pacific Northwest Dance 

Seattle, Washington 

Pennsylvania Ballet Association 

Philadelphia, Pennsylvania 

Portland Dance Theatre 

Portland, Oregon 

Repertory Dance Theatre 

Salt Lake City, Utah 

San Francisco Ballet Association 

San Francisco, California 

San Francisco Dance Spectrum 

San Francisco, Caliíornia 

Tayior (Paul) Dance Foundation 

New York, New York 

Theatre Flamenco of San Francisco 

San Francisco, Caliíornia 

Management
 

and
 

Administration
 

Aman Folk Ensemble 

Hollywood, California 

Berkshire Ballet 

Berkshire, Massachusetts 

Bottom of the Bucket But... 

Rochester, New York 

Brown (Trisha) Dance Company 

New York, New York 

Chicago Choreographers Workshop 

Chicago, Illinois 

Cincinnati Ballet Company 

Cincinnati, Ohio 

To increase the salaries of the dancers. 8,000 

To support four weeks oÍ rehearsal time for the Milwaukee 

Ballet Company in preparation fora national tour and 10,500 

benefit gala. 

For six weeks of rehearsal time. 7,500 

For a four-week residency in New York City to include 14,500 

two weeks of rehearsal, one week of lecture/demonstrations, and four ]ull concerts. 

For four weeks of rehearsal time, anda week of con¢ert 14,400 performances in Winston-Salem. 

For six weeks o] rehearsal time. 12,500 

To expand the summer performances. 12,000 

For a program to improve ticket sales, audience develop­ 5,000 ment, and fund-raising for Pacific Northwest Dance. 

For six weeks of rehearsal time and to assist the company 43,500 in promotion campaigns to increase subscriptions. 

For a series of eight studio performances anda perfor- 12,000 mance at the Portland Civie Auditorium. 

For six weeks o] rehearsal time, two performances in 17,500 nearby communities and the salaries oí two artistie coordinators. 

For a new teacher, additional weekend performances, and 43,500 

si~ weeks of rehearsal time.
 

For six weeks of rehearsal time for 16 dancers. 12,300
 

For six weeks of rehearsal time.
 14,000 

To double the number of concerts during the winter season. 10,000 

To help companies hire professional management personnel or improve existing management through the addition of permanent administrative staff or short-term management consultants. 

Program íunds: $328,855 

For a development pro]ect including a membership drive $13,000 

and fund-raising benefit. 

To hire a business manager/administrator. 3,900 

To hire ah arts administrator. 6,000 

To hire a full-time administrator. 4,900 

For the salaries of the management 8taff. 3,900 

To hire a part-time business executive. 4,800 
Dance 19 

Cleveland, Ballet Guild of To hire a director of development. 7,000 

Cleveland, Ohio 

Columbia College To hire a company manager for Mordine and Company. 3,900 

Chicago, Illinois 

Contemporary Dance Theatre To hire a director of development. 7,155 

Atlanta, Georgia 

Dallas Civic Ballet Society Fora ]ull-time ballet ~naster for the Dallas Ballet. 6,500 

Dallas, Texas 

Dance Alliance of the To hire a general ~nanager. 6,100 

Northwest States 

Seattle, Washington 

Dance Associates Foundation To hire a development director and ah assistan~ trainee 8,900 

Los Angeles, California for the Bella Lewitzky Dance Company 

Dayton Contemporary Guild 

Dayton, Ohio 

For the salaries of the managing director and an administrative secretary for the Dayton Contemporary Dance 

Company. 

5,900 

Dean Dance Foundation To hire a íull-time administrator for the Laura Dean 4,000 

New York, New York Dance Company. 

Eglevsky Ballet Company of To hire a íull-time company manager. 6,400 

Long Island 

Massapequa Park, New York 

5 by 2 Dance Company To hire a company manager. 6,500 

New York, New York 

Friends of Olympia Station 

Felton, California 

To hire a full-time administrative director for Tandy Beal 

& Company. 

5,700 

Fusion, the Modern Dance Company of To hire a fuIl-time director of development. 3,500 

Miami 

Miami, Florida 

House Foundation for the Arts To hire a ]ull-time administrator. 8,400 

New York, New York 

Jenkins (Margaret) Dance Studio 

San Francisco, California 

To hire a booking manager and two general managers to 

work for both the Margaret Jenkin Dance Company and 

the Oberlin Dance Collective. 

12,500 

Joffrey Ballet, Foundation for the 

New York, New York 

For strengthening management; maintenance of artistic 

structures, including dancers’ salaries; redesign of financial rep, orting mechanisms; and strengthening the board oí 

100,000 

directors. 

Johnson (Raymond) Dance Company 

Kingston, New York 

To hire a community program development director and 

assistant. 

6,800 

Lang (Peari) Dance Company To hire a development director anda business manager. 3,100 

New York, New York 

Minnesota Dance Theatre and School To hire a development oZTcer. 5,450 

Minneapolis, Minnesota 

Morca Foundation of the Spanish To hire a business manager. 3,300 

Dance 

Bellingham, Washington 

Moving Earth To hire a full-time manager. 4,100 

New York, New York 

Neville (Phoebe) Dance Foundation 

New York, New York 

For the managerial and booking services of KLS Management. 

3,400 

Newman (Gloria) Dance Theater

Orange, California 

To hire a full-time manager. 6,300 

North Carolina Dance Theatre To hire an assistant manager. 5,300 

Winston-Salem, North Carolina 
20 Dance 

Ohio Chamber Ballet 

Akron, Ohio 

Pacific Northwest Dance 

Association 

Seattl~, Washington 

Philadelphia Dance Company 

Philadelphia, Pennsylvania 

Pilobolus 

Washington, Connecticut 

Pittsburgh Ballet Theatre 

Pittsburgh, Pennsylvania 

Spanier (Nancy) Dance Theatre 

of Colorado 

Boulder, Colorado 

Spectrum, Focus on Deaf Artists 

Austin, Texas 

Summers (Elaine) Dance and

Film Company 

New York, New York 

Choreography 

Fellowships and 

Production Gran[s 

To hire a full-time company manager. 3,900 

To hire a development coordinator. 4,500 

To hire a general manager. 7,800 

To hire an assietant to the manager. 7,300 

To hire a director oÍ development. 9,250 

For the salary of the general manager. 5,300 

To hire a manager for the Spectrum American Deaf Dance 6,500 Company. 

To hire part-time specialists for fund-raising, publicity, 7,800 and booking. 

Includes five subcategories: A)
horeography Fellowships provide 

experienced choreograpñers time to create new works for the company with which they ate associated. B) IForkshop Fellowships assist choreographers in the development of their art, help nonprofessional companies expand their repertoires, and provide dancers who 

show promise in choreography a chance to develop their talent. C)

Fellowshipe Íor ~,horeographers-in-Residence enable companies to 

acquire the work of visiting choreographers in order to broaden 

their repertoires. They also give choreographers the opportunity to 

work with a variety of companies. D) Production Granta are available to professional companies for new productions. E) Special 

Choreography Fellowships are available to experienced choreographers for extraordinary choreographic projects not eligible under 

other categories. 

Program funds: $1,591,385 

Category A: Choreography Fellowships 

Carva|al, Carlos 

San Francisco, California 

Dean, Laura 

New York, New York 

Driver, Senta 

New York, New York 

Goslar, Lotta W. 

Cornwall, Connecticut 

Harkarvy, Benjamin 

Philadelphia, Pennsylvania 

Houle, Bert 

New York, New York 

Houlton, Loyca 

Minneapolis, Minnesota 

Koner, Pauline 

New York, New York 

$12,000 Lubovitch, Lar 

New York, New York 18,430 

17,800 Luzell, Robert 

New York, New York 3,020 

4,500 Marks, Bruce

Salt Lake City, Utah 8,430 

17,390 Marsicano, Merle 

New York, New York 9,790 

20,650 Newman, Gloria

Orange, California 14,700 

5,640 Newman, Rosalind 

New York, New York 4,500 

17,500 Poll, Heinz 

Akron, Ohio 13,000 

12,340 Ramirez, Tina 

New York, New York 10,860 
Dance 21 

Rodriguez, $on 

Dayton, Ohio 

16,440 Van Dyke, $an 

Washington, D. C. 

4,790 

Stowell, Kent 

Seattle, Washington 

11,000 Wagoner, Dan 

New York, New York 

14,900 

Takei, Kei 

New York, New York 

12,200 Wells, Bruce 

New Haven, Connecticut 

5,000 

Uthoff, Michael 

Hartford, Connecticut 

12,460 

Category B: Workshop Fellowships 

Anderson, David 

New York, New York 

Ashton, Gwynne 

Champaign, Illinois 

Bates, Gary 

Venice, California 

Beck, Christopher 

San Francisco, California 

Bewley, Lois 

New York, New York 

Bowyer, Robert 

New York, New York 

Brown, Joan 

Philadelphia, Pennsylvania 

Carter, Kim 

Ashland, Oregon 

Ching, Chiang 

New York, New York 

Clouser, James 

Houston, Texas 

Crosman, Margot 

San Francisco, California 

Culpo, Madeline 

Pittsfield, Massachusetts 

Cunningham, Ronald 

Boston, Massachusetts 

Dally, Lynn 

Los Angeles, California 

Dannenberg, Helen 

San Francisco, California 

DeGroat, Andre~ 

New York, New York 

Duncan, Kathy 

New York, New York 

$2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

Finch, .lune 

New York, New York 

Fulkerson, Mary 

Devon, England 

Gibson, Bert 

Bronx, New York 

Goldberg, Jane 

New York, New York 

Griflin, Rodney 

New York, New York 

Harper, Lee 

Atlanta, Georgia 

Harper, Margaret 

New York, New York 

Hatfield, Ruth 

Berkeley, California 

Hay, Deborah 

Austin, Texas 

Hermann-Fischbeck, Brigitta 

Elverson, Pennsylvania 

Hollander, Jonathan 

New York, New York 

Ichinohe, Saeko 

New York, New York 

Ipiotis, Celia 

New York, New York 

Jasinski, Roman 

Tulsa, Oklahoma 

Keeler, Emily 

San Francisco, California 

Larsson, Michele 

San Francisco, California 

Lascoe, Matti 

Orange, California 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

Erkert, Jan 

Chicago, Illinois 

Evans, Joan 

New York, New York 

2,500 

2,500 

Little, Nita 

Santa Cruz, California 

Lund, Gary 

Minneapolis, Minnesota 

2,500 

2,500 
22 Dance 

MacLane, Gretchen 

Provincetown, Massachusetts 

Masuda, Akiko 

Honolulu, Hawaii 

McCandless, Dee 

Austin, Texas 

Morca, Teodoro 

Bellingham, Washington 

Padow, Judy 

New York, New York 

Plonka, Lavinia 

New York, New York 

Purnell, Melvin 

New York, New York 

Radis, Jackie 

Chicago, Illinois 

Richman, Camden 

Oakland, California 

Ríos, Ramon 

Watertown, Massachusetts 

Ross, Bertram 

New York, New York 

Small, Robert 

New York, New York 

Solbrig, Elizabeth 

Glenview, Illinois 

Soll, Beth 

Cambridge, Massachusetts 

Category C : Fellowships for Choreographersin-Residence 

Chicago Choreographers Workshop 

Chicago, Illinois 

Cleveland, Ballet Guild of 

Cleveland, Ohio 

Conchora Foundation for 

Contemporary Dance 

Pasadena, California 

Contemporary Dance Theatre 

Atlanta, Georgia 

Dallas Civic Ballet Society 

Dallas, Texas 

5 by 2 Dance Company 

New York, New York 

Houston Ballet Foundation 

Houston, Texas 

Kinetikos Dance Foundation 

Los Angeles, California 

Pacific Northwest Dance 

Seattle, Washington 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

2,500 

Sparling, Peter 

New York, New York 

2,500 

Taliaferro, Clay 

New York, New York 

2,500 

Taucher, Wendy 

Chicago, Illinois 2,500 

Torres, Julio 

New York, New York 

2,500 

Villamil, Ja¢lynn 

New York, New York 

2,500 

Yzorov, Yuli 

Bethesda, Maryland 2,500 

Walker, David Hatch 

New York, New York 

2,500 

Watson, Henry 

Fern Park, New York 2,500 

Welter, Bo 

New York, New York 

2,500 

Wiener, Nina 

New York, New York 

2,500 

Woodberry, David 

New York, New York 

2,500 

Zamir, Batya 

New York, New York 

2,500 

Zompakos, Stanley 

Dalton, Georgia 

2,500 

To engage Arma Sokolow, choreographer. $6,670 

To engage Agnes de Mille, choreographer. 6,210 

To engage Jeff Slayton, choreographer. 5,180 

To engage Bill Evans, choreographer. 6,930 

To engage Arthur Mitchell, choreographer. 4,930 

To engage Moses Pendelton, choreographer. 7,850 

To engage Choo San Goh, choreographer. 9,980 

To engage Margo Sappington, choreographer. 7,400 

To engage Benjamín Harkarvy, choreographer. 6,500 
Dance 23 

Portland Dance Theatre To engage Rod Rodgers, choreographer. 4,480 

Portland, Oregon 

Repertory Dance Theatre To engage Bruce Marks, choreographer. 5,350 

Salt Lake City, Utah 

Syracuse Ballet Theatre To engage Francisco Moncion, choreographer. 4,400 

Syracuse, New York 

Category D: Production Grants 

Ballet Foundation of Milwaukee For a new production of Coppelia choreographed by Jean $12,070 

Milwaukee, Wisconsin Paul Comelin íor the Milwaukee Ballet Company. 

Ballet Foundation of Milwaukee For a new ballet choreographed by Jean Paul Comclin. 20,000 

Milwaukee, Wisconsin 

Ballet Theatre Foundation For a new ballet by Anthony Tudor anda revival of 65,750 

New York, New York Tudor’s ballet Dim Lustre for the American Ballet Thearre. 

Ballet West Fora production of David Lichine’s Graduation Ball re­ 22,120 

Salt Lake City, Utah staged by Terry Orr. 

Benitez (María) Spanish Dance 

Company 

New York, New York 

For Alberto Lorca to choreograph a new ballet based on 

the play Los Tarantos, with an original score by Pepe 

Nieto. 

10,180 

Boston Ballet For a new production of The Wednesday Class s$aged by 14,840 

Boston, Massachusetts Kirsten Ralov of the Royal Danish Ballet. 

Brown (Trisha) Dance Company 

New York, New York 

For a new work by Trisha Brown exploring her i~oJ’ of 

rnaking a dance from written instructions, with sets designed by Robert Rauschenberg. 

13,440 

Capitol Ballet Guild For a new work choreographed by Keith Lee. 10,000 

Washington, D.C. 

Chimera Foundation for Dance For a revival of Alwin Nikolais’ Totem for the Nikolais 20,840 

New York, New York Dance Theatre. 

City Center of Music and Dance 

New York, New York 

For new ballets by George Balanchine and Jerome Robbins 

íor the New York City Ballet. 

100,000 

Cleveland, Ballet Guild of 

Cleveland, Ohio 

For a new production of Kur~ Jooss’ The Green Table 

staged by Arma Markard. 

24,330 

Cunningham Dance Foundation For two new works by Merce Cunningham. 36,000 

New York, New York 

Dance Associates Foundation For ¿wo new works by Bella Lewitzky. 16,550 

Los Angeles, California 

Dance Theatre Foundation To enable Georgc Faison, Margo Sappington, and Alvin 28,500 

New York, New York Ailey to create works for the Alvin Ailey Dance Theater. 

Dance Theater of Harlem For two new works by Arthur Mitchell and two works re­ 47,000 

New York, New York staged by Choo San Goh. 

Dance Theatre Seattle For new works by Bill Evans and Lotte Goslar and the 7,000 

Seattle, Washington restaging of a work by Bill Evans for the Bill Evans 

Dance Company. 

Dean Dance Foundation For the creation of a music and dance work choreographed 14,800 

New York, New York by Laura Dean. 

Eglevsky Ballet Company of 

Long Island 

For new works by Peter Anastos and Michael Vernon and 

the restaging of a work by James Waring. 

12,880 

Massapequa Park, New York 

Foundation for Ethnic Dance For Matteo, in consultation with La Metí, to remount two 5,260 

New York, New York sections of the ethnic dance Bach-Bharata Suite íor the 

Matteo Ethno-American Dance Theatre. 
24 Dance 

Graham (Martha) School of

Contemporary Dance 

New York, New York 

House Monkey 

New York, New York 

Houston Ballet Foundation 

Houston, Texas 

Joffrey Ballet, Foundation for the 

New York, New York 

Joffrey Ballet, Foundation for the 

New York, New York 

Kipnis Mime Theatre 

New York, New York 

Lamhut (Phyllis) Dance Company 

New York, New York 

Limon (Jose) Dance Foundation 

New York, New York 

Oakland Ballet Association 

Oakland, California 

Pennsylvania Ballet Association 

Philadelphia, Pennsylvania 

Pittsburgh Ballet Theatre 

Pittsburgh, Pennsylvania 

San Diego Ballet Association 

San Diego, California 

San Francisco Ballet Association 

San Francisco, California 

Taylor (Paul) Dance Foundation 

New York, New York 

Tharp (Twyla) Dance Foundation 

New York, New York 

Theatre Flamenco of San Francisco 

San Francisco, California 

For three to tire works by Miss Graham. 75,000 

Fora new work, ¿ncluding a musical s~ore by Mered~th 

Monk. 

13,870 

For the world premiere of Ronald Hynd’s Papillon. 30,000 

Fora new production of Bronislava Nijinska’s Les Biches, 

staged by the choreographer’s daughter, anda new production of Michael Fokine’s Paganini staged by Tamara 

Grigorieva. 

67,660 

For the restaging of The Rake’s Progress by Robert Joffrey and for the revival of three ballets by Kurt Jooss. 73,750 

Sor a new mime production choreographed by Claude 

Kipnis. 

13,040 

Fora new work choreographed by Phyllis Lamhut. 5,000 

For a new work by Murray Louis to a score by Bill Bolcom and for the remounting of Doris Humphrey’s Lament 

for Ignacio Sanchez. 

15,310 

For the restaging of two Diaghilev ballets, Scheherazade 

and Pulcinella. 18,000 

For new works by Benjamín Harkarvy and Choo San Goh. 70,485 

For a new production of Harold Lander’s Etudes. 15,120 

To construct and design sets and costumes fora production 

of Giselle. 

11,610 

For three new works by Tomm Ruud, Michael Smuin, and 

Lew Christensen. 

70,580 

For three new works by Paul Taylor. 36,400 

Fora new work choreographed by Twyla Tharp. 36,000 

For production of Tonadas, choreographed by Adela Clara 

and Miguel Santos, wth music by Nin-Culmell. 

9,150 

Category E: Special Choreography Fellowships 

Charlip, Remy 

New York, New York 

Childs, Lucinda 

New York, New York 

Gamson, Anabelle 

Port Chester, New York 

Hawkins, Erick 

New York, New York 

$ohnson, Louis 

Washington, D. C. 

$4,840 Primus, Pearl 

New Rochelle, New York 

5,030 

4,750 Rudner, Sara 

New York, New York 

5,140 

4,920 Sharir, Yacov 

Austin, Texas 

4,030 

10,000 Way, Brenda 

Stanford, California 

4,500 

4,920 
Dance 25 

Dance/Film/Video	 To help índividuals, dance companies, and other organizations preserve and document major works of extend the art of dance through

film and videotape. 

Program funds: $314,480 

American Dance Festival For choreographer Laura Dean’s participa¿ion in ¿he Fes­ $6,500 

Durham, North Carolína tival’s 1979 Dance Television Workshop. 

American Dance Festival Fora four-week dance television workshop. 16,500 

Durham, North Carolina 

American Dance Machine 

New York, New York 

For reconstruction o] 18 to 35 works by choreographers 

Hanya Holm, Gower Champion, Paul Draper, and Eugene 

Loring. The reeonstructed works will be videotaped in col17,400 

laboration with Fucci/Stone Production. 

Community Television of Southern For finishing coste oÍ Agnes de Mille’s Conversations about 31,000 

California the Dance. 

Los Angeles, California 

Creative Outlet 

Portland, Oregon 

Fora danee/video collaboration between dancer Susan 

Banya# and ~ideo artist Ela~ne Valazquez. 

2,800 

Cultural Council Foundation For the videotaping of the complete solo repertory choreo­ 6,800 

New York, New York graphed between 1919 and 1931, of the American modern 

dancer Michio Ito, as staged by his assistant director, 

Ryiko Maki. 

Cultural International Association For video reeording of the developmen$ of ah improvisa­ 1,800 

Corporation tional dance, performed by Consortium, a company of 

New York, New York musicians and dancers. 

Cunningham Dance Foundation 

New York, New York 

For the fourth vídeo/dance collaboration between Merce 

Cunningham and filmmaker Charles Atlas. 

32,500 

Dancecircus For a 25-minute videotape of Museum Pieces II, a dance/ 4,400 

Milwaukee, Wisconsin art event originally created in 1977 at the Milwaukee Ar~ 

Center galleries. 

Dance Theatre Workshop For support of the Dance/Vídeo Access archival project. 9,400 

New York, New York 

Educational Media Associates 

of America 

For produetion of a ser~es of three one-hour film do~~umentaries titled The Diaghilev Era for distribution to PBS 10,600 

Berkeley, California stations. 

Greater Cleveland Ethnographi¢ 

Museum 

For a 55-minute film produced for regional televieion by 

Francis Stracensky, portraying ¿raditional midwestern 

15,000 

Cleveland, Ohio dance. 

Green, Whitney 

San Francisco, California 

For a 15-minute film by Whitney Green of lYIobile, a work 

choreographed by Tomm Ruud of the San Francisco Ballet. 

8,400 

Kaye, Meli D. For completion of a film on Meli Kaye, mime artist. 2,300 

Atlanta, Georgia 

Kipnis Mime Theatre For Pictures at ah Exhibition, a film doeumenting a pan­ 5,000 

Brooklyn, New York tomime choreographed by Claude Kipnis. 

Mohawk-Hudson Council on For Dark Rhythms, a three-hour film on Pearl Primus, for 15,000 

Educational Television public television. Dr. Primus, dancer, choreographer, anSchenectady, New York thropologist, and educator 

create 10 to 15 of her works for this documentary. 

Nagrin (Daniel) Theatre and 

Film Dance Foundation 

For the final editing, titling, and muele dubbing oÍ a collee¿ion of filme of Daniel Nagrin’s solos from 1958 to 1978 

3,100 

New York, New York and of The Workgroup, ¿he dance company he directed 

from 1971 to 1975. 

New York Public Library Astor, 

LenoxandTildenFoundation 

For film services, ¿neluding the recording of works by 

established choreographers, acquiring rare footage, and 

63,580 

New York, New York continuing the evening film series. 

Pantomime Circus Foundation Fora new work by the company’s artistic director, Lotte 750 

New York, New York Goslar. 
26 Dance 

Popular Culture Foundation 

New York, New York 

Transmedia Kinetrics Coalition 

New York, New York 

Washington Ballet 

Washington, D.C. 

WGBH Educational Foundation 

Boston, Massachusetts 

YWCA of the City of New York 

New York, New York 

Services 

to the Field 

American Dance Festival 

New York, New York 

ArtiCuiture 

Cambridge, Massachusetts 

Association of American Dance 

Companies 

New York, New York 

Association of American Dance 

Companies 

New York, New York 

California Association of Dance 

Companies 

Sacramento, California 

Cunningham Dance Foundation 

New York, New York 

Dance Notation Bureau 

New York, New York 

Dance Theater Workshop 

New York, New York 

DanceWorks 

New York, New York 

Foundation for the Extension and 

Development of the American 

Professional Theatre 

New York, New York 

H. I. Enterprises 

New York, New York 

Jenkins (Margaret) Dance Studio 

San Francisco, California 

Fora 90-rn¿nute color film on the history of Giselle with 10,000 

Anton Dolin as host and narrator. 

Fora multi-media dance work by Kenneth King involving 5,000 

tire dancers. 

For the videotaping of nine of the works of Choo San Goh, 3~500 

resident choreographer for the Washington Ballet. 

For the fifth year of the Dance Projeet of the WGBH New 26,750 

Television Workshop, which gives choreographers the opportunity to work in a television environment and learn 

how to create for the mediu~n. 

For the vídeo documentation of the reconstructed works of 

Isadora Dunean, as transmitted to the Dunean Heritags 16,400 

Group under the artistic direction of Maria-Theresa Duncan, a member of Isadora’s first school. 

To assist national service organizations involved in projects directly

related to performing dance companies. Projects which have broadbased service components (such as multi-company managements or 

technical assistance programs) also ate considered. 

Program funds: $448,150 

For the annual three-week Dance Critics’ Conferenee. $10,000
 

For the Dance Produetion Assistance Project, including 8,500
 

production of two dance series anda bi-monthly publication.
 

For management assistance and information serviees to 30,500
 

dance companies.
 

For technical assistance to companies and ehoreographers 9,000
 

in development, support, and evaluation of ongoing activifíes.
 

For research on the dance industry in California, and for 2,000
 

acting asa clearinghouse of information on booking, teehnical assistance and management.
 

For performances by the Merce Cunningham Dance Com- 10,015
 

pany designed for handicapped audiences, especially those
 

with hearing and sight impairments.
 

For the notation and documentation of dance works, the 20,000
 

reeonstruction of dances using the choreographers’ seores,
 

and hiring a librarian to maintain the bureau’s library.
 

For the membership service program which provides audi.
 15,000 ence development, pre-production, and other assistance to 

independent choreographers and small dance companies. 

To provide managerial services to dance co~npanies, chore- 14,500 

ographers, and dancers. 

For the creation of a second technical assistance program 70,000 

to address the administrative needs of professional dance 

companies. 

To provide booking, company management, press, and ti- 8,500 

nancial activity for dance companies without their own 

managerial staff. 

To hire a full-time te¢hnieian to run all performances ¿n 5,000 

the new 300-seat theater. 
Dance 27 

National Association for For support services to regional and nonproÍessional dance 43,000 

Regional Ballet companies. 

New York, New York 

National Corporate Fund for Dance For the fund-raising activities of the National Corporate 5,000 

New York, New York Fund for Dance which raises money from the business 

community and channels ir to nine major modern dance 

and ballet companies. 

Oberlin Dance Collective 

San Francisco, California 

For 20 performances by 10 Bay Arca groups or artists, a 

performing seminar, ah aesthetics seminar, and the publi3,500 

cation of New Performances. 

Original Ballet Foundation For the reconstruction of the Elgin Theatre in New York 75,000 

New York, New York City into a medium-sized performance space designed 

dance. 

Performing Artservices 

New York, New York 

For training four interns in all aspects of management 

and administration for small dance companies. 

12,700 

San FranciscoBayArea 

Dance Coalition 

For a dance information center, the distribution oí a 

monthly dance calendar, and six seminars on management 

6,450 

San Francisco, California of dance companies. 

Spectrum: Focus on Deaf Artists For technical assistance to dance organizations in five cen­ 9,985 

Austin, Texas ters to make their work more accessible to deaf citizens. 

TAG Foundation For the apprentice manager program. 4,500 

New York, New York 

TAG Foundation For the Dance Service Project which provides the dance 35,000 

New York, New York community with technical and management services. 

TAG Foundation To amend a previous grant which supports technical assist­ 50,000 

New York, New York ance to dance companies and choreographers. 

General Programs To assist projects that do not fall into the Dance Program’s other 

categories, but which involve professional activity, are of exceptional merit, and respond to a demonstrated need. 

Program Funds: $467,643 

Treasury funds: $ 97,000 

Private gifts: $ 97,000 

American Dance Festival Fora four-week workshop for choreographers and com- $10,300 

Durham, North Carolina posers. 

Brooklyn Academy of Music For the presentation of many New York-based dance com- 21,000 

Brooklyn, New York panies. 

Brooklyn Aeademy of Music To add eight performances of the Twyla Tharp Dance 15,000 

New York, New York Company. 

Clark Center for the Performing Arts For presentation of developing artists and dance companies 20,000 

New York, New York in New York City. 

Cosanti Foundation For eight weeks of dance workshops at Arcosanti Íor 30 3,250 

Scottsdale, Arizona students from the arca. 

For the performance component of Mime ’79--The North 15,000

Syracuse, New York American Festival of Mime. 

Cultural Resources Council 

Dance Concert Society 2,000 For the third annual Dance IVeek in con]unction with NaSt. Louis, Missouri tional Dance Week.

Dance Magazine Annual For services fora booklet on contact information for po- 5,000 

New York, New York tential Dance Touring Program sponsors. 

TF 85,000 

New York, New York new dancers, and rehearse and develop a new repertoire. PG 85,000 Dance Theatre of Harlem To enable the Dance Theatre of Harlem to find and train 
28 Dance 

Dance Theatre Seattle 

Seattle, Washington 

Dance Theater Workshop 

New York, New York 

Dayton Civic Ballet 

Dayton, Ohio 

Eakins Press Foundation 

New York, New York 

55th Street Dance Theatre Foundation 

New York, New York 

Fusion, the Modern Dance Company 

of Miami 

Miami, Florida 

Haleakala 

New York, New York 

$acob’s Pillow Dance Festival 

Lee, Massachusetts 

Judson Memorial Church 

New York, New York 

Kinetikos Dance Foundation 

Los Angeles, California 

Lake Placid 1980 Olympic Games 

Lake Placid, New York 

Margalit Dance Company 

Los Angeles, California 

Minnesota Dance Theatre and School 

Minneapolis, Minnesota 

National Association for 

Regional Ballet 

New York, New York 

92nd Street Young Men’s and 

Young Women’s Hebrew Association 

New York, New York 

O’Neill (Eugene) Memorial Theater 

Center 

Waterford, Connecticut 

Oregon Mime Theatre 

Lake Oswega, Oregon 

Performing Artservices 

New York, New York 

Riverside Church in the City of 

New York 

New York, New York 

St. Mark’s-in-the-Bowery Church 

New York, New York 

To increase rehearsal time and number of performances in 15,000 

Seattle. 

For the fifth season of the Dance Production Project at the 30,000 

American Theatre Laboratory. 

To expand the "Ballet at Noon" programs from three 13,500 

weeks to three months. 

For the initial compilation, in draft form, of The Works of 6,750 

George Balanchine. 

To enable the foundation to present four major New York- 65,700 

based companies in an eight-week season at the New York 

City Center. 

For performances throughout Florida. 2,500 

To enable the Kitchen Center for Vídeo and Music to pre- 3,000 

sent a dance series. 

For the annual eight-week summer dance festival. 16,700 

To preeent dance companies and choreographers in the 4,900 

Judson Memorial Chureh. 

To support the third annual Los Angeles Dance Festival ¿n 15,000 

which 12 dance companies will be presented anda dance 

film series o]ered. 

To commission a new work and one-week residency of 19,000 

Pilobolus Dance Theatre as part of the cultural program 

at Winter Olympic Games in Lake Placid. 

For resideneies in three communities around Los Angeles, 9,000 

during which one dancer will work in the community’s 

school and park system. 

For ah original full-length Romeo and Juliet choreo- TF 12,000 

graphed by Loyce Houlton, to be performed with the Min- PG 12,000 

nesota Orchestra. 

For the Craft of Choreography eonferenees held in two 33,000 

locations fora total of 15 weeks. 

For three performances of the Don Redlich Dance Co~n- 2,300 

pany a~ the Kaufmann Concer~ Hall. 

For the two-week choreographers’ conferenee whose puf- 21,600 

pose is to aid in the developmen~ and showcasing of new 

American choreography. 

For the first home season residency. 8,900 

For Collaboration in Five Parte, a new work by daneer/ 12,250 

choreographer Lucinda Childs, composer Philip Glass, and 

visual artist Sol Lewit$. 

For the annual dance festival in which over 30 dance com- 9,500 

panies are presented in 26 weeks of performance. 

To enable Danspace to present two to four performances 5,000 

each of the work of 12 choreographers. 
Dance 29 

School of American Ballet, New York City. 

Photo: Carolyn D’Amboise 

Seattle Dance Advisory, City of* To provide an outstanding professional arts administrator 8,643 

Seattle, Washington with the opportunity to serve temporarily in the Endowmen$’s Dance Program under the Intergovernmental Personnel Act. 

Southern Arts Federation To add a dance component to its existing P¢ríorming Arts 8,000 

Atlanta, Georgia Touring Program. 

Tharp (Twyla) Dance Foundation To support a íour-month work p¢riod. 35,000 

New York, New York 

Theatre Development Fund For the dance voucher program. 21,000 

New York, New York 

Women’s Interart Center To present choreographers Lee Nagrin, Kei Takei, and 9,850 

New York, New York Lucinda Childs during th~ ]ourth season oí Interar~ Dance 

Theatre. 

* contract ; TF--Treasury funds ; PCr--private gifts 

31 

Design Arts
 

A constellation of talent--architects, landscape Design, the art form which is never devoid 

architects, urban designers and city planners, of utility and almost always a reflection of its 

industrial designers, graphic designers, interior culture, imposes esthetic sensibility on applied 

designers and fashion designers--constitute the technology. This synthesizing has always indesign arts. More than a quarter of a million formed the art and science of building. Indeed, 

design professionals and more than a million in bridging art and science--the "two cultures," 

allied academics, researchers, and ~echnicians design staves off ~endencies ~owards specializainhabit this sphere of human endeavor. Their tion and reductivism. At the Endowment, the 

creative energies range from designing the need to make these relationships better underplace settings we use each day to envisioning stood has taken the forro of a new grant catethe forro of the city we might wish for our chil- gory called Design Explorations/Research. We 

dren’s children. They are builders of things to hope that this category will begin to meet the 

use and to delight our sensibilities, overwhelming need we have observed to find reYet in an age of anomie, material scarcity, sources for developing and testing new theories 

and diminishing resources, many people won- and ideas for which there is no immediate 

der what real needs are met by design and its client. 

practitioners. They think that: Abundant evidence shows that designers 

 ̄ Design is ah embellishment, a luxury and design products are making socially signifionly rich societies can afford, cant and economically important contribu~ions 

 ̄ Design is the least artistic of the arts and to peoples’ well-being. Increasingly, city govthe least scientific of the sciences, ernments and economic development organiza­

 ̄ Design contributes little to the social and tions seek Endowment support for projects that
 

economic well being of society, use designas the means to create jobs, revenue,
 

 ̄
 Designers have no need of public funds; ora higher quality of life. Livability and envithey are well-supported through the private ronmental amenity are no longer frills; they 

sector, are the means by which a post-industrial econThe Design Arts Program of the National omy sustains its hard-won gains. More than 

Endowment for the Arts has found these per- ever before, local governments regard their 

ceptions to be untrue. In fact, these oft-stated civic spaces, cultural facilities, residential landcriticisms do not square with the reality abun- scapes, street furnishings and signage--the dedantly evident throughout the nation, signed environment--as their best hope to staDesign is seldom a luxury; ir is a necessity, bilize residential populations, attract new 

Today, more than ever, it is the means by which industry, increase the growth of tourism, and 

we can conserve resources and bring order to draw audiences íor cultural events. Over the 

the helter-skelter nature of our physical set- past decade, more than 650 towns and cities 

tings. Applications to our Design Demonstra- througbout the nation have found support from 

tion category indicate that Americans have be- the Design Arts Program. Given the increasing 

come keenly aware of the need to conserve, pre- demand, the Program faces a major problem in 

serve, and cherish their architectural and de- finding ways of sustaining a realistic level of 

sign heritage. Historic preservation, coupled support for these activities. Towards that end, 

with neighborhood and downtown revitaliza- the Program has embarked on an advocacy 

tion, has become an intensely important area of effort to enlist dozens of other Federal agencies 

activity for design practitioners. Energy and that are responsible for spending billions of dolmaterials-consciousness have been fused with lars for construction annually in an effort to 

the traditional esthetic vocabulary; the results improve the design quality of public buildings. 

are innovative solutions to continuing problems The design professions are particularly 

of environmental design, sensitive to the economic climate. Even in good 

Preservation project: Lamar House---Bijou Theater in Knoxville, Tennesse~. 

Photo: Ron Childress: FORMAT 
 

32 Design Arts 

Fort Mason Center Model, San Francisco.
 

Photo: Robinson, Mills and Williarns/SWA Group.
 

times, the piecemeal nature of work can vary 

dramatically, making design one of the least 

lucrative of professional activities. The vast 

majority of designers are individual practitioners who must continually subordinate their creative energies to client demands. Little opportunity is available to pursue design ideas 

outside of the traditional commission method, 

Recent restructuring of our grants to individuals provides fellowships for active professionals--awards of time and resources to pursue 

what no client would ever commission, 

To measure this generation’s contribution 

to design in our nation, we must look 20 to 30 

years into the future, when what has been designed will have been tested and fully appreciated. We are always living in the experiments 

of the past. Too often they have been failures, 

The challenge is to reduce the failures, preserve 

what is valuable, and promote a better future, 

tions are one means of opening up the process. 

 ̄ Fostering, through publications, exhibitíons, and broadcast media, a greater sense of 

awareness on the part of the public of the role 

and meaning of design as an art form. 

Today we see signs that the pace of life is 

slowing--perhaps for the better. We may find 

more time to look at our surroundings and reevaluate the condition of our environment. As 

this happens the role of the design arts will increase. The parks we walk in, the buildings we 

inhabit, the means of transportation and the 

places at journey’s end will have greater meaning. As we prepare to enter the decade of the 

80s, the Design Arts Program is striving to insure that this opportunity will not be missed. 

We are expanding our audience to include more 

students, more individual professionals, more 

public agencies, and more arts organizations, 

all of which we hope will contribute their enWe have commenced a multi-pronged effort ergies in pursuit of design excellence. 

to meet this challenge by: Ir has been said that everything that does 

 ̄ Placing increased emphasis on design in 

service to the arts. Since 1965 dance companies 

have increased over ten-fold, resident theater 

companies have quadrupled, and the number of 

orchestras has doubled. Yet a continuing problem exists in housing these art forms. We simply have not done enough to create the buildings, places, and spaces needed by the arts. 

* Advocating the use of d esign c ompetitions for the design of civic and cultural facilities. Too often the architecture which shelters 

our most public functions is the result of 

patronage-ridden selection processes which do 

not happen by accident happens "by design." 

Resources spent on design reinforce both purpose and intent. Support of design activity is 

support for the most creative segment of the 

process which produces our physical surroundings. No other art form offers a better opportunity for creating harmony between our desires 

and our reality. 

not provide the client or designers with the op- Michael Pittas 

portunity to be truly creative. Design competi- Director, Design Arts Program 
 

 

Design Arts 33 

Design Arts Advisory Panel 

Stephen Bostie
 

Executive Director
 

Virgin Islands Council on the Arts
 

Christiansted, St. Croix,
 

Virgin Islands 

Thomas L. Bosworth 

Professor of Architecture 

University of Washington 

Seattle, Washington 

Michael Brill 

Architect, Researcher 

Professor 

State University of New York at 

Buffalo 

Buffalo, New York 

Lance Brown 

Architect, Professor 

City College of New York 

New York, New York 

Charlotte Carver 

Executive Director 

South Dakota Arts Council 

Sioux Falls, South Dakota 

Bonnie Cashin 

Fashion Designer, Writer 

President, Bonnie Cashin Design, Inc. 

New York, New York 

Adele Chatfield-Taylor 

Assistant to Chairman 

New York City Landmarks 

Preservation Commission 

New York, New York 

Felicia Clark 

Director 

Community Facilities Planning Group 

Boston, Massachusetts 

Christie Coitin 

Professor, University of Oregon 

Eugene, Oregon 

Ray Eames
 

Designer
 

Venice, California
 

Ann Ferebee 

Director, Institute for Urban Design 

Purchase, New York 

Mildred Friedman
 

Design Coordinator, Design


Department 


Walker Art Center
 

Minneapolis, Minnesota
 

Carroli Gantz
 

Manager of Industrial Design
 

Black and Decker (U.S.) Inc.
 

Towson, Maryland
 

Kenneth S. Halpern 

Director 

Mayor’s Office of Midtown

Planning and Development
 

New York, New York
 

William Houseman 

Writer, Environmentalist 

Spring Valley, Wisconsin 

Sue Yung Li Ikeda 

Landscape Architect 

San Francisco, California 

Wally Jonason 

Interior Designer 

President 

Wallace Jonason Environmental 

Design 

San Francisco, California 

R. Lawrence Kirkegaard 

Acoustics Consultant, President 

Kirkegaard & Associates 

Lombard, Illinois 

Edward Knowles 

Architect 

Lois Craig New York, New York 

Research Affiliate and Special 

Associate to the Dean 

Laboratory for Architecture and

Urban Planning 

Massachusetts Institute of Technology 

Cambridge, Massachusetts 

Natalie de Blois 

Senior Associate, 3-D International 

Houston, Texas 

Louis Dorfsman 

Senior Vice President, Creative 

Director, Advertisíng and Design 

CBS Broadcast Group 

New York, New York 

Arthur Drexler 

Karl A. Komatsu 

Komatsu/Brown Architects 

Washington, D.C. 

Florence C. Ladd 

Dean of Students, Wellesley College 

Wellesley, Massachusetts 

Nellie Longsworth 

President, Preservation Action 

Washington, D.C. 

Fidel Lawrence Lopez 

Director, Rehab: The Housing 

Resource Center 

Chicago, Illinois 

Weiming Lu 

Director, Department of Architecture Director, Urban Design 

and Design Lowertown Redevelopment 

Museum of Modern Art Corporation 

New York, New York St. Paul, Minnesota 

Robert Madison 

President, Chief Executive Ofñcer 

Madison, Madison International 

Cleveland, Ohio 

William Marlin 

Associate Editor, Architec¿ural 

Record 

New York, New York 

Judith Miller 

Art Consultant, Educator 

Palos Verdes Estates, California 

Sandra V. Moore
 

Assistant Dean
 

School of Architecture
 

Florida A&M University
 

Tallahassee, Florida
 

Rai Y. Okamoto
 

Director of Planning
 

City of San Francisco
 

San Francisco, California
 

Laurie D. Olin 

Principal Designer, Hanna/Olin 

Philadelphia, Pennsylvania 

Jeffrey Ollswang 

Associate Professor 

University of Wisconsin-Milwaukee 

Milwaukee, Wisconsin 

Kenneth Paolini 

Director, Community Assistance 

Program 

Harvard Graduate School of Design 

Cambridge, Massachusetts 

John Pastier 

Architectural Critic, Educator
 

Los Angeles, California
 

Rosario Piomelli 

Professor of Architecture
 

Pratt Institute
 

Brooklyn, New York
 

William Porter 

Dean, School of Architecture 

and Planning

Massachusetts Institute of Technology 

Cambridgi, Massachusetts 

Arthur J. Pulos 

President, Pulos Design Associates 

Syracuse, New York 

Jaquelin Robertson
 

President
 

Jaquelin Robertson Associates
 

New York, New York
 

Rita St. Clair
 

Principal Interior Designer
 

Rita St. Clair Associates
 

Baltimore, Maryland
 

Iris Siff 

Managing Director, Alley Theater 

Houston, Texas 
34 Design Arts 

John Speneer

Chairman, Department of

Architecture 

Hampton Institute

Hampton, Virginia 

Paul Spreiregen 

Architect, Consultant

Washington, D.C. 

Louise Tester 

Executive Director 

Arizona Commission on the Arts and 

Humanities 

Phoenix, Arizona 

Design Arts Grants
 

Ronald Thomas Mar]orie Wintermute Director Architect 

Design Communication Collaborative Architects Northwest 

Washington, D.C. 

Louis Yiramontes 

President, Plaza De Armas

San Antonio, Texas 

Robert L. Wilson 

Architect, President 

Robert L. Wilson & Associates 

Stamford, Connecticut 

Portland, Oregon 

Peggy Woodring 

Manager, Metropolitan Transportation

Commission Planning Division

Berkeley, California 

Program funds: $4,323,773 

Cultural Facilities 

Research and Design 

Alabama State Council on the Arts 

and Humanities 

Montgomery, Alabama 

Allied Arts Foundation 

Seattle, Washington 

Baltimore Theater Project 

Baltimore, Maryland 

Bangor Symphony Orchestra 

Bangor, Maine 

Barrer Foundation Ineorporated State 

Theatre of Virginia 

Abingdon, Virginia 

Beyond Baroque Foundation 

Venice, California 

Black Speetrum Theatre Company 

St. Albans, New York 

Bulloek County Board of Edueation 

Union Springs, Alabama 

Carbondale, Town of 

Carbondale, Colorado 

Central Wyoming Community College 

Foundation 

Riverton, Wyoming 

Charlottesville, City of 

Charlottesville, Virginia 

Chicago School Architecture 

Foundation 

Chicago, Illinois 

To assist groups in the planning and design of exemplary cultural 

facilities; and to encourage the commitment of local public and 

private money to carry out projects. 

Program funds: $674,357 

Fora study on the feasibility oÍ building a community arts $3,000 Íacility. 

For e~:ploration of possibilities for artists’ housing and 7,705 

studio space. 

For planning and design of ¿he renovation oí ah 80-year­ 15,000 

old building and of four adjacent townhouses for use asa 

community per/orming arts center. 

To explore the possibility of restoring the Bangor Opera 10,000 

House, now a movie theater, to its original purpose: a facility for live performances of all types. 

For research and design leading to the adaptation of an 6,620 

historic church (c. 1830) asa small theater. 

For planning and design to rehabilitate the Old Westmin- 10,000 

ster School Auditorium into a center for the creative arts. 

For development oÍ a community cultural and recreational 10,000 

]acility in southeastern Queens. 

For design for the renovation of ah auditorium/gymnasium 5,000 

into a visual and performing arts center. 

To hire consultants to assist in evaluating the community’s 2,500 

cultural facility requirements. 

For design of a community facility [or the arts. 10,000 

To study the adaptive re-use of the C&O Railroad Station 4,000 

asa community facility. 

For further development oí ArchiCenter, the Íoundation’s 10,000 

center on the built environment, and ~of its relocation to 

another space in the Loop area. 
Design Arts 35 

Children’s Museum of Inquiry and 

Discovery 

To assist develotrment of a master plan fora National 

Children’ s Museum. 

20,000 

Washington, D. C. 

Cresson Lake Playhouse 

Spangler, Pennsylvania 

To design improvements in a Civil War era barn, whieh 

was adapted for use asa summer theater in 1975. 1,000 

Cultural Council Foundation 

New York, New York 

To support planning by 5~nd Street Theatre Row for the 

adaptation of a bank into a theater. 20,000 

Evans Run Art Association 

Martinsburg, West Virginia 

For planning and design of an adaptation of the Boydville 

mansion and grounds for use as ah art museum and art 5,000 

education center. 

Fargo-Moorhead Community Theatre For a design eompetition to explore solutious to problems 8,000 

Fargo, North Dakota arising out of the theater’s need for additional space. 

Fine Arts Council of Fayetteville 

Fayetteville, North Carolina 

For a study on the feasibility of establishing a central culrural arts facility. 14,825 

Fine Arts Work Center in For research and design for the renovation and possible 20,245 

Provincetown expansion of the historic Days Lumberyard complez. 

Provineetown, Massachusett.~ 

Fort Mason Foundation For a design competition to select an architect to designa 20,000 

San Francisco, California plan for the development oí Fort Mason as an arts faeility. 

Friends of the Schindler House To suport planning and designing for the adaptive re-use 15,393 

Los Angeles, California of the R. M. Schindler Kings Road House asa center for 

the study of ~Oth-century architecture. 

Greater Paterson Arts Council For the interior design (architectural, lighting, and sound) 1,000 

Paterson, New Jersey portion of the plan to convert the Genesis Theater into a 

community performance center. 

Growth Through Art and Museum 

Experience (G.A.M.E.) To assist planning and design of new facilities. 10,000 

New York, New York 

Harlem Urban Development 

Corporation To plan the conversion of the Loew’s-Victoria Theater into 

a multi-theater, rehearsal, and exhibition facility. 

17,500 

New York, New York 

Hawaii State Foundation on To plan and design the adaptive re-use of the former dis­ 2,500 

Culture and the Arts trict courthouse and poliee station building as ah arts and 

Honolulu, Hawaii cultural center. 

Haystack Mountain School of Crafts 

Deer Isle, Maine 

For planning and design of a multi-use space whizh will 

correct deficiencies in the present school facilities. 

5,000 

HistoricAugusta-Old Government For hiring consultants to evaluate the structure and to 1,339 

HouseFund make proposals for the rehabilitation of the Mod]eska 

Augusta, Georgia Theater asa site for artistie performances. 

Hochstein (David) Memorial Music

School 

To plan the adaptive use of a large church (built in I858) 

as a permanent home for the Hochetein Musi¢ School and 

20,000 

Rochester, New York other arts activities. 

Hocking Valley Museum of Theatrical 

History 

To support technical research and design consultation 

necessary to reopen the lO0-seat Stuart’s Opera House. 10,000 

Nelsonville, Ohio 

Hudson Valley Freedom Theater For planning for the restoration of the Dutch Reíormed 20,000 

Newburgh, New York Chureh building for use asa theater. 

Intiman Theatre Company To plan the rehabilitation of a building in Seattle’e Pike 7~150 

Seattle, Washington Peaee Market Historieal District asa permanent home 

for the theater’s programs and activities. 

Johnstown Arca Arts Couneil For a feasibility study for the conversion oÍ Johnstown 15,030 

Johnstown, Pennsylvania Central High School into a multi-use faeility with a regional arts center. 
36 Design Arts 

Lander College 

Greenwood, South Carolina 

Long Island University 

Greenvale, New York 

Maine Maritime Museum 

Bath, Maine 

Manna House Workshops 

New York, New York 

Miami, City of 

Miami, Florida 

New Cycle Theatre 

Brooklyn, New York 

New Orleans, City of 

New Orleans, Louisiana 

New York, City College of the City 

University of 

New York, New York 

New York City Hispanic-American 

Dance Company 

New York, New York 

New York, Research Foundation 

of the City University of 

New York, New York 

Ogden, City of 

Ogden, Utah 

Old Globe Theatre 

San Diego, California 

Opera Company of Boston 

Boston, Massachusetts 

Original Ballets Foundation 

New York, New York 

Performing Artists/Omaha 

Omaha, Nebraska 

Pierpont Morgan Library 

New York, New York 

Portland Center for the Visual Arts 

Portland, Oregon 

Potrero Hill Neighborhood House 

San Francisco, California 

Pro|ect for Public Spaces 

New York, New York 

Provincetown Playhouse on the Wharf 

Provincetown, Massachusetts 

Richmond Symphony 

Richmond, Virginia 

To plan and designa regional arts center. 7,500 

For design /or rebuilding the Dome auditorium at the 17,500 

C. W. Post Center as the Long Island Center for the Performing Arts. 

To support planning for rehabilitation of the Perey and 15,000 

Small Shipyard. 

For redesigning of facilities to p~fovide adequate rehearsal 20,000 

space. 

For a design competition to choose an architect to design 15,000 

an adaptive re-use of the Taj Hotel in downtown Miami. 

For feasibility studies of the conversion of a turn-of-¿he- 1,000 

century bath house into a multi-space performing arts 

eenter. 

To design a portable performing and exhibir structure for 5,000 

Lafayette Square. 

For a /easibility study of the restoration and conversion 15,000 

of historie Shepard Hall on the main campus into a 

modern /acility for the School of Architecture. 

Fora cost feasibility study of a proposed renovation of th~ 3,500 

company’s existing facility anda contiguous carriage 

house. 

For planning and preliminary designing for the renovation 15,000 

of Park Gym into a multi-purpose dance facility. 

To support plans to develop portions of Union Station for 11,975

arts and civic uses. 

To support designing of a replacement for the Old Globe 17,500 

Theatre building. 

For the design of a new stage house including rehearsal 30,000 

facilities, scenery and costume shops, make-up and dressing rooms, and administrative off~ces for the Savoy Theater. 

To support the planning and design for the conversion of 30,000 

the Elgin Theater, ah Art Deco cinema building, into a 

modern theater for dance andas a permanent home for 

Feld Ballet and other companies lacking an adequate performance facility. 

For modif!cations to plans for the rehabilitation of the 20,000 

World Theater. 

To assist in the planning and design of changes in the in- 5,000 

terior of the exhibition capacity and to extend its outreach 

lo the community. 

For research, pIanning, and design for renovation of a 9,350 

warehouse for use asa multi-purpose facility. 

To assist planning for the restoration of the landmark 2,000

Potrero Hill Neighborhood House for expanded performing and visual arts use and for the conversion of a chur¢h 

and a residence nearby for use as gallery, performance, 

and studio spaces. 

To develop a pilot project in an arca east of Central Park, 11,800 

which would increase the pubI.ic’s awareness of and case 

of access to the cultural resourees in the arca. 

For development of plans for construction of a new faeility. 20,000 

For a feasibility study of the adaptive re-use of Lowe’s 7,500

Theater asa home for the symphony and asa performing 

arts center. 
Design Arts 37 

Sharon Arts Center For a plan to increase usefulness of the íour-building fa­ 2,000 

Sharon, New Hampshire cility. 

Southern Ohio Museum Corporation 

Portsmouth, Ohio 

To assist adaptation of the former Security Central National Bank building into a museum and cultural center. 

2,500 

Tacoma, City of For planning the adaptive use of the landmark Pantages 10,000 

Tacoma, Washington Theater and the lllington Hotel as the Pantages Center /of 

the Performing Arts. 

Theatre by the Sea To support planning, design, and technical studies for the 10,000 

Portsmouth, New Hampshire adaptation of a 19th century brewery on the waterfront 

for use asa theater. 

Thomasville, City of 

Thomasville, Georgia 

To support research, planning, and design for the conversion of the vacant East Side Elementary School. 

10,000 

Trenton, City of Fora feasibility study fora p’roposed visual arts center. 5,000 

Trenton, New Jersey 

United Indians of Ail Tribes For design of a traditional northcoast style "longhouse." 5,000 

Foundation 

Seattle, Washington 

Washington Iteights and Inwood 

Development Corporation 

For planning by Arts Interaction for the renovation oÍ the

Coliseum Theater asa combined community cultural 10,000 

New York, New York ter and indoor mall. 

Waterloo Foundation for the Arts To amend a previous grant supporting feasibility studies 10,000 

Stanhope, New Jersey for construction of a muslo shed to be used for performances during the summer festival at Waterloo Village. 

Woodstock, City of 

Woodstock, Illinois 

To support architectural and landseape design for the e~­

terior restoration of the Woodstock Opera House. 

2,425 

Design: To assist the development and dissemination of design ideas and

information about design for the public and the design professions. Communication 

and Research Program funds: $1,198,538 

Allied Arts Foundation For a tour, exhibition, and catalogue of Art Deco, crafts, $8,250 

Seattle, Washington and architecture. 

American Association of Museums For a speeial edition oÍ the bi-monthly publication, Museum 19,500 

Washington, D.C. News. 

Americas Behavioral Research For publication on the participation and importance of 29,850 

Corporation young people in the design process by the Center Íor 

San Francisco, California Human Environments. 

American Institute of Arclütects To produce and distribute a film detailing how the appli- 23,000 

Foundation cation of proven urban design principles improves accessiWashington, D.C. bility of central business districts. 

American Institute of Architects For the Energy Design Primer for Community Participa- 7,500 

Research Corporation tion to introduce groups to community-scale solar energy 

Washington, D.C. and energy conservation design concepts. 

Appalshop For a film documenting the process of participatory plan- 21,760 

Whitesburg, Kentucky ning, design, and construction of a church in ah urban re. 

development area of Roanoke, Virginia. 

Architectural League of New York For an exhibition and book which will document the tela- 30,000 

New York, New York tionships between architecture and allied arts. 

Architectural League of New York For a catalogue of ah exhibition of arehitectural photog- 15,000 

New York, New York raphy from 18~0 to the present. 

Association of Collegiate Sehools For the Journal of Architectural Education. 18,170 

of Architecture 

Washington, D. C. 
38 Design Arts 

Bronx Frontier Development 

Corporation 

Bronx, New York 

Bronx River Restoration Pro|ect 

New York, New York 

Buffalo Organization for Social and

Technological Innova¿ion (BOSTI) 

Buffalo, New York 

Charlestown, Town of 

Charlestown, Rhode Island 

Children’s Museum 

Boston, Massachusetts 

Community Design Center School of 

Drafting and Design 

Lansing, Illinois 

Cooper Union for the Advancement of 

Science and Art 

New York, New York 

Cooper Union for the Advancement of 

Science and Art 

New York, New York 

Cornell University 

Ithaca, New York 

Drexel University 

Philadelphia, Pennsylvania 

Evanston Community Development 

Corporation 

Evanston, Illinois 

Harvard University 

Cambridge, Massachusetts 

Historic Albany Foundation 

New York, New York 

Historic Neighborhoods Foundation 

Boston, Massachusetts 

Institute for Architecture and Urban 

Studies 

New York, New York 

InstituteforEnvironmentalAction 

New York, New York 

International Center of Photography 

New York, New York 

King County Arts Commission 

Seattle, Washington 

Magnolia Tree Earth Center of 

Bedford-Stuyvesant 

Brooklyn, New York 

Massachusetts Institute of Technology 

Press 

Cambridge, Massachusetts 

Miami Design Preservation League 

Miami, Florida 

For a bilingual film documentary on urban community 15,000
 

gardening as a method of promoting alterna¿ive land uses
 

and re-use of abandoned areas.
 

For a documentary film on the develotrmental process of a 28,500
 

master plan for the Bron~ River.
 

For illustrated guidelines for designers on o~¢e design and 15,582
 

its impact on employee productivity and ]ob sati~faetion.
 

For par¿ of the Charlestown Yesterday, Today, Tomorrow 17,500
 

program.
 

For an exhibir which reveals the changing needs and de- 23,940
 

sign issues from Victorian Boston to the present.
 

To support citizens’ participa¿ion in community planning 17,395
 

through workshops on eommunity revitalization alterna°
 

tires.
 

For establishment o/ a design center focusing on research 30,000
 

and advanced studies in ¿he design arts fields.
 

For an exhibition on the work of Riehard G. Stein. 14,150
 

For a technical design assistance program íocu~ing on the 28,910
 

growth and cultural patterns of ~rnall, rural eommunities
 

in upstate New York.
 

For research and design of clothing for the elderly and in- 15,000
 dividuals with limited physieal abilities.
 

To support research fora publica¿ion of architecturally 9,185
 

significan¿ struetures located in Evanston’s West Side, an


historic black community.
 

For Career Discovery, ah annual summer program ¿ha¿ in- 13,000
 

troduees environmental design and planning to undergraduate and graduate students.
 

For a technical design assistanee program anda resource 12,000
 

library.
 

For a siz-week course and a guidebook on the arehitec- 7,540
 

rural significance of the North End oÍ Boston.
 

For /urther development of the National Arehiteeture Ex- 30,000
 

change, a touring exhibí¿ion and lecture series focusing on
 

eontemporary design issues.
 

For produetion of the las¿ two volumes of the series, 17,500
 

Learning From USA: What Makes Cities Livable.
 

For an exhibition documenting the personal design al¿era- 29,630
 

tions homeowners have made in New York, Chicago, and
 

Los Angeles.
 

For a symposium and exhibition entitled "Earthworks: 17,750
 

Land Reclama¿ion as Sculpture," which will íocus on the
 

design possibilities of abused land.
 

For ah exhibition on various architectural styles. 8,280
 

For publication oÍ the Humanscale series. 26,755
 

For a publica¿ion on the Art Deco architecture of Miami 10,000
 

Beaeh.
 
Minnesota, University of 

St. Paul, Minnesota 

Municipal Art Society 

New York, New York 

National Trust for Historic 

Preservation in the United States 

Washington, D. C. 

National Trust for Historic 

Preservation in the United States 

Washington, D. C. 

New England Municipal Center 

Durham, New Hampshire 

New York Foundation for the Arts 

New York, New York 

New York, State of 

New York, New York 

Off Center Theatre 

New York, New York 

Partners for Livable Places 

Washington, D.C. 

Pennsylvania, Trustees of the 

University of 

Philadelphia, Pennsylvania 

Pennsylvania, University of 

Philadelphia, Pennsylvania 

Rhode Island School of Design 

Providence, Rhode Island 

Savannah Landmark Rehabilitation 

Pro|e~t

Savannah, Georgia 

Society of Architectural Historians 

Philadelphia, Pennsylvania 

Society of Architectural Historians 

Philadelphia, Pennsylvania 

Sons of the Revolution in the 

State of New York 

New York, New York 

South Main Center Association 

Houston, Texas 

Southern Illinois University 

Edwardsville, Illinois 

University City Science Center 

Philadelphia, Pennsylvania 

Vision 

Cambridge, Massachusetts 

Walnut Creek, City of 

Walnut Creek, California 

Washington, City of 

Washington, North Carolina 

Design Arts 39 

Fora conference and exhibition on methods of preserving 10,000 

the wild environs and historic struetures oÍ the St. Croix 

Valley. 

For an exhibition of documents which led to the preserva- 25,000 

tion of the Villard Houses in midtown Manhattan. 

To eupport research for a rural preservation assistance 30,000 

program. 

For a presentation on the benefits of good graphic design. 16,605 

For development of a demonstration training program for 18,000

historic district commission/design review boards. 

For a film on the design of cultural institutions which will 30,000 

focus on France’s new cultural center, "Beaubourg." 

For research and design for the rejuvenation of 12 subway 17,750 

stations. 

For mini-plays depicting neighborhood improvement proj- 19,500 

ects. 

For ah inventory by Center for Partnerships in Resource 30,000

Development of the availability, quality, limitations, and 

categories of theater structures in towns across the eounFor the euratorial organization of the Louis I. Kahn 30,000 

archive. 

For design assistance to three communities estabHshing 17,988

special zoning districts. 

For a symposium to identify design issues, p’robIems, and 30,000 

strategies peculiar to medium-sized cities. 

For publication of a monthly newsletter on architectural 2,633

design and preservation iss~ws facing Savannah’s lowincome, predominantly black neighborhood. 

For an editor for the Journal of Architectural History. 13,310 

For preparation of abstracts from the 10,210 Journal of Architectural History to be placed on a computer for national 

distribution. 

13,325 To stimulate children’s awareness of the built environment 

by having them participate in the design and restoration 

of historic buildings on the Fraunces Tavern block. 

For a study of neighborhood displacement and land use 17,315

changes in the historic sixth ward. 

For research on the re~tse of older, commonplace struc- 6,000 

t~tres asa major part of the urban fabric. 

To s~~pport ah energy manage~nent and design program 250,000

measuring the feasibility and impact of solar applications 

in an ~~rban environment. 

For an audivis~~al educational package to introduce stu- 30,000 

dente and teachers to the built environment. 

For an exhibition, catalogue, and lecture on the design 6,130 

process of industrial designers in the San Francisco Bay 

area. 

For seminars anda workbook on design and historic pres­ 5,125

ervation issues for residente and government ol~cials. 
40 Design Arts 

Western State College 

Boulder, Colorado 

For a workshop by Western Colorado Rural Communities 

Institute on design issues and alternatives for eommunities 

faced with rapid growth. 

10,000 

Professional 

Fellowships 

in Design 

Aguar, Charles E. 

Athens, Georgia 

Albin, Peggy Bass 

Austin, Texas 

American Academy in Rome 

New York, New York 

Bakanowsky, Louis J. 

Lexington, Massachusetts 

Biegel, Steven L. 

Arlington, Virginia 

Crowhurst Lennard, Suzanne H. 

New York, New York 

Harrington, $onathan Brooke 

Philadelphia, Pennsylvania 

Hollomon, Naney S. 

Richmond, Virginia 

Hondorp, Rick D. 

Tempe, Arizona 

Kutnicki, Lawrence 

New York, New York 

Lato, William M. 

Cambridge, Massachusetts 

Design Project 

Fellowships 

Alexander, Ann H. 

Seattle, Washington 

Becker, William S. 

Evanston, Illinois 

Billington, David P. 

Princeton, New Jersey 

Brukoff, Barry 

San Francisco, Calffornia 

Eberhard, John P. 

Washington, D.C. 

To enable established professionals and those just entering or returning to a design career to take time from their practice for per° 

sonal career development. 

Program funde: $176,972 

$10,000 Landsburg, Mark 

Somerville, Massachusetts 

2,000 

7,400 Mouton, Grover E., III 

New Orleans, Louisiana 

10,000 

40,000 Murphy, Daniel B. 5,000 

Providence, Rhode Island 

10,000 Ohanian, Richard 5,000 

Columbus, Ohio 

5,000 Roth, Marcy G. 5,000 

New York, New York 

5,000 

Smith, Jennifer 5,000 

10,000 New York, New York 

Spreiregen, Paul D. 10,000 

3,972 Washington, D. C. 

Strickland, Roy ,l. 5,000 

4,000 Brookline, Massachusetts 

5,000 Tourbier, Joachim 

Philadelphia, Pennsylvania 

9,600 

10,000 Wolf, Peter M. 10,000 

New York, New York 

To support professional designers who want to work on specific 

projects, do research on new design concepts, of develop ways of 

educating the public about design. 

Program funds: $303,406 

To document the remaining terra corta arehiteeture in the $5,000 

ventral business distriet of Seattle, Washington, in preparation for a thematic group nomination to the National 

Register of Historie Places. 

To design, build, and test a model of a solar-e1~eient greeno 5,000 house for rooftop sites. 

To condu~t research and write artieles on the aesthetics of 10,000 large-ecale public structures in the United States. 

To plan and design a hospice in Marin County, California. 5,000 

To provide students in university-based design schools wi~h 9,500 information about the federal govarnment. 
Design Arts 41 

To develop a theory ’of planning and design asa process 10,000 Eckbo, Garrett 

Berkeley, California	 which moderates between land and nature. 

For completion of a manuscript entitIed Cities of the 10,000 

Lexington, Kentucky Dead: From Charnel House to Elysium in EighteenthCentury Paris. 

Etlin, Richard A. 

Fleissig, William B. For the study of a sampling of communities which have 10,000 

Cambridge, Massachusetts experienced an arts district evolution. 

Fly, Everett L.	 To study the roles of blac]c people and their settlements in 10,000 

Austin, Texas the dynamics of American landscape, townscape, and cityscape development. 

For preparation of essays on interior design criticism. 10,000 Fri�dmann, Arnold A. 

Hadley, Massachusetts 

10,000 Gallery, Leslie M. For research on the styles of the American tradition in 

Philadelphia, Pennsylvania landscape design. 

10,000 Gelberg, Murray For the preparation of a booklet on the collapsible conBedford Villiage, New York struction system invented for truss-like support structures. 

5,000 Grange, James A. To show the relationships of good design to appraised 

Babylon, New York value by case study analysis. 

To presenta workshop for designers and scientists to study 9,720

the mineral accretion process in order to create a tech- Hilbertz, Wolf H. 

Austin, Texas nique for building in sea water. 

10,000 Hoover, Wilford G.	 For production of a videotape on the work of American 

landscape architect John Brinkerhoff Jackson. San Francisco, California 

For research in the solar, adaptive reuse and restoration 9,900

of buildings in the Pueblo village of Nambe, New Mexico. Iowa, Jeremiah 

Santa Fe, New Mexico 

Iredale, Ralph To collect multimedia documentary materials of the world- 5,000 

Santa Monica, California wide lecture tour of architect Konrad Wachsmann. 

For research into the relationship between architectural 8,000

Brooklyn, New York forro and forro in nature. 

Lalvani, Haresh 

5,000 To prepare a manuscript on the works and drawings of Lee, Camille J. master landscape architect Jens Jensen. Evanston, Illinois 

10,000 For studies exploring the uses of design in the dissemina-


Lexington, Massachusetts tion of information, as support for ideology, and as a tool
 

for the education of the citizen.
 

Lees, W. John 

5,000 Leitner, Bernhard	 For the design and development of a "sound chaise lounge" 

New York, New York for bIind persons.

8,000 Meggs, Philip B. To prepare articles and a book on the history and cñronRichmond, Virginia ology of 20th-century graphic design. 

8,250 Morganstern, Donna R.	 For research on "snowbirds" and similar American nomadic peoples.
 Los Angeles, California 

To prepare articles and lectures which will identify North- 8,450 Nyberg, Folke E. 

Seattle, Washington	 west regional architecture. 

10,000 Ogilvie, Phillip To s~~pport planning for remodeling the former Lans-


Washington, D.C. burgh’s department store to house the Washington Humanities and Arts Center.
 

For a plan to perserve and improve the pedestrian con- 15,000 Pfeiffer, Norman courses that link Grand Central Terminal and its rail facilities to the surrounding arca. New York, New York 

7,816 Preiser, Wolfgang F.E. For research and guidelines on existing regulatory devices
 

Albuquerque, New Mexico for control of visual quality and compatibility in architecture.
 

10,000 Reiniger, Clair W. For a slide presentation which will analyze the visual im-


Santa Fe, New Mexico pact of existing and proposed development along the loorhills and ridges viewed frem the city of Santa Fe.
 
42 Design Arts 

Schluntz, Roger L.
 

Washington, D.C.
 

Sun, Paul P.
 

Watertown, Massachusetts
 

Thomas, Richard C.
 

Bloomfield Hills, Michigan
 

Torre, Susana
 

New York, New York
 

Ukeles, Mierle L.
 

R!verdale, New York
 

Walker, Charles D.
 

Washington, D.C.
 

Wurman, Richard Saul 

Philadelphia, Pennsylvania
 

Young, David L.
 

State College, Pennsylvania
 

Livable Cities 

Alaska Historical Society 

Anchorage, Alaska 

Amigos del Museo del Barrio 

New York, New York 

Arkansas, State of 

Little Rock, Arkansas 

Arts and Humanities Council 

of the Lake Region 

Devils Lake, North Dakota 

Assist 

Salt Lake City, Utah 

Assist 

Salt Lake City, Utah 

Bangor Symphony Orchestra 

Bangor, Maine 

Barnstable, Town of 

Hyannis, Massachusetts 

Birmingham, City of 

Birmingham, Alabama 

Bluegrass Area Development District 

Lexington, Kentucky 

Boston, City of 

Boston, Massachusetts 

Bridgeport Neighborhood Housing 

Services 

Bridgeport, Connecticut 

For preparation of a manuscript which will encourage de­ 10,000 

sign competitions asa method to enhance the quality of the 

built environment. 

To document the vernacular architecture of China and its 

adaptability to the natural environment. 5,000 

To write and illustrate a series of monographs on techniques of metal crafting. 5,000 

For development of architectural criteria which refle¢¿ the 

changes in family structures in present day society. 10,000 

To plan a design competition to create designs for parklands on completed garbage landfills. 10,000 

For production of a documentary film on industrial designer Raymond Loewy. 10,000 

To edit and prepare for publication the speeches, note­ 9,000 

books, and conversations of architect Louis I. Kahn. 

For documentation of landscape design solutions in mobile 4,770 

home parks. 

To encourage communities to introduce exemplary design as an 

integral part of their planning processes. 

Program funds: $1,022,685 

For a preservation master plan Íor two copper mining $25,000 

towns in Alaska. 

For a planning and design study by Concerned Citizens of 27,800 East Harlem, Inc., aimed at improving housing and community services of El Barrio. 

To support the Capital Zoning District Commission for the 3,000 first phase of an urban design plan to provide direction 

for futuro development of the capital district. 

For technical assistanee in urban design to improve the 10,000 central business district. 

For studies on streetscapes. 11,000 

For design schemes, models, and drawings for the improve­ 5,000 

ment of the ma]or commercial street in downtown Salt 

Lake City. 

For design expertise for revitalization of downtown Bah­ 30,000 gor by the Local Develop~ment Corporation. 

To designa pedestrian link between the main street and 10,000 the waterfront. 

For ah environmental design plan which will combine ele­ 10,000 ments of various art forros to spur revitalization of the 

recently created Morris Avenue historical distriet. 

To inventory all vacant or under-utilized public buildings 18,500 

and to produce a catalogue of his~orically and architec­

¿urally significant properties. 

For development of ah information package on all public 12,850 works o] art under city management. 

To stimulate public awareness of and interest in historic 12,500 

architecture in the East Sido community. 
Design Arts 43 

California, State of To support the State Coastal Conservaney to restore ah 15,000 

Oakland, California oceanfront sits /ora recreation and culture eenter. 

Cambridge Arts Council For the Parklet Program, which incorporates artists into 15,000 

Cambridge, Massachusetts the planning process for more aestheti~ use of blighted 

vacant land. 

Cambridge, City of 

Cambridge, Massachusetts 

To support a facade and streetscape improvement program 

along Massachusetts Avenue in Cambridge through a coalition of designers, artists, and merehants. 

15,000 

Cincinnati, City of 

Cincinnati, Ohio 

For identifying urban natural areas and developing a program of conservation and aesthetic management. 

12,000 

Cleveland, City of 

Cleveland, Ohio 

For preparation of a master plan by Cleveland Landmarks 

Commission for the preservation of Cleveland’s chain oí 

cultural gardens. 

12,500 

Conservation Foundation For a film which examines issues oÍ aestheties and visual 15,000 

Washington, D.C. quality of the rural landscape. 

Crested Butte, Town of 

Crested Butte, Colorado 

For the production of a master plan to manage growth resulting from increased mining activities. 

20,000 

Crossroads Community 

San Francisco, California 

To study space needs, building codes, and accessibility 

plans for additions to the nature/arts comple:v known as 

The Farm in San Francisco. 

20,000 

Cultural Council Foundation 

New York, New York 

For New York City Landmarks Preservation Commission’s 

architectural guidelines for landmarl~ buildings. 

25,000 

Cultural Council Foundation 

New York, New York 

To coordinate community involvement in planning and design of Tompkins Square neighborhood. 

7,500 

Cultural Council Foundation To start planning ah urban cultural resourees survey for 17,500 

New York, New York New York City by New York Landmarks Preservation 

Commission. 

District of Columbia To prepare a plan for the White House precinet. 17,000 

Washington, D. C. 

East Los Angeles Community 

Los Angeles, California 

To conduct a survey of the East Los Angeles area for sites 

that ate of cultural and historical significante. 

20,000 

East Tennessee Community Design 

Center 

Knoxville, Tennessee 

To support work with inner-city neighborhood groups, designers, and public ol~cials in developing ah inner-city 

open space system which will demonstrate that the inner 

city can be livable, energy e1~cient, and workable. 

21,000 

Ecumenical Social Action Committee To design the redeveloprnent of a former brewery asa 27,450 

Jamaica Plain, Massachusetts neighborhood’center. 

Educational Facilities Laboratories To demonstrate a variety of reuse options for surplus 15,000 

New York, New York schools. 

Fund for Preservation of Wildlife and 

Natural Areas 

For the aesthetie management program for small urban 

natural-area parks. 

25,000 

Boston, Massachusetts 

George Washington University 

Washington, D.C. 

For a eonservation plan to enable a suburban atea to 

guard against blighting influences threatening its manmade and natural environment. 

18,000 

Georgia Institute of Technology To prepare a plan for parks, recreation, and open areas. 30,000 

Atlanta, Georgia 

Historic Albany Foundation 

New York, New York 

For a design competition for housing in a Victorian neighborhood adjacent to the Empire State Plaza. 

7,000 

Historic Oakland Cemetery 

Atlanta, Georgia 

To produce a master plan for the restoration of Oakland 

Cemetery. 

10,000 

Honesdale Borough 

Honesdale, Pennsylvania 

For an inventory of cultural and historie assets of downtown Honesdale. 

2,000 

James (William) Association 

Santa Cruz, California 

To plan outdoor sculpture and fountains /or Museum Without Walls. 

3,450 
44 Design Arts 

Lewiston, Village of For a sits development plan fora riverfront park. 13,250 

Lewiston, New York 

Los Angeles, City of For design of an experimental multi-story housing struc- 15,000 Los Angeles, Cali~ornia tute in an artists’ community. 

Lowertown Redevelopment Corporation For a design Íramework for development of ah urban vil- 17,500 

St. Paul, Minnesota 

Maryland, State of 

Annapolis, Maryland 

Miami Design Preservation League 

Miami, Florida 

Michigan Architectural Foundation 

Detroit, Michigan 

Minneapolis, City of 

Minneapolis, Minnesota 

Municipal Art Society 

New York, New York 

Nebraska, University of 

Lincoln, Nebraska 

Neighborhood Design Center 

Baltimore, Maryland 

New Orleans, City of 

New Orleans, Louisiana 

New Orleans, City of 

New Orleans, Louisiana 

New Wilderness Foundation 

New York, New York 

New York State Urban Development 

Corporation 

New York, New York 

NUV-1 

Washington, D.C. 

OId Town Restorations 

St. Paul, Minnesota 

Opa-Locka, City of 

Opa-Locka, Florida 

Philadelphia Chinatown 

Development Corporation 

Philadelphia, Pennsylvania 

Pittsburgh, City of 

Pittsburgh, Pennsylvania 

Preservation Alliance of Louisville 

and Jefferson County 

Louisville, Kentucky 

Reading, City of 

Reading, Pennsylvania 

Springfield, City of 

Springfield, Massachusetts 

lags in downtown St. Paul. 

To test Delmarva Consortium’s demonstration planning 15,000 and implementation process for downtown revitalization in
 

small cities.
 

To develop design guidelines for the nation’s Art Deco 21,500
 

architecture.
 

To prepare a master plan for the downtown Detroit water- 10,000
 

front which emphasizes human scale and rscognizes ¿he
 

balance of commercial, residential, industrial, and recreational functions of the area.
 

To prepare a site plan Íor the Armory Gardens area. 15,000
 

To conducta training program to update and improve the 15,000
 

skills of craftsmen in the building trade.
 

To develop a strategy for the revitalization of the oldest 10,000
 

commercial area in downtown Lincoln.
 

To provide technical assistance for renovation of unused 11,000
 

buildings and lote in the Baltimore metropolitan atea.
 

For a design study and competition for the transformation 29,870
 

of Duncan Plaza into a sculpture garden.
 

To analyze aesthetic impact of land uses and physical fea- 15,000
 

tures oí major interseetions in older neighborhoods of Nsw
 

Orleans.
 

For design work and research necessary for incorporating ll,000
 

works of art into public spaees of a planned, subsidized
 

housing development on the Lower East Side.
 

For a feasibility study and design for the adaptive reuse 15,000
 

of the architecturally significant buildings that stand north


oÍ the proposed Louis I. Kahn memorial to Franklin D.
 

Roosevelt on Roosevelt Island in New York City.
 

For landscape arehitecture plans for a neighborhood strest 5,000
 improvement program.
 

To explore design options Íor construction of moderate- 15,000
 

ineoms housing which will be compatible with existing
 

single-family older houses.
 

Fora comprehensive townscape conservation and revitali- 10,000
 

zation plan.
 

To prepare a design plan ~or improved neighborhood visi- 10,975
 

bility and identity.
 

To study the Historie First Avenus District oÍ Pittsburgh. 15,000
 

To encourage conservation of the vernacular sñotgun house 15,000
 

asa residential resource in Louisvills.
 

To develop designe for improvement of private outdoor 22,940
 

space in densely developed neighborhoods.
 

To develop a master plan for redesign and revitalization 20,000
 

of Springfield’s Íour-mile .frontage on the Connecticut
 

River.
 
Design Arts 45 

10,000 Stamford, City of	 To develop a design plan fora riverwalk park along Mill 

Stamford, Connecticut River.

7,525 Tampa Community Design Center To develop design guidelines for revitalization of West 

Tampa, Florida Tampa. 

18,000 

Troy, New York 

Troy, City of	 To assist in the revitalization of downtown Troy. 

To prepare a handbook on the developmen$ of vacant prop­ 9,845

erties into useful community resources. 

Trust for Public Land 

San Francisco, California 

11,350 Trust for Public Land To prepare a handbook that will enable inner-city resiNew York, New York dents to understand and participate in decisions involving 

land-use and open-space projects in New York City. 

15,820 For ~ew design approaches in congregate housing for lowincon~e elderly and handicapped persons. United South End Settlements 

Boston, Massachusetts 

Washington International 17,000 School For a feasibility study and site analysis for adaptive use 

Washington, D.C. of the 20-acre Tregaron estate. 

11,560 Washington University For design and use alternatives for the recycling o] CupSt. Louis, ~iissouri ples Station area. 

Western 17,500 State College	 For studies by Iandscape architects, designers, and econoGunnison, Colorado mists on the economic and environmental impact of the

rapidly developing valley between Gunnison and Crested 

Butte, Colorado. 

10,000 Wisconsin, University of To develop a detailed revitalization plan for portions of 

Green Bay, Wisconsin the Green Bay central business district. 

20,000 Worcester Cooperation Council To develop a prototype modern housing design ¿o be buil$ 

Worcester, Massachusetts in older urban neighborhoods. 

Excellence	 To provide federal and state agencies with professional guidance for 

upgrading publications and working environments through seminars, in Federal Design workshops, and educational materials. 

Program funds: $382,549 

$10,000 To amend a previous grant to include reprints of the
 

Foundation Streets of Washington exhibition brochure.
 

Washington, D. C.
 

American Institute of Architects 

4,000 Bruce, Michael* To amend a previous contract to provide additional travel

Alexandria, Virginia	 and contractual services to photograph significant examples of design art.
 

7,500 Bruce, Michael* To amend a current contract for photographic laboratory

Alexandria, Virginia	 services for the Federal Design Improvement Program. 

6,000 To initiate a new contract for audiovisual documentation,
 

Alexandria, Virginia maintenance, and production services in support of design
 

excellence initiatives.
 

Bruce, Michael* 

37,442 Chaparos, Nicholas*	 To extend a current contract for maintenance of the FedWashington, D.C.	 eral Design Resource Center, for administration of a
 

studio seminar for íederal graphic designers, editors, and
 

photographers and for the first of a Federal Design Lecture Series. 

7,600 Craig, Lois* A contract to prepare a study that describes options for
 

Boston, Massachusetts
 the re-establishment of ah active federal architec~ure advocacy function within the Federal Design Improvement 

Program. 

6,950
 

Washington, D.C. tistical profile of the current status and future needs of
 

the design professions.
 

Faul, Roberta*	 To amend a previous contraer for the prepara~ion of a sta­
46 Design Arts 

George, Catherine* 

Bethesda, Maryland 

Institute for Continuing Educational 

Design Management and 

Communication* 

Washington, D. C. 

Interagency Collaboration (GSA) 

Washington, D.C. 

Johnson, Baker* 

Arlington, Virginia 

Lautman, Kay* 

Washington, D.C. 

Lawson, Simpson* 

Washington, D.C. 

Project for Public Spaces 

New York, New York 

Vision* 

Washington, D.C. 

Vision 

Washington, D.C. 

Services 

to the Field 

American Institute of Architects 

Foundation 

Washington, D. C. 

American Institute of Graphic Art 

New York, New York 

Committee for a National Museum of 

the Building Arts 

Washington, D.C. 

A contract for technical and logistic support for the Federal Design lmprovement Program. 7,000 

A contract for up to four design seminars for designers in 

federal agencies. The seminars will explain the most 113,500 

to-date techniques of graphic design and interior dcsign. 

An interagency agreement fora project in which the En­ 11,565 dowment and General Services Administration create a 

demonstration federal office environment designed by 

architects Stanley Tigerman and Charles Moore. 

To amend a contract for increases in printing and typog­ 1,060 raphy costs associated with the production of posters for 

the Federal Design Improvement Program. 

To a~nend a contract in order to allow for installation and 27,000 outfitting of six demonstration rooms in the Pension Building for the Fourth Federal Design Assembly. 

A contract ]or preparation of Federal Design Matters, the 16,000 principal information vehicle of the Federal Design Improvement Program. 

For the analysis of people’s use and needs in the open 16,932 spaces surrounding the office of the Department of Housing and Urban Development. 

To develop and conducta maximum of two pro]ects test- 10,000 ing new methods of design competition for public building 

programs. 

For making of a documentary film on the renovation and 100,000 restoration of the Old Post Office building in Washington, 

D.C. The film will explain the restoration process, detail 

the advantages of multiple adapative reuse, and describe 

the building’s tenant organizations. 

To assist professional organizations, nonprofit groups, and coalitions 

which advance the cause of design excellence. 

Program funds: $150,370 

For evaluation of the Regional/Urban Design Assistance $20,000 Team program. 

To provide a service to the graphic design profession by 32,000 sponsoring the examination procedure for the visual arts 

professions: graphic designer, illustrator, and photographer. 

For continued research and planning fora feasibility study 23,000 which led to a Congressional resolution reserving the Pension Building for the purpose of becoming the Museum of 

the Building Arts. 

IDSA Walter Dorwin Teague Research To plan for ah international symposium on the importance 

Trust of industrial design.

McLean, Virginia 

15,000 

Internationla Design Educational 

Foundation 

Los Angeles, California 

To help provide 25 fellowships for students to attend the 

International Design Conference in Aspen, Colorado. 15,370 

Landscape Architecture Foundation 

McLean, Virginia 

For ah analysis of the profession of landscape architect. 30,000 

Partners for Livable Places 

Washington, D.C. 

For a comprehensive recognition program for imaginative 

design solutions of the non-design community. 15,000 
Design Arts 47 

General Programs To assist and contract for projects not included in other grant categories. 

Association of Collegiate Schools of 

Architecture 

Washington, D. C. 

Design Foundation 

Chicago, Illinois 

Educational Futures 

Philadelphia, Pennsylvania 

Four Freedoms Foundation 

New York, New York 

Georgia Institute of Technology 

Atlanta, Georgia 

Harvard University 

Cambridge, Massachusetts 

Hoover, Deborah* 

Boston, Massachusetts 

Instituti for Environmental Ac¿ion 

New York, New York 

Maine State Commission on the 

ArtsandHumanities 

Augusta, Maine 

Massachusetts Institute of Technology 

Cambridge, Massachusetts 

Massachusetts Institute of Technology 

Press 

Cambridge, Massachusetts 

Miho, Tomoko* 

New York, New York 

Miho, Tomoko* 

New York, New York 

Municipal Art Society 

New York, New York 

New York, City University of 

New York, New York 

Partners for Livable Plaees* 

Washington, D.C. 

Thomas, Ronald* 

Washington, D.C. 

Program funds: $414,896 

To support an environmental demonstration program to $28,775 

encourage greater public awareness of design values. 

To recons¿itute and redesign Urban Design magazine and 30,000 

its related publications and to commence publishing ¿hem 

under the auspices of the newly crea¿ed no¿-for-profi¿ lns¿itute for Urban Design. 

For ah architects-in-residence pilot p’fo]ec¿ in the Please 17,029 

Touch Museum in Philadelphia. 

For planning a campaign for Louis I. Kahn’s memorial to 30,000 

Franklin D. Roosevel¿ on Roosevel¿ Island in New York 

City, including produc¿ion of a slide show on the his¿ory 

of the proiect. 

To develop ah ¿nstruction ~nodule to educa¿e design 5,000 

students regarding compliance wi¿h Se~tion 50~ of the 

1973 Rehabilita¿ion Ac¿, emphasizing the needs of persons 

who experienee ¢ognitivs or percep¿ual dil~culties. 

To suppor¿ the Community Assistance Program’s planning 30,000

and design serviees to communities which eanno¿ afford 

prof essional assistance. 

To amend a previous contrae¿ providing for design, print- 4,275 

ing, and distribu¿ion of a poster on íashion and eos¿ume 

design. 

14,365 

ume of the series Learning from the U.S.A.: What Makes 

Cities Livable. 

To complete manuscripts and produc¿ion work on one rolTo sponsor a design forum to educate decision-makers in 22,725

small cities and towns to alternatives for revi¿alizing 

urban areas. 

For incentive awards to design students doing ¿hesi# work 14,083 

on the masters level. 

To study the feasibility of creating a program that would 17,550

make general and projec¿ funding available to publishers 

in architecture, planning, interior design, industrial design, 

and graphic design. 

A contrae¿ for the firs¿ phase of a graphic design system 13,000

for the National Endowment for the Arts. 

7,560 To amend a contrae¿ to include the research and design of 

a template fora model componen¿ publica¿ion and fora 

model handbook. 

50,000 To develop new communication formats to eneourage public awareness of urban design and land use issues. 

To funda residen¿ scholar program for one year under 48,141

the provisions of the In¿ergovernmental Personnel Ae¿. 

CUNY will nominate a scholar to s¿udy the needs of the 

nation’s design schools and to recommend me¿hods to correc¿ ah apparen¿ decline in the vitality and diversity 

design research. 

18,000 To amend a previou8 contrae¿ to explore the feasibility 

of a design critics’ network ¿ha¿ would examine the 

cations for the field of selected gran¿s, identifying ¿hose 

grants which may meri¿ additional suppor¿. 

19,500 A contrae¿ to produce a visual presenta¿ion describing the 

design professions to laymen. 
48 Design Arts 

Photo: Cleveland Supplementary Education Center 
Design Arts 49 

40,000 Partners for Livable Plaees* A contraer to provide for expanaion and maintenance oí 

Washington, D.C. the livability clearinghouse ; establishment of ah evaluative

mechanism for design advoeaey projeet#; a review network 

to sereen signifieant design projeets funded by the Endowrnent; teehnieal aesistance to develop better eommunieation between design professions and Che government; and 

fora pilot publishing program. 

19,500 A contraer to produce a visual presentation deseribing the Thomas, Ronald* 

Washington, D. 13.	 design professiona Co laymen. 

10,000 Urban Innovations Group For editing and publishing The Arte in the Economic Life 

Los Angeles, California of the City. 

5,000 Wisconsin, University of	 To inerease the awareness and understanding of deeign
 

Madison, Wisconsin #tudents about the physieal environmental needs of persons


with disabilities. 

5,000 Wisconsin, University of	 To develop ah effeetive teaehing proeedure for training


Madison, Wisconsin students to progrant and design for the needs oÍ the


handicapped. 

5,000 Fora design eoníerence and workshop to edueate arehi- Yale University 

New ttaven, Connecticut tecture students about the speeial needs oí physically

handicapped and developmentally disabled persona. 

12,453 For an architect-in-residenee to assist in educating eitizena ZEAL of Zeeland about design and the environment in prepara- Zeeland, Michigan tion for development oí community improvement plans 

and programs. 

* contract 

51 

Expansion Arts
 

A lot has happened within the Expansion Ar~s groups designed their projects for nontradiProgram since ir began eight years ago. S~reet tional audiences which until then had not had 

theaters have come indoors. Artists, both per- much to do with the arts. Many organizations 

forming and visual, have ma~ured in style and did both. Thus, the largest Expansion Arts 

technique. Many visual arts organizations have categories have been Instruction and Training 

developed curatorial programs. Groups have and Arts Exposure, which have offered support 

grown more stable and secure within their for these activities. In fiscal 1979, those two 

diverse communities. But despite these changes, categories alone accounted for nearly two-thirds 

most of these organizations are still more simi- of the entire program. 

But as we grew bigger and more complex, lar to each other than to the more traditional 

groups within their disciplines. While they have ir became harder and harder for outsiders to 

ah intense pride in their art, they also realize comprehend what Expansion Arts is and does. 

its value in helping their communities. This out- The guidelines categories were so multidiscilook, combining as ir does aesthetic and commu- plined, the priority organizations so dif[icult to 

nity-oriented concerns, remains the basis for identify, that even new panelists sometimes 

these groups’ relationship to our program, took several meetings to understand every~hing. 

We are pleased that so many of these orga- Since the program was organized by activity 

nizations are becoming stronger and moving in rather than by type of organization, some 

new directions. Some of them mainly teach people mistakenly assumed that Expansion Arts 

within their communities, and therefore deal was more a social than ah arts division. We 

only with Expansion Arts. Others, however, are were also hampered in developing organizations 

ready to approach the Endowment’s other dis- to the point where they could apply to the Endowment’s other discipline programs because cipline programs for support of their productions, while still turning to Expansion Arts for ir was difficult to pinpoint at any given moment 

community activity funds. A good many of our what Expansion Arts was doing, for example, 

organizations have received Challenge Grants. in theater, dance, or visual arts. Therefore, we 

A surprising number of strong applicants have have changed our guidelines for both internal 

applied for Institutional Advancemeni5 Grants. and external reasons. We will now be able to 

And our City Arts program has worked with help our primary organizations better; and 

other merging groups which may not have been discipline people, funders, Congress, and those 

ready for national competition a few years connected with other arts support structures 

ago, but now can and do ask for Endowment should now find ir easier to understand what 

funding, we are all abou~. 

When Expansion Arts began, Vantile Our fiscal 1982 guidelines recognize that 

Whitfield, its first director, succeeded in orga- Expansion Arts is a point of entry for develnizing the program and making its concerns oping groups that are established in and reflect

the culture of minority, blue collar, rural, and clear. He identified what emerging arts orgalow-income communities. I~ is, in many re­ nizations in low-income, blue collar, rural, and 

minority communities had in common. One spects, a mini-Endowment. Therefore, in most

important shared trait was that many organiza- cases, the guidelines will classify these groups 

tions which produced art also taught ir. Other . by discipline, rather than by project activity. 

Otrabanda Company, New Orleans, in "Louisiana Legong." 

Photo : Susan Horowitz 
52 Expansion Arts 

Photo: Children’s Creative Project, Santa Barbara, California 

One subcategory is performing arts, which is 

further divided into dance, theater, music, or 

a combination of these. There will also be subcategories for visual, media, and design arts; 

literary arts; interdisciplinary activities; and 

community cultural centers. This new structure 

aims to assure better review, since panels will 

be set up along discipline lines, and bettercoordinated activities with other Endowment 

discipline programs, 

We have also recently paid a lot of attention 

to our evaluation process and our Comprehensive Technical Assistance Program. A system 

of on-site evaluations is under way; it should 

allow the program to find out much more about 

its more than 600 grantees over the next 18 

months. When that is finished, evaluating new 

visited and helped about 120 community-based 

arts groups all over the country. We plan to 

continue this effort, expanding it to include 

group workshop sessions for organizations with 

similar needs. 

In sum, the Expansion Arts Program’s reassessment and format changes are a response 

to the growth of its field. We hope to help preserve the cultural traditions of our communities 

as they are expressed in art, and to encourage 

the evolution of the art forms which will carry 

those traditions into the next century. 

~-~--~ /’-~x 

applicants will be given priority. Under the A.B. Spellman 

technical assistance program, consultants have Director, Expansion Arts Program 
 

Expansion Arts 53 

Expansion Arts Advisory Panel
 

Instruction and Training Panel 

Joan Brown 

Dancer, Director of Philadanco 

Philadelphia, Pennsylvania 

Hazel Bryant 

Executive Director 

Richard Allen Center for Culture 

and Art 

Opera Singer 

New York, New York 

Rosemary Catacalos 

Poet 

San Antonio, Texas 

William Daniels 

Minister, Founder of Jubilee Center 

Knoxville, Tennessee 

Steven Jay 

President, St. Louis Conservatory 

and School of the Arts 

St. Louis, Missouri 

Gerald (Peter) Jemison

Arts Educator 

Brooklyn, New York 

Diego Navarette 

Dean of Students, Pima College 

Tucson, Arizona 

John Outterbridge 

Director, Watts Tower 

Sculptor, Painter 

Los Angeles, California 

Geno Rodriguez 

Visual Artist 

President of Alternative Center 

New York, New York 

Elaine Thomas 

Director 

George Washington Carver Museum 

Tuskegee, Alabama 

Arts Exposure Panel 

Margaret Burroughs 

Professor of Humanities 

Kennedy-King College 

Chicago, Illinois. 

Leo T. Hale (Ebon Dooley) 

Director, Neighborhood Art Center 

Atlanta, Georgia 

Richard Hill 

Director, Native American Center 

for the Living Arts 

Niagara Falls, New York 

Sue Loewenberg Lois McGuire 

Director, Artists in Prisons Executive Director 

Karamu House Los Angeles, California Cleveland, Ohio 

Arnold Mercado Michael Nolan 

Administrator Director, NAPNOC 

Houston, Texas Producer 

San Francisco, California 

Merle Minda Cleo Parker Robinson 

Public Broadcasting Service Founder, New Dance Theatre 

Minneapolis, Minnesota Denver, Colorado 

Betty Blayton Taylor Nilda Peraza Director, Arts Carnival Director, Cayman Gallery New York, New York 

New York, New York 

Eleanor Traylor

Proíessor of English Ramona Sakiestewa Montgomery College Visual Artist Washington, D.C. New Mexico State Arts Commission 

Santa Fe, New Mexico John Van Eyek

Regional Director 

Val Gray Ward Executive Secretary

Actors’ Equity Association Executive Director Chicago, Illinois Kuumba Learning Center 

Chicago, Illinois Marta Vega 

Project Director 

Rene Yanez Phelps-Stokes Fund 

Co-Director, Galeria de la Raza New York, New York 

San Francisco, California 

Eleanor Yung 

Harold Youngblood Director 

Coordinator Asian-American Dance Theatre

Black Theatre Alliance New York, New York

New York, New York 

City Arts, Consortia Special Summer Projects, Neighborhood Arts Services, Tour Events, Community State Arts Agencies Panel Cultural Centers Panel 

Larry Anderson Carolyn Curtan 

Educator, Visual Artist Co-Director, The Skills Exchange 

Tacoma, Washington New York, New York 

Donovan Gray Phil Arnoult Director Director, Baltimore Theatre Project Arts Resource Services Baltimore, Maryland Seattle, Washington 

Kenneth Billups Shirley Franklin 

Chairman, Music Department Director St. Louis Public Schools Bureau of Cultural Affairs 

St. Louis, Missouri Atlanta, Georgia 

Maxine Brandenburg Louis R. Leroy

Executive Director Expansion Arts Coordinator 

Arts Development Service Arizona Commission on the Arts 

Buffalo, New York Phoenix, Arizona 

Antonino H. Lizaso William Lewis 

Composer, Conductor Instructor, Pima College 

Art Director, WPLG-TV Writer, Actor 

Miami, Florida Tucson, Arizona 
54 Expansion Arts 

Eunice Lockhart-Moss 

Administrator, Consultant 

Milwaukee, Wisconsin 

Jo Long 

Program Director 

Carver Community Cultural Center 

Music Educator 

San Antonio, Texas 

Rose Robinson 

Program Otñcer
 

Phelps-Stokes Fund
 

Washington, D.C.
 

E. Ray Scott
 

Executive Director
 

Michigan Council for the Arts
 

Detroit, Michigan
 

John Sinclair
 

President, Strata Association
 

Detroit, Michigan
 

Policy Panel 

Kenneth Billups 

Conductor 

Chairman, Music Department 

St. Louis Public Schools 

St. Louis, Missouri 

Hazel Bryant 

Opera Singer 

Executive Director 

Richard Allen Center for Culture 

and Art 

New York, New York 

Rosemary Catacalos 

Poet 

San Antonio, Texas 

William Daniels 

Minister, Founder of Jubilee Center 

Knoxville, Tennessee 

Shirley Franklin 

Director 

Bureau of Cultural Affairs 

Atlanta, Georgia 

Richard Hill 

Director 

Native American Center for the 

Living Arts 

Niagara Falls, New York 

Eunice Lockhart-Moss 

Administrator, Consultant 

Milwaukee, Wisconsin 

Sue Loewenberg 

Director, Artists in Prisons 

Los Angeles, California 

Expansion Arts Grants
 

State Arts Agencies 

Alabama State Council 

on the Arts 

Montgomery, Alabama 

Arizona Commission on the Arts 

and Humanities 

Phoenix, Arizona 

Connecticut Commission on the Arts 

Hartford, Connecticut 

Fine Arts Council of Florida 

Tallahassee, Florida 

Iowa State Arts Council 

Des Moines, Iowa 

Diego Navarette 

Dean of Students, Pima College 

Tucson, Arizona 

E. Ray Scott 

Executive Director 

Michigan Council for the Arts 

Detroit, Michigan 

John Van Eyck 

Executíve Secretary 

Actors’ Equity Association 

Chicago, Illinois 

Marta Vega 

Project Director 

Phelps-Stokes Fund 

New York, New York 

Program funds: $8,123,679 

Treasury funds: $50,000
 

Private gifts: $50,000
 

To help state arts agencies and regional arts groups expand their 

programming in such areas as advocacy, coordination, and neighborhood arts services. 

Program funds: $224,000 

For the Prisons Program including a visual artist resi­ $27,500 dency within a state prison; classes and workshops in
 

piano for special needs groups in Tuscaloosa County; and
 

a training program for the Wiregrass Sacred Harp
 

Singers.
 

For mini-grants and teehnical assistance to community- 16,000 based arts organizations, and publicity and design services 

to rural arts organizations. 

For state-wide technical assistance workshops and indi- 20,000 vidual consulta~ions with experts for local neighborhood 

arts personnel. 

For artists-in-residence in Greek, Black, Cuban-American, 25,000
 

and rural communities.
 

For a program for deaf students including several artists­ 16,000 in-residence, workshops, arts festivals, performances, and 

publications by the students. 

Iowa State Arts Council For a senior ci~~zens’ art program including workshops, 15,000 

Des Moines, Iowa ah artist-in-residence at each site, and documentation. 
Expansion Arts 55 

Nebraska Arts Council For individual artist workshops at senior citizen locations. 9,000 

Omaha, Nebraska 

North Carolina Arts Council For an arts education program within the prison system. 6,000 

Raleigh, North Carolina 

Oklahoma Arts and Humanities For an arts-in-prisons program, including an artist-in­ 15,000 

Council residence and week-long workshops. 

Oklahoma City, Oklahoma 

Pennsylvania Council on the Arts, For the salary of a coordinator to organize a technical 8,000 

Commonwealth of assistance program for the black performing arts in 

Harrisburg, Pennsylvania Pennsylvania. 

Rhode Island State Council For workshops and classes in the visual and performing 19,000 

on the Arts arts, exhibitions, performances, and ¢echnical assistance 

Providence, Rhode Island for the com~nunity and in the prisons. 

South Carolina Arts Commission For the Arts for Elders program; Arts for Teens pro­ 32,500 

Columbia, South Carolina grato; Arts in Prisons program; Manning Avenue Free 

Studio; and the Neighborhood Arts Programs. 

Uta~ Arts Council For productions, "Hands-on-Workshops," audience and 10,000 

Salt Lake City, Utah sponsor development, and technieal assistance seminars. 

Vermont Council on the Arts 

Montpelier, Vermont 

For the Touring Aid Program whieh provides subsidies to 

sponsors for performances and workshops by Vermont artists. 

5,000 

Regional Tour Events	 To help sponsoring organizations bring together arts groups within 

a region for festivals. 

Program funds: $201,280 

Active Trading Company For the Village Halloween Festival. $7,000 

New York, New York 

7,500 

Ashtabula, Ohio 

Ashtabula Arts Center	 For the Ashtabula Arts Festival. 

Brooklyn Arts and Culture For the West Indian American Day Association’s Labor 11,000 

Association Day Weekend Carnival and Festival. 

Brooklyn, New York 

Carnegie Institute For the Three Rivers Arts Festival. 7,500 

Pittsburgh, Pennsylvania 

Charleston, City of For the Spoleto Mini-Festivals ’79. 7,000 

Charleston, South Carolina 

Cultural Exchange Council 4,000 For the sixth annual "Tucson, Meet Yourself and Friends" 

of Tucson festival. 

Tucson, Arizona 

Emanon Music Company For the "Tribute to Duke Ellington" festival. 7,000 

Washington, D.C. 

First Night For "First Night," a New Year’s Eve festival of perform- 7~500 

Boston, Massachusetts ing and visual arts. 

Junior League of Shreveport For the "Red River Revel, A Celebration of the Arts." 7,500 

Shreveport, Louisiana 

10,000 Madewood Arts Foundation	 For the Madewood Arts Festival. 

New Orleans, Louisiana 

Memphis, City of For the Schlitz Memphis Musi¢ Heritage Festival. 8,500 

Memphis, Tennessee 

Miami, University of For the Re-Encuentro Cubano 1979 festival. 12,000 

Coral Gables, Florida 
 

56 Expansion Arts 

Middlesex, County of 

Brunswick, New Jersey 

Milwaukee Inner City Arts Council 

lYlilwaukee, Wisconsin 

Museum Without Walls 

Santa Cruz, California 

OId Philadelphia Development 

Corporation 

Philadelphia, Pennsylvania 

Park West Redevelopment Task Foree 

Milwaukee, Wisconsin 

Portland, City of 

Portland, Oregon 

Richmond Jubilee$ 

Richmond, Virginia 

Seattle Folklore Society 

Seattle, Washington 

South Carolina Arts Commission 

Columbia, South Carolina 

Summer Ithaca 

Ithaca, New York 

Utah Arts Festival 

Salt Lake City, Utah 

Wisconsin, University of 

Madison, Wisconsin 

Instruction 

and Training 

Abraxas Foundation 

Marienville, Pennsylvania 

Actors and Artists of Fayette County, 

Pennsylvania 

Uniontown, Pennsylvania 

African Heritage Dancers and 

Drummers 

Washington, D.C. 

Afro-American Datanamics 

Washington, D.C. 

AfrooAmerican Total Theatre Arts 

Foundation 

New York, New York 

Alameda County Neighborhood 

Arts Program 

Oakland, California 

Amas Repertory Theater 

Bronx, New York 

American Authentic Jazz Dance 

Theatre 

New York, New York 

For the New Jersey Teen Arts Festival. 7,500 

For the Sixth Annual Celebration of Community Arts 18,280 l~¢s~ival. 

For Celebration Arts ’79 Arts Festival. 7,500 

For the Avenue oÍ the Arts Festival. 5,000 

For a three day perÍorming arts festival Íor Small Is 7,500 

Beautiful Days. 

For "Artquake." 15,000 

For "June JubiIee." 7,500 

For the Northwest Regional FolkliÍe Festival. 8,000 

For the Foothills Festival. 7,500 

For the Itha¢a Fall Celebration. 10,000 

For the Arts Festival. 6,000 

For the Equino~ Festival. 5,000 

For community arts projects that hold regular classes or workshops 

led by professional artists. 

Program funds: $2,666,07,2 

For a basi¢ crafts skill8 and ¿raining program for young 7,500 

ol~enders in ah alternative-to-inearceration community. 

Fora program of workshops in the visual and ¿he theater 1,800 arts at Íour sites in Fayette County. 

For a training program in modern and traditional dance 10,000 

and music. 

For community-wide mural workshops resulting in the 7,500 

creation oÍ six murals. 

For a training program in the performing and visual 27,500 arts and Íor a musical theater workshop in composition. 

For arts workshops and special events Íor the low-ineome 17,500 

neighborhoods in Alameda County. 

For classes in theater arts, dance, and voiee and Íor 15,000 classes and touring Íor the Children’s Theatre. 

For a series of weekly free dance workshops for selected 6,000 

young daneers who have a special interest in iazz dance. 
Expansion Arts 57 

Ames Society for the Arts 

Ames, Iowa 

For classes and workshops in visual arts, crafts, dance, 

and art therapy for the handicapped, juvenile o~enders, 

children in rural communities, and senior citizens. 

7,500 

Ah Claidheamh Soluis For workshops and classes in traditional Irish music, 7,500 

New York, New York dance, and instrument-making. 

Appalachian Research and To bring artists, musicians, and craftsmen into state 10,000 

Defense Fund mental hospitals to conduct classes for long-term inmates. 

Charleston, West Virginia 

Appalshop 

Whitesburg, Kentucky 

For the Mountain Review Program including workshops 

in writing and photography. 

17,500 

Appalshop 

Whitesburg, Kentucky 

For ~he Roadside Theater’s training program for the 

A ppalachian community. 

15,000 

Arena Players For the Youtheatre apprenticeship program in performing 10,500 

Baltimore, Maryland and theater arts for inner-city youth. 

Artists Collective For the training programs in music, dance, drama, and 22,500 

Hartford, Connecticut visual arts. 

Art Resources for Teachers For training in the traditional Chinese and Puerto Rican 22,500 

and Students 

New York, New York 

ar~ forros, graphic arts, murals and folk craf~s, and 

development of resource materials for teachers. 

Arts and Crafts Society of Portland For classes, workshops, and exhibitions in the visual arts 7,500 

Portland, Oregon and crafts. 

Arts Council For administrative costs of a multi-arts program by "Art 5,000 

Winston-Salem, North Carolina Is" House for local residents. 

Atlanta Arts Alliance For the Atlanta Children’s Theatre’s training program, 7,500 

Atlanta, Georgia and fora statewide tour by the Umbrella Players. 

Back Alley Theatre 

Washington, D.C. 

For a tuition-free thea~er workshop program for the 

community. 

20,000 

Balkan Arts Center 

New York, New York 

For two folklife festivals featuring workshops and concerts and four workshops specializing in the cultural 

history of di~erent immigrant communities. 

20,000 

Ballet Folk of Moscow For the summer workshop in dance. 5,000 

Moscow, Idaho 

Basement Workshop 

New York, New York 

For ~he graphics and performing arts program includ~ng 

classes, workshops, and presentations. 

17,500 

Bayfront NATO 

Erie, Pennsylvania 

For classes in dance, ceramics, photography, printmaking, 

painting, and musicat the Martín Lutñer King Center. 

10,000 

Better Boys Foundation 

Chicago, Illinois 

For a youth theater development program including 

classes in the theater arts. 

10,000 

Beyond Baroque Foundation For administrative costs and operating expenses. 17,500 

Venice, California 

Bidwell Cultural and Training Center For a music education program for children. 10,000 

Pittsburgh, Pennsylvania 

Birmingham Creative Dance Group 

Birmingham, Alabama 

For performances, workshops, and classes in movement 

for senior citizens and the physically and emotionally 

handicapped. 

5,000 

Black Academy of Music 

Seattle, Washington 

For public forums and concerts in ]azz in the four-county 

Puget Sound area. 

17,500 

Black Cultural Endowment For the Children’s Hour, a series of workshops, classes, 7,500 

Baltimore, Maryland and exhibitions. 

Black Emergency Cultural Coalition 

New York, New York 

For the Prison Arts Program and the ICRY Program in 

which ex-inmates from the Prison Arts Program teach 

art to inner-city youth. 

17,500 

Black Theatre Troupe 

Phoenix, Arizona 

For performing artists’ workshops, Saturday’s Children 

Program, artists-in-residence, and ethnic workshops 

throughout Arizona. 

20,000 
58 Expansion Arts 

Bloomingdale House of Music 

New York, New York 

Boricua College 

New York, New York 

Boys Harbor 

New York, New York 

Brattleboro Music Center, 

Friends of the 

Brattleboro, Vermont 

Brookline Arts Center 

Brookline, Massachusetts 

Brown University 

Providence, Rhode Island 

Buffalo Black Dance Workshop 

Buffalo, New York 

Buffalo Black Dance Workshop 

Buffalo, New York 

Bullock County Board of Education 

Union Springs, Alabama 

Cacho’s (Andrew) African Dancers 

and Drumraers 

Washington, D.C. 

Capitol Ballet Guild 

Washington, D.C. 

Capitol Ballet Guild 

Washington, D.C. 

Carbondale, City of 

Carbondale, Illinois 

Carnegie Institute 

Pittsburgh Pennsylvania 

Casa Aztlan, Board of Directors of 

Chicago, Illinois 

Centennial Concerts 

Bridgeport, Connecticut 

Center for Chamber Music 

at Apple Hill Farm 

East Sullivan, New Hampshire 

Central Pennsylvania Village Crafts 

Port Matilda, Pennsylvania 

Changing Scene Theatre 

Denver, Colorado 

Chicago Children’s Choir, 

Friends of the 

Chícago, Illinois 

Chicago Childrin’s Choir, 

Friends of the 

Chicago, Illinois 

Children’s Art Carnival 

New York, New York 

Children’s Arts and Sciences 

Workshop 

New York, New York 

For a community music pro~;ect involving the Or~ 5,000 Schulwerk method, a community orchestra, concert series, 

anda summer music day camp program. 

For workshops in the perfor~ning arts and foll~ crafts, 22,500 

a bilingual newsletter, the art library and museum, anda 

regional ¿our. 

For the performing arts workshops and classes for young 25,000 people in the East Harlem communi~y. 

For a Music Discovery Workshop program involving in- 3,000 

strument training for residents of surrounding rural 

towns. 

For classes and workshops in the visual arts, crafts, and 7,500 

puppetry. 

For Rites and Reason, a community arts projec$ in the 25,000 

performing and visual arts. 

For administrative costs for an educational touring pro- 5,872 

gram by the Museum of African and African-American 

Art and Antiquities. 

For dance classes including specialized movement classes 15,000 

for senior citizens. 

For arts and crafts workshops for county residents. 3,000 

For training in African-American dance, modern dance, 15,000 

drumming, and folklore. 

For the company’s perlormances. 17,500 

For a dance instruction program and concert series for the 25,000 

Anacostia community. 

For the Cultural Fine Arts and Exhibit-Lecture Series for 5,000 

community residents, physically disabled adults, and senior 

citizens. 

For a multi-arts instruction programat the Selma Burke 15,000 

Art Center. 

For classes and workshops in the visual arts for Latinos. 15,000 

Fora theater arts workshop for inner-city youth and 10,000 

adulas. 

For the Young Musicians Development Program. 7,500 

For workshops and classes in traditional Pennsylvania 7,500 

rural crafts. 

For classes and workshops in modern dance for elementary 5,000 

school students. 

For musical training and performance experience for 5,000 

children. 

For a program of musical training and performance ex- 5,500 

perience for children from the Chicago metropolitan area. 

For the after school program for children ages four 20,000 

through 15. 

For classes in the performing arts. 5,000 
Expansion Arts 59 

Children’s Creative Project For after school programs in performing and visual arts 7,500 

Santa Barbara, California for children of low-income neighborhoods. 

Children’s Museum of New Haven 

New Haven, Connecticut 

For "In, Out, Around and About," a multi-arts program, 

for the young handicapped and low-income families. 5,000 

Cityarts Workshop For mural workshops for Lower East Side community 15,000 

New York, New York groups, and for the resource center on public art pro]ects. 

Clark Center for the Performing Arts For the dance instruction programs. 15,000 

New York, New York 

Collective Black Artists For a music education program /or professional artists, 8,500 

New York, New York aspiring professional artists, and music educators. 

Community Arts Services For workshops and classe8 in dance and creative more­ 5,000 

Hilo, Hawaii ment. 

Community Association of Schools 

for the Arts 

For training and performing experiences in music, dance, 

theater, and visual arts. 

20,000 

St. Louis, Missouri 

Community Crafts Workshop [~’or an instruction program in the performing and visual 10,000 

Lewiston, Maine arts by Craftschool. 

Community Environments For the traveling workshop program. 15,000 

New York, New York 

Community Film Workshop of Chicago For a training program in 16mm film production for dis­ 20,000 

Chicago, Illinois advantaged young people. 

Community Music Center For programs providing music and dance training and per­ 10,000 

San Francisco, California formance opportunities for youth. 

Concept East For free instruction in theater and dance for minority 20,000 

Detroit, Michigan students and free consultant services to grassroots arts 

groups. 

Cooper Union for the Advancement For the Saturday art program including cIasses in paint­ 7,500 

of Science and Art ing, drawing, architecture, and sculpture for youth in 

New York, New York ghetto areas. 

Cornish Institute For a training program in music and dance for youth in 25,000 

Seattle, Washington western Washington state, including an instruction program for hearing impaired children. 

Council on the Arts for Cortland, For salaries for professional instructors who conduct the 5,000 

New York visual arts activities. 

Cortland, New York 

Creative Arts Community For workshops in studio arts, music, theater, film, writing, 5,000 

"roledo, Ohio and movement. 

Crossroads Community For workshops and seminars in the performing and visual 12,500 

San Francisco, California arts at The Farm and for the creation of ah outdoor 

sculpture. 

Cultural Council Foundation For En Foco’s workshops in the visual arts anda work­ 10,000 

New York, New York shop gallery for Spanish-speaking persons. 

Culture in Black and White For a free training program in art, ceramics, dance, 17,500 

Mobile, Alabama drama, music, photography, and creative writing for culturally deprived youngsters. 

Cumberland Museum 

Clintwood, Virginia 

For museum workshops in weaving, wood and stone sculptute, painting, oral history stories, poetry, and music. 

7,000 

Dance Exchange For modern dance classes with senior citizens and young 7,000 

Washington, D.C. dancers. 

Dance Theatre of Harlem For apprentice programs in wardrobe, stagecraft and 30,000 

New York, New York music, and an artists-in-the-schools program. 

Dance Visions For workshops in contemporary modern dance for the 12,500 

New York, New York Harlem community. 
60 Expansion Arts 

Dancer’s Workshop Company of
 

California
 

San Francisco, California 

Dashiki ProJect Theatre
 

New Orleans, Louisiana
 

Dayton Contemporary Dance Company 

Dayton, Ohio 

DeCordova and Dana Museum and
 

Park
 

Lincoln, Massachusetts 

Delaware Art Museum
 

Wilmington, Delaware
 

Dell ’Arte
 

Blue Lake, California
 

Dixwell Children’s Creative Arts
 

Center
 

New Haven, Connecticut
 

Double Image Theatre
 

New York, New York
 

Douglass (Frederick) Creative
 

Arts Center
 

New York, New York
 

Downtown Community TV Center
 

New York, New York
 

Dume Spanish Theatre
 

Woodside, New York
 

Durham Arts Council
 

Durham, North Carolina
 

Earth Onion Women’s Theatre
 

Washington, D.C.
 

East Bay Community Arts Pro|set
 

Berkeley, California
 

East West Players
 

Los Angeles, California
 

Ebony Talent Associates Creative
 

Arts Foundation
 

Chicago, Illinois
 

El Nuevo Teatro Pobre de America
 

Hato Rey, Puerto Rico
 

El Nuevo Teatro Pobre de America
 

Hato Rey, Puerto Rico
 

Emerson School
 

New York, New York
 

Everyday People
 

Monessen, Pennsylvania
 

Exceptional Children’s Foundation
 

Los Angeles, California
 

Evco Theatre Company
 

Brooklyn, New York
 

For the "Reachout Program," o~íering a leadership training program and ineluding instruction in movement, dance 

and vsrbal ¢ommunieation for the sthni¢ ~ninority ¢ommunities. 

25,000 

For the Creative Arts Workshop, providing instruction 

in drama, dance, and graphic arts. 

22,500 

For dance training activities. 7,000 

For ~ree art elasses for elderly, and a regional tour event. 10,000 

For programs and workshops in the visual arts for children, adults, senior ¢itizens, the disabled, and prison 

inmates. 

2,500 

For training in mime and other dramatie ar¿s. 2,500 

For instruetion in the performing and visual arts for 

inner-eity ehildren. 

17,500 

For training in the performing arte. 7,500 

For a training program ¿n literature and theater. 12,500 

For workshops in television arts and related media services 

for low-in¢oms persons in Chinatown and the Lower East 

Side. 

10,000 

For workshops for teenagers in theater teehn~ques and 

Hispanie eulture. 

10,000 

For the neighborhood arts, eounty, Heritage and spe¢ial 

audien¢e programs. 

10,000 

For workshops and performances oí an original musical. 4,000 

For the Juvenile Justiee Art Pro]est offering workshops 

in the visual and performing arts and erafts and the Reentry Weekend S¢hool at ¿he Alameda County Juvenile 

Prison. 

12,500 

For ¿he theater’s workshops and presenta$ions. 22,000 

For instruction in drama, dance, musi¢, and ¢reative writing for ¿nner-eity youth and adults. 20,000 

Sor basi¢ operating eosts to maintain ongoing programs. 1,300 

For workshops and ~yroduetions exploring the roots of 

Puerto Ri¢an ¢ulture. 

15,000 

For a multi-arts instru¢tion program for ¢hildren and a 

summer proje¢t. 

20,000 

For ezpansion of the arts and erafts ¢lasses, Saturday 

workshops, and dsmonstrations. 10,000 

For ¢lasses in the visual arts and erafts for the mentally 

retarded. 

10,000 

For workshops in the per]orming arts. ó,000 
Expansion Arts 61 

Family of Man Foundation 

Providence, Rhode Island 

For the Circu~ Wagon Theatre’s workshops in theater 

arts and touring in the New England and New York atea. 7,500 

Fargo Public School District For community workshops in the performing, visual, and 5,000 

Fargo, North Dakota media arts for area residents. 

Festival Players 

Chattanooga, Tennessee 

For the Theater in the Parks--Summer 1978’s workshops 

f or apprentices. 

5,000 

Film News Now Foundation For ethnically diverse students in intensive instruction in 7,500 

New York, New York Super 8 filmmaking. 

First All Children’s Theatre Company For a theater training and performing program for New 10,000 

New York, New York York City children. 

Floating Foundation of Photography 

New York, New York 

For programs in photography for neighborhood children, 

prison inmates, and ex-o]enders. 10,000 

Free Southern Theatre For a training program for youth in the performing arts, 14,845 

New Orleans, Louisiana including workshops, acting classes, set and costume design, ~nakeup, and theater management. 

Frog Hollow Craft Association For Vermont State Craft Center’s program in crafts in­ 9,625 

Middlebury, Vermont cluding training of apprentice instructors for children, 

rural groups, and senior citizens. 

Fun Encounter Theatre For a community-based theater pro]ect using the concepts 5,000 

Daly City, California of socio-drama, improvisation, puppetry, and audience 

participation. 

Grand Trine For dance training and performances for young adults. 10,000 

Ne~v York, New York 

Greater Birmingham Arts Alliance For art classes and performances for the disadvantaged. 6,000 

Birmingham, Alabama 

Greater Jamaica Development 

Corporation 

For Art-Go-Round, workshops in the visual and performing arts for school children at the Jamaica Arts Center. 

5,930 

Jamaica, New York 

Growth Through the Arts and 

Museum 

For a training program in art and museum resources 

for children and teachers in the public schools. 12,500 

New York, New York 

Grupo de Artistas Latinoamericanos 

Washington, D.C. 

For Teatro Hispano’s Workshop training program in 

theater arts for Spanish-speaking persons. 7,500 

Haight-Ashbury Community

Development Corporation 

For training in the visual and performing arts for young 

people and adults of the Haight-Ashbury community. 12,500 

San Francisco, California 

H.O.P.E. Development For the Black Arts Center’s training program in theater 15,000 

Houston, Texas for the community. 

Ile-Ife Black Humanitarian Center 

Philadelphia, Pennsylvania 

For classes in visual arts and dance. 20,000 

Independent Eye 

Lancaster, Pennsylvania 

For 12 workshop residencies in the Mid-Atlantic region 

on the use of improvisation to create performance pieces. 

4,500 

Inquilinos Boriculas en Accion For the "Areyto" program olíering workshops and pres­ 7,500 

Boston, Massachusetts entations in the visual arts. 

James (William) Association 

Santa Cruz, California 

For the Prison Literary Program in the California State 

Penal System. 

5,000 

James (William) Association For the Vacaville Arts Program o]ering classes in visual 5,000 

Santa Cruz, California arts, ceramics, printmal¢ing, and poetry ~o the inmates of 

the California State Penal System. 

Jazz Development Workshop For administrative costs anda season of week[y rehearsals q,500 

Detroit, Michigan and workshops for the New Detroit Jazz Ensemble Repertory Orchestra. 

JCCEO Community Theatre 

Birmingham, Alabama 

For productions anda training program in the performing 

arts for disadvantaged youth in the community schools 

offered by the Black Fire Company. 

15,000 
62 Expansion Arts 

Jenkintown Music School 

Jenkintown, Pennsylvania 

Johnson (James Weldon) Community 

Centers 

New York, New York 

Julian Company Theatre 

San Francisco, California 

Kalihi-Palama Culture and 

Arts Society 

Honolulu, Hawaii 

Kentuckiana Metroversity 

Louisville, Kentucky 

Knoxville Urban Ministry 

Knoxville, Tennessee 

Kuumba Community Theatre 

Chicago, Illinois 

Kuumba Learning Center 

Washington, D.C. 

Kuumba Learning Center 

Washington, D.C. 

Latin American Youth Center 

Washington, D.C. 

Lawrence Arts Center 

Lawrence, Kansas 

Learning Guild 

Boston, Massachusetts 

Liga Estudiantes de Arte de San Juan 

San Juan, Puerto Rico 

Lloyd (Alice) College 

Pippa Passes, Kentucky 

Loft Film and Theatre Center 

Bronxville, New York 

Lomax-Hannon Junior College 

Greenville, Alabama 

Lower East Side Printshop 

New York, New York 

Macon County Fine Arts Manifesto 

Tuskegee, Alabama 

Madison Community Access Center 

Madison, Wisconsin 

Manchester Craftsmen’s Guild 

Pittsburgh, Pennsylvania 

Manna House Workshops 

New York, New York 

Metropolitan Cultural Arts Center 

Minneapolis, Minnesota 

For the scholarship program. 3,500 

For workshops in photography, poetry, and clay sculp- 7,5C0 

ture. 

For a workshop series /of the community and theater 5,000 

workers, and training for production of Lavabed Wardance. 

For culture and arts programs for the residents of 10,000 

Kalihi-Palama. 

For the Youth Arts Program, a consolidation of Youth 25,000 

Arts and lnnercity Dance. 

For a multi-arts Appalachian-based pro]ect. 15,000 

For ah instruction program in theater arts, modern dance, 20,000 

and touring throughout the community. 

For demonstrations in the visual and performing arts and 17,500 

the Southeast Festival o] the Arts. 

For the Ebony Impromptu Theatre Company’s workshops 12,500 

in the performing arts, intensive studio work, and touring 

throughout the community. 

Fora series of workshops and seminars including instruc- 9,000 

tion in music for community residents. 

For workshops and classes in dance, mime, crafts, and vis- 5,000 

ual arts for the handicapped, senior citizens, and ethnic 

minorities. 

To bring school assembly programs to those rural school 12,000 

systems which have severely restricted supplementary progratas in the arts. 

For classes in painting, ceramics, sculpture, photography, 12,500 

and printmaking. 

For classes in the visual arts, cra f ts, and perf ormi~ g arts ; 12,500 

the Appalachia Summer Theatre program; an artist-inresidence for the visual arts program; touring of the 

drama troupe; and the "Our Appalachia Day" event. 

For workshops in filmmaking, photography, theater, and 7,500 

music. 

For classes and workshops in the visual and performing 5,000 

arts for children and young adults. 

For community workshops in the graphic arts. 5,000 

For ah instruction and training program in visual arts, 10,000 

dance, muslo, and other disciplines throughout Macon 

County. 

Fora training program in videotape productions, involv- 10,000 

ing ethnic and racial minorities, senior citizens, and the 

handicapped. 

For training in ceramic art, photography, and textiles to 22,500 

the elderly, the emotionally disturbed, black school-age 

children, and students in correctional institutions. 

For a program in the performing arts, including classes, 12,500 

workshops, and rehearsal space for the Harlem community. 

For classes and performances in the visual and perform- 15,000 

ing arts. 
Expansion Arts 63 

Metropolitan School for the Arts 

Syracuse, New York For instruction in the performing and visual arts. 15,000 

Mexican American Culture 

Development For instruction by the Mariachi Music School for migrant 

workers and their families. 

7,500 

Homestead, Florida 

Milwaukee County War Memorial For classes and workshops in theater arts for senior 5,000 

Performing Arts Center ci~izens, the handicapped, the incarcerated, and the ecoMilwaukee, Wisconsin nomically deprived. 

Mission Neighborhood Centers For a program in alternative theater for actors, techni­ 10,000 

San Francisco, California cians, and designers. 

Mississippi Band of Choctaw Indians 

Philadelphia, Mississippi 

For the tribal arts and crafts program. 10,000 

Model Valley Economic Development

Corporation For a training program in crafts for the Clearfork Valley. 9,000 

Clarefield, Tennessee 

Monroe County Rural Heritage For a crafts program of workshops and classes. 5,020 

Alliance 

Union, West Virginia 

Mt. San Antonio Council, Camp 

Fire Girls of 

For muslo training and performances for low-income 

Black, Chicano, and American lndian communities. 

10,000 

Claremont, California 

Nashville Children’s Thiatre For a training program in theater arts for children. 30,000 

Nashville, Tennessee 

National Black Theatre Workshop For classes and workshops in the theater arts. 30,000 

New York, New York 

Neighborhood Arts Center 

Atlanta, Georgia 

For "Artas ah Integral Part of Our Lives," a program of 

instruction and training in the visual and performing arts 

20,000 

and crafts. 

Neighborhood Music School For instrumental music instruction for inner-city minority 5,000 

New Haven, Connecticut children. 

New Dance Theatre Fora training program in modern dance, jazz, and ballet 20,000 

Denver, Colorado by the Cleo Parker Robinson Dance Ensemble. 

New England Conservatory of Music For the Community Services Musical Instruction program 7,500 

Boston, Massachusetts including instrumental or voice lessons, participation in a 

performing ensemble, anda theory class. 

New Heritage Repertory Theatre For the experimental and training workshop in theater 15,000 

New York, New York arts and a "bus-in" program for senior citizens. 

New Muse Community Museum of Fora workshop program in the performing arts, visual 7,500 

Brooklyn arts, and crafts for the disadvantaged community. 

Brooklyn, New York 

New Place 

Tampa, Florida 

For a program in the performing arts, theater arts, and 

dance. 

15,000 

New Playwrights’ Theatre of 

Washington For a training program for theater artists, primarily young American playwrights. 

10,000 

Washington, D.C. 

New Rochelle Community Action For workshops in creative modern dance and ethnic dance 5,000 

Agency for children, teenagers, and adults. 

New York, New York 

New School for the Arts For ins~ruction and ~raining in the performing arts for the 5,000 

Montclair, New Jersey residents of Essex County. 

New York City Hispanic-American For a dance worishop fraining program for low-¿ncome ~5,000 

Dance Company persons between the ages of six and 18. 

New York, New York 

Norman Firehouse Art Center 

Norman, Oklahoma 

Fora program to instruct and train neighborhood youth 

in the creation of a community-based stree$ theater. 

6,230 
64 Expansion Arts 

Northeast Georgia Area Planning 

and Development Commission 

Athens, Georgia 

Off Center Theatre 

New York, New York 

Olatun]i Center of African Culture 

New York, New York 

Operation Outreach 

Cairo, Illinois 

Parker (Charlie)Memorial Foundation

Kansas City, Missouri 

Parker (Charlie)Memorial Foundation

Kansas City, Kansas 

Pasadena Art Workshops 

Pasadena, California 

People’s Heritage 

Milwaukee, Wisconsin 

Performing Arts Workshop 

San Francisco, California 

Philadelphia Dance Company 

Philadelphia, Pennsylvania 

Printmaking Workshop 

New York, New York 

Prints in Progress 

Philadelphia, Pennsylvania 

Public Art Workshop 

Chicago, Illinois 

Public Interest Advisory Council 

Los Angeles, California 

Puerto Rican Culture, Institute for 

San Juan, Puerto Rico 

Puerto Rican Dance Theatre 

New York, New York 

Puerto Rican Traveling Theatre 

Company 

New York, New York 

Puerto Rican Workshop 

New York, New York 

Riverside Church in the City of 

New York 

New York, New York 

Rutgers, the State University of 

New Jersey 

New Brunswick, New Jersey 

R’Wanda Lewis Afro-American 

Dance Company 

Los Angeles, California 

St. Croix School of the Arts 

Christiansted, Virgin Islands 

St. Croix School of the Arts 

Christiansted, Virgin Islands 

St. Elmo’s Village

Los Angeles, California 

Fora program ot~ering participation in community-based 10,000 

arts pro]ects for the elderly. 

For a program to instruct and train neighborhood youth 8,500 

in the creation of a community-based street theater. 

For a training program in A frican culture. 25,000 

Fora program in arts and crafts for the Cairo com- 10,000 

~nunity. 

For concerts in con]unction with the "Diamond Jazz 5,500

Jubilee." 

For workshops in the visual and performing arts and 10,000 

craÍts. 

For instruction in the visual and performing arts, crafts, 7,500 

and vídeo arts for the community. 

Fora training program for a young people’s theater tour- 7,500 

ing company. 

For workships and public school instruction in theater 20,000 

and dance for youth, and technical assistance for public 

school teachers. 

For a training and performing program in dance for 20,000 

inner-city youth. 

For support and doeumentation of a community workshop 10,000 

program in the graphic arts ]of the community. 

For printmaking workshops f or inner-city communities. 17,500 

For a storefront ~nural, photography workshops, con- 10,000 

ference, and seminars. 

For a dance training program in ballet and ~nodern dance, 7,500 

per]ormance techniques, and choreography and co~npositional ~deas. 

For El Coqui’s workshops, presentations, and festivals. 7,500 

Fora dance program in ballet, ~nodern dance, and primi- 15,000 

tire and flamenco techniques. 

For the youth training unir in the theater arts. 25,000 

For the Art Studio Workshop Project providing ¢lasses 7,500 

and workshops in the visual arts for the El Barrio ¢om­

~nunity. 

For training workshops in dance, voice, and drama ]of 5,000 

the children of the community. 

For performances, workshops, and lecture-demonstrations 8,500 

for the Hispanic community. 

Æor classes in ballet, ~nodern dance, Afro-Haitian dance, 10,000 

drama, costume construction, and stage ~nake-up; ZO percen~ of ¿he participante have hearing impairments. 

For instruetion in visual arts, crafts, and performing arts. 10,000 

For basic operating cos~s o~ ongoing programs. 5,000 

For workshops and ]estivals ¿n the períorming arts and 15,000 

crafts for children and adults. 
Expansion Arts 65 

St. Joseph’s Historic Foundation 

Durham, North Carolina 

For classes in drawing, printmaking, silkscreen, /abrie 

processes, and stained glass for low-income eommunities. 

5,000 

St. Mary’s Episcopal Church For free weekly poetry workshops Íor senior citizens by an 5,000 

Washington, D.C. artist-in-residence at the Roosevelt, a nutrition center and 

a large community day eenter. 

Salt City Playhouse Performing 

Arts Center 

For training in the per/orming arts. 7,500 

Syracuse, New York 

Samahan Philippine Dance Company 

San Diego, California For a series of dance programs, lecture-demonstrations, workshops, and exhibits throughout the county. 5,000 

San Francisco African-American For photography workshops for inner-city youth and 10,000 

Historical and Cultural Society adults. 

San Francisco, California 

San Francisco, City of For workshops in crafts that ate traditional to the Bay 7,500 

San Francisco, California Atea Indians. 

Santa Barbara Gazebo Theatre One For a state-wide California Youth Theatre ~or young 10,000 

Santa Barbara, Caliíornia adults. 

School of Performing Arts For ah eight-week series of workshops and classes offered 10,000 

St. Thomas, Virgin Islands by the New World Quartet, and a "sit-in" performance of 

Handel’s Messiah. 

Settlement Music School of 

Philadelphia 

For music instruction íor the Philadelphia prison system 

and expansion of programs for the handicapped. 

10,000 

Philadelphia, Pennsylvania 

Seward Park Art Studio Art 

Advisory Council 

For workshops and lectures in visual arts and crafts and 

íor scholarships to participants from low-income groups. 

10,000 

Seattle, Washington 

Sign of the Times Cultural 

Workshop and Gallery 

For workshops in the fine and períorming arts and for 

support of black studies. 

10,000 

Washington, D.C. 

Silvera (Frank) Writers Workshop For a workshop for playwrights. 10,000 

Foundation 

New York, New York 

Society of the Third Street For the ethnie music program and expansion of ah ethnic 10,000 

Music School Settlement arts program offering dance, art, and drama. 

New York, New York 

Southwest Craft Center For the Saturday Morning Discovery Program, and the 15,000 

San Antonio, Texas Senior Discovery Program, offering instruction in fine 

arts, crafts and performing arts. 

Spirit of St. Louis Drum and Bugle For musical instruction for low-income minority youth. 3,500 

Corps 

St. Louis, Missouri 

Stand, Incorporated For workshops in the uses of radio and vídeo for the 5,000 

Derby, Connecticut Lower Naugatuck Valley. 

Studio Museum in Harlem For the Cooperative School Program offering instruetion 10,000 

New York, New York in the visual arts, puppet-making, and mask-making. 

Symbrinck Associates For the Williamsport Drama IVorkshop. 6,500 

Willia~’~sport, Pennsylvania 

Symbrinck Associates 

Williamsport, Pennsylvania 

Fora training program in theater for high school and 

college students, anda workshop in educational theater 

for prison inmates. 

10,500 

Taller Puertorriqueno For workshops in visual arts, graphic arts, crafts, and 5,000 

Philadelphia, Pennsylvania photography for the Spanish-speaking population of 

Pennsylvania and the Delaware Valley. 

Theatre for the Forgotten For theater workshops in correctional facilities, anda 10,000 

New York, New York summer training and performance program for youth. 
66 Expansion Arts 

Theatre of the Performing Arts
 

Shreveport, Louisiana
 

Tomorrow’s World Art Center
 

Washington, D.C.
 

Tri-State Ballet Company 

Upper Darby, Pennsylvania 

United Nautical Cadets 

Bronx, New York 

United Pro|ects 

San Francisco, California 

Virginia (University of)Clineh
 

Yalley College
 

Wise, Virginia
 

West Side Players 

Louisville, Kentucky 

White Mountains Art and Music 

Festival 

Jefferson, New Hampshire 

Women Make Movies 

New York, New York 

Women’s Community 

Los Angeles, California 

Women’s Studio Collective 

Rosendale, New York 

Xavier University of Louisiana
 

New Orleans, Louisiana
 

Young Filmmakers Foundation
 

New York, New York
 

Young Saints Scholarship Foundation 

Los Angeles, California 

Your Heritage House

Detroit, Michigan 

Your Heritage House 

Detroit, Michigan 

Your Heritage House 

Detroit, Michigan 

Youth Theatre Interactions 

Yonkers, New York 

Arts Exposure 

Aims of Modzawe 

Long Island, New York 

For a tour event and training in theater arts for the com­ 12,500 

munity including senior citizens, the retarded, and inmates oÍ correctional centers. 

For ¿he "Roving Art Workshop," including classes ¿n 12,500 

pain¿ing, drawing, crafts, graphics, dance, and design; 

a free summer ar~ day camp and arts programs in the 

D.C. Jail, and Lorton You¿h Correc¿ional Cen¿er. 

Fora dance ¿raining program for black students. 3,700 

For the "Development oÍ You¿h" music ¿ns¿rue~ion 5,000 

program. 

For music and dance ¿raining classes ]or ¿eens and young 17,500 

adul¿s. 

For a dance ¿raining program for children and adults 5,000 

in the community and for administrative costs [or ProArt Associa¿ion. 

For a program o~ering experience in ~heater to inner­ 12,500 

city youth. 

For "Arts Instruction and Training in New Hampshire’s 10,000 

North County," including a summer ar~s and music fesrival. 

For ¿raining in filmmaking and film produc~ion. 12,500 

For a training program offering fellowships andar¿ 10,000 

supplies to e~-o]enders, ex-drug users, handicapped, 

elderly, and o¿her disadvantaged persons. 

For classes and workshops in printmaking, lithography, 7,500 

tex¿ile printing, drawing, and collage. 

For the Audubon Arts Center’s visual and performing 10,000 

arts classes Íor the black community. 

For a media training program and scholarship assistance. 15,000 

For a training program in ¿he performing and video arts 20,000 

for youth. 

For classes and workshops in dance, choreography, and 5,000 

staging for children, adults, and senior citizens. 

For ah artist-in-residence program providing classes and 2,500 

lectures. 

For a fine ar~s program for youth, including an artis~-in- 20,750 

residence. 

For a ¿heater arts workshop program including dance 10,000 

and musie instruction for youth. 

To support public presentations--such as performances, exhibitions, 

and festivals--that include workshops in which community residents 

can participate. Many projects are designed to reach people who 

usually do not have access to the arts or to promote cultural exchange 

among people of different ages, races, or socio-economic backgrounds. 

Program funds: $1,741,240 

For classes and performances by the Dinizulu African $10,000 

Dancers, Drummers, and Singers. 
Expansion Arts 67 

Afro-American Historical and 

Cultural Museum For a six-week series of filmmakers and their filme at 

five area arte museums. 

17,500 

Philadelphia, Pennsylvania 

Akwesasne Library Cultural Center 

Hogansburg, New York 

For workshops and classes in native Mohawk arte. 5,000 

Alaska, University of 

Anchorage, Alaska 

For an artist-in-residence program and ¿he Third Age 

Theatre Project. 8,500 

Alternate Center for International 

Arts 

For an exhibition of A]ro-American artists. 9,000 

New York, New York 

Alternate Center for International 

Arts 

For muslo performances and exhibits in the visual arte. 15,000 

New York, Ncw York 

Alvin Ailey Repertory Ensemble 

New York, New York 

For performances and workshops by the Repertory Ensemble in prisons, public schools, hospitals, and rehabilita10,000 

tion centers. 

American Black Artists For the Cultural Opportunity for Direct Exchange pro­ 15,000 

Detroit, ~VIichigan grato, including art classes and performances. 

American Institute for Cultural For artists in schools and community centers, to develop 10,00~ 

Development audiences through leetures for low-income persons. 

San Francisco, California 

American Revolutionary Road For developing theater through touring plays in Appala­ 12,500 

Company chian communities. 

Johnson City, Tennessee 

Appalachian Craftsmen For a program of handicrafts native to the Appalachian 10,000 

Huntington, West Virginia region including marketing of goods. 

Arkansas Arts Center Foundation For the State Services program, including traveling ex­ 15,000 

Little Rock, Arkansas hibits, performances, and workshops. 

Art Safari For the African arts exhibir and workshop series and 10,000 

New York, New York for the development of an Hispani¢ art program. 

Art Without Walls For ah arte center in prisons, hospitals, and other in­ 8,000 

New York, New York stitutions. 

Artes Chicano Fora regional tour of the western states with a program 12,500 

Denver, Colorado combining music, dance, and theater representations of 

the Chicano culture. 

ArtiCulture For a training program for youth anda free per/orming 5,000 

Cambridge, Massachusetts arte series for senior citizens. 

Artists in Prison 

Los Angeles, California 

For the prison art program and the development of a 

writing and performance workshop. 

10,000 

ArtKare 

Dayton, Ohio Fora fine arte program serving Dayton arca nursing 

home residente. 

5,000 

Artreach Milwaukee For workshops and performances and to assure access 7,500 

Milwaukee, Wisconsin for institutionalized persons to cultural events. 

Arts for Racial Identity For the artists-in-schools program. 15,000 

New York, New York 

Asian American Dance Theatre For classes in traditional and rnodern dance for the 10,000 

New York, New York Chinese community, a tour to rural communities, and 

concerts in New York City. 

Ballet Folklorico de Albuquerque For workshops and research in the muele, dance, and 7,400 

Albuquerque, New Mexico folk arte of New Mexieo. 

Ballet Theatre of the Virgin Islands For the profeesional training program in dance, including 15,000 

St. Thomas, Virgin Islands scholarships. 

Barter Foundation For production clinics ]or teachers and community theater 7,500 

Abingdon, Virginia personnel and for lectures and workshops in the Thea~re 

Lote series. 
68 Expansion Arts 

Bilingual Foundation of the Arts 

Los Angeles, California 

Bilingual Foundation of the Arts 

Van Nuys, California 

Black Experience Ensemble 

Albany, New York 

Black Spectrum Theatre Company 

St. Albans, New York 

Black Theatre Alliance 

New York, New York 

Bodacious Buggerrilla 

Los Angeles, California 

Bread and Roses Benefit Agency 

Mili Valley, Caliíornia 

Brockman Gallery Productions 

Los Angeles, California 

CAFAM III 

Washington, D.C. 

Carpetbag Theatre 

Knoxville, Tennessee 

Casa de la Raza 

Santa Barbara, California 

Casa Hispana de Bellas Artes 

San Francisco, California 

Cell BIock Theatre Corporation 

New York, New York 

Central Area Citizens Committee of 

Seattle 

Seattle, Washington 

Centre d’Heritage Franco-American 

Lewiston, Maine 

Chicago Black Ensemble 

Chicago, Illinois 

Children’s Museum of Inquiry and 

Discovery 

Washington, D.C. 

Chinatown Building and Education 

Foundation 

Philadelphia, Pennsylvania 

Christina Cultural Arts Cente~ 

Wilmington, Delaware 

Community Theatre Arts Workshop 

San Francisco, California 

Corvallis Arts Couneil 

Corvallis, Oregon 

Craft and Folk Art Museum 

Incorporating the Egg and the Eye 

Los Angeles, California 

Creative Growth 

Oakland, Calífornia 

Cultural Council Foundation 

New York, New York 

For a tour o] the play, Uprooted, in the Latino communi- 15,000 

ties oÍ sou¿hern California. 

For workshops in the theater art8 ]of the Hispanic 15,000 

American Theatre. 

For ¿he produc¿ion o] three plays wi¿h workshops and 5,000 

seminars. 

For the ¿hea¿cr demonstration program with perform- 10,000 

anccs throughou¿ southeastern Queens. 

For the Black Thea¿re Alliance’s programs, including the 30,000 

annual ]estival. 

To record oral histories of importan¿ jazz musicians and 17,500 

¿o produce four videotapes. 

For programming offercd to insti¿u¿ionalized persons. 5,000 

For a film festival, symposia, the mural program, and 10,000 

a visual arts exhibition. 

For media services and ¿echnical assis¿ancc ¿o local ar¿is¿s. 15,000 

For workshops in ¿heater craft8 and for four plays. 7,500 

For a bilingual/bicultural community cultural center. 10,000 

Fora program in Raza culture, including bilingual pro]- 12,5Q0 

ects and publications. 

For theater and writing programs for inmates and pre- 10,000 

release parolces in New York Sta¿e prisons. 

For ¿he Black Ar¿s/West Theatrc, including instruc¿ion 20,000 

in thea¿er arts and dance. 

For community pro~ects anda bilingual workshop. 4,000 

For a four-play season. 10,000 

For performance¢ exhibits, and workshops with children 10,000 

unable to ¿ak, advantagc of Washing¿on’s cul¿ural 

resources. 

For workshops and exhibitions in the Chinese arts. 15,000 

For the arts tu¿orial and instruction program. 7,500 

For pro]ects in film and ¿hree ¿heater produc¿ions. 7,500 

For an artis¿-in-schools program for rural 8chools. 4,500 

For the third annual Festival of Masks held in Oc¿ober 5,000 

1978. 

For workshops and exhibits featuring ar¿ work by the 12,500 

handicapped. 

For the Glines’ productions and exhibi¿ions of plays, 5,000 

films, visual artists, poets, and special events. 
Expansion Arts 69 

Cultural Council Foundation 

New York, New York 

For the Margaret Gate Institute’s art and design pro]ects 

for hospitals. 7,500 

Cultural Council Foundation 

New York, New York 

For The First Water’s mixed-media film presentation on 

blac]c perspectives in the arts. 7,500 

Davis and Elkins College 

Elkins, West Virginia 

For theater productions for the community. 15,000 

District of Columbia, University of 

Washington, D.C. 

For the Blac~ Film Institute’s film and leeture presentations. 10,000 

Douglass (Frederick) Museum of 

African Art 

For transportation to the museum for low-income persons 

and for special workshops and programs in conjunction 

12,500 

Washington, D.C. with exhibits. 

Dubuque, City of For an arte program for elementary school children and 5,000 

Dubuque, Iowa tickets and transportation to cultural events for senior 

citizene. 

East Bay Music Center For instruction and performances in the visual and per­ 7,500 

Richmond, California forming arte to include disadvantaged and the handicapped. 

El Centro Campesino Cultural 

San Juan Bautista, California 

For a lecture and art workshop series with theatrical and 

dance performances. 

6,000 

El Paso Community College For the Chicano Cultural Art Program’s presentations 7,500 

El Paso, Texas and workshops in the performing arte. 

El Puerto Ri¢an Playwrights 

New York, New York 

For three pIays, two vídeo filme, and an audiovisual 

library for the exposure of Hispanic work. 

5,000 

El Renacimiento Renaissance 

Publication 

For a film for distribution to the Hispanic community on 

the Puerto Rican lifestyle. 

5,000 

Lansing, Michigan 

El Teatro de la Esperanza 

Santa Barbara, California 

For a traveling festival by music and theater groups, in­

~cluding workshops for senior groups and the handicapped, 

and a performance at Lompoc Federal Correctional 

14,000 

lnstitute. 

Family, Ex-Inmates of Correction 

Facilities 

For the Prison Arte Theatre Repertory Company and the 

technical training program. 

12,000 

New York, New York 

Florida Studio Theatre For the production and touring of original theater to 5,000 

Sarasota, Florida institutions and communities. 

Fondo del Sol For multi-arts instruction, workshops, anda national film 15,000 

Washington, D.C. exhibition program for the Hispanic community. 

Foundation for the Vital Arts For instruction and touring performances in dance. 17,500 

New York, New York 

Free Movies For film and media programs with artizts from disadvan­ 10,000 

New York, New York taged arcas. 

Free Street Theater For workshops and touring programs for the aging and 17,500 

Chicago, Illinois the handicapped. 

Friends Mime Theatre For performances and workshops for the community in­ 12,500 

Milwaukee, Wisconsin cluding the handicapped, the elderly, and the institutionalized. 

Friends of Puerto Rico ’For exhibitions related to Hispanic culture. 3,500 

New York, New York 

Garden State Ballet Foundation For theater performance workshops for ¿he elderly and 15,000 

Newark, New Jersey ’the institutionalized. 

Gateway Dance Theatre For dance workshops and performances. 3,500 

Des Moines, Iowa 

Gateway Dance Theatre For workshops and performances in dance. 3,500 

Des Moines, Iowa 
70 Expansion Arts 

Germantown Theatre Guild 

Philadelphia, Pennsylvania 

Grand Yalley State Colleges 

Allendale, Michigan 

Greater Hartford Arte Council 

Hartford, Connecticut 

Guthrie Theatre Foundation 

Minneapolis, Minnesota 

Harford Community College 

Bel Air, Maryland 

Harlem Children’s Center 

New York, New York 

Harlem Cultural Council 

New York, New York 

Heritage Family Theatre Dance 

Ensemble 

Spokane, Washington 

Holder (Frank) Dance Company 

Greensboro, North Carolina 

Hospital Audiences 

New York, New York 

Hudson Valley Freedom Theatre 

Newburgh, New York 

Hudson Valley Freedom Theatre 

Newburgh, New York 

India, Inc. 

San Luis Obispo, California 

India, Inc. 

San Luis Obispo, California 

Inner City Cultural Center 

Los Angeles, California 

Instituto Dominicano de Difusion 

Cultural 

New York, New York 

International Art of Jazz 

Stony Brook, New York 

International Arts Relations 

New York, New York 

Iron Clad Agreement 

Pittsburgh, Pennsylvania 

Jazzmobile 

New York, New York 

King County Arts Commission 

Seattle, Washington 

Kitani Foundation 

Columbia, South Carolina 

Library Creative Drama 

Boston, Massachusetts 

Library Theatre 

Washington, D.C. 

For the Almost Free Theatre, including acting workshops 5,000 

and tour productions. 

For the Neighborhood Theatre for expanded performances 15,000 

and workshops. 

For a theater youth program, including workshops and 5,000 

presentations. 

For touring to senior citizen centers and hospitals. 10,000 

For the Edwin Booth Theater’s performances and work- 10,000 

shops in theater arte. 

For workshops and symposia related ¿o community chil- 10,000 

dren’s theater. 

For Dancemobile, the Dance Festival, and the Harlem 25,000 

Performance Center. 

For dance and theater classes for isolated com~nunities. 3,500 

Fora six-week tour of southern Appalachia. 6,000 

For the Prison Arte Program including visual and per- 10,000 

forming arte workshops and performances. 

To eupport administrative coste. 15,000 

’For performances and workshops in the performing arte. 20,000 

For art workshops, festivals, and lectures. 7,500 

For workshops, murals, festivals, lectures for the com- 7,000 

munity, and special audiences. 

For Co-Real Artists’ dramatic productions. 12,500 

For three presentations in dance, theater, poetry, and 5,000 

music of Caribbean and Hispanic origin. 

For workshops and performances in jazz for retarded 7,500 

persons. 

For children’s theatre workshops, touring performances, 10,000 

and ¿he gallery. 

For an outreach theater production. 7,500 

For the musical workshop program in which young 35,000 

musicians are instructed by professionals. 

For artists-in-residence at therapeutic and rehabilitative 5,000 

institutions. 

For performing arte activities for the general public, in- 12,500 

mates of correctional facilities, mentally retarded, youthful o~enders, and economically depressed populations. 

For an art program for inner-city children in the Boston 8,000 

and Cambridge public libraries. 

For the "Books Alive" program of original fully-staged 10,000 

theatrical performances for inner-city public school 

children. 
Expansion Arts 71 

Library Theatre 

Washington, D.C. 

For Lettumplay’s series of workshops ¿n musie and community concerts featuring jazz artists. 8,500 

Lincoln Center for the Performing 

Arts 

For the C~mmunity Holiday Festival and children’s 

~natinees o~ering free performances to families and school 

20,000 

New York, New York children from the tire boroughs of New York. 

Living Gallery 

Pasadena, California 

For the improvisational theatre program including tours~ 

workshops, and performances. 

7,500 

Lorton Art Program For workshops in the visual arts for inmates and ex­ 5,000 

Washington, D.C. offenders. 

Los Angeles Theaseum For workshops and video reproductions of jazz perform­ 3,500 

Hollywood, California ances. 

Mariano Parra Spanish Dance 

Company 

For lecture-demonstration concerts o~ering program8 in 

Spanish dance. 

7,500 

New York, New York 

Massachusetts Prison Art Project 

Framingham, Massachusetts 

For the prison art program including workshops in the 

visual and performing arts. 

17,500 

Metro Theatre Circus 

St. I-~uis, Missouri 

For workshops in children’s theatre and art education with 

inner-¢ity youth. 

7,500 

Millan Theatre Company For the Detroit Repertory Theatre’s fellowship program. 10,000 

Detroit, Michigan 

Milwaukee Inner City Arts Council For the Training Institute including workshops in the 12,000 

Milwaukee, Wisconsin visual and performing arts. 

Mississippi Inter-Collegiate Opera For youth and adult ezposure to opera. 7,500 

Guild 

Jackson, Mississippi 

Music and Art Development For ~nulti-disciplined arts workshops throughout ¿he 3,500 

Jamaica Plains, New York community. 

National Association of Negro For a production of Scott Joplin’s Treemonisha and for 10,000 

Musicians "Jazz on the Riverfront." 

St. Louis, Missouri 

National Association of Fora conference and festival including performances in 9,000 

Neighborhoods theater, dance, musie, art classes, exhibits, and special 

Washington, D.C. events. 

Native American Center for the For a cultural exchange Pow Wow to ¿nclude exhibitions 10,000 

Living Arts 

Niagara Falls, New York 

of artifacts, crafts, traditional cooking, social dancing, 

and specialty dances. 

Native American Center for the For ah exhibition, dance, and leeture with an artist-in­ 15,000 

Living Arts residence program. 

Niagara Falls, New York 

New Brunswick, City of 

New Brunswick, New Jersey 

For workshops, performances, and exhibits involving the 

community. 

10,000 

New Hampshire Music Festival 

Center Harbor, New Hampshire 

For a concert program in schools and in nursing and 

retirement homes. 

2,500 

New Shakespeare Company 

San Francisco, California 

For touring presentations and workshops in schools and 

colleges. 

5,000 

New Stage For theater performances for low-incom~ senior citizen~. 5,000 

Jackson, Mississippi 

New Theater School of Washington 

Washington, D.C. 

Fora touring perÍorming art series with workshops and 

presentations for the community. 

12,500 

New York, Research Foundation of For "Project Spear," an art program for senior citizens 7,500 

the City University of and students. 

New York, New York 

New York Street Theatre Caravan "For productions, a national tour and workshops in theater 22,500 

Jamaica, New York arts. 
72 Expansion Arts 

New York University
 

New York, New York
 

Nuestro Teatre
 

New York, New York
 

Nuestro Tea¿re
 

New York, New York
 

Old Creamery Theatre Company 

Garrison, Iowa 

Old Creamery Theatre Company 

Garrison, Iowa 

Omaha Junior Theater 

Omaha, Nebraska 

Painted Bride Art Center 

Philadelphia, Pennsylvania 

Participation Projects Foundation 

New York, New York 

Patch
 

Atlanta, Georgia
 

Peoples Performing Company
 

New York, New York
 

Performing Arts for Community
 

and Education
 

Miami, Florida 

Phelps Stokes Fund, Trustees of the 

New York, New York 

Pittsburgh, University of
 

Pittsburgh, Pennsylvania
 

Pittsfield, City of
 

Pittsfield, Massachusetts
 

Play Group
 

Knoxville, Tennessee
 

Providence, City of 

Providence, Rhode Island 

Puppet Workshop
 

Providence, Rhode Island
 

Quincy Society of Fine Arts
 

Quincy, Illinois
 

RAP 

Washington, D.C. 

Real Art Ways Raw Ink
 

Hartford, Connecticut
 

Rodgers (Rod) Dance Company 

New York, New York 

Rockford Arts Council 

Rockford, Illinois 

St. Francis House
 

Kansas City, Missouri
 

St. Mark’s Episcopal Church
 

Washington, D.C.
 

Scranton Theatre Libre 

Scranton, Pennsylvania 

h’or the Integral Theatre Foundation composed of deaf 9,000 

ac¿ore involved with nonverbal theater communications. 

For a children’s story theater to be perÍormed in the 10,000 

parks, libraries, and day care centers during summer and 

]or ]our productions in Spanish. 

~or a children’s story program and other theater produc- 10,000 

tions in Spanish. 

For a young people’s company tour including perform- 10,000 

ances, workshops, a discount ticket program, anda regional art Íestival. 

For rural touring workshops and productions. 3,500 

For workshops in grade schools ac well as performances 5,000 

and transporta¿ion to cultural events. 

For exhibits and performances in dance, drama, and 7,500 

music. 

For the Festival Music Company’s program, including 12,500 

ezhibits, performances, and workshops. 

For the community arte establishment of cottage industries 16,890 

in pottery and fabrie printing. 

For the street theater community program. 15,000 

For art programs ]or schools, hospitals, prisons, and 10,000 

senior centers. 

For a clearinghouse on informa¿ion related to the 25,000 

Caribbean. 

For ~’esidencies by professional alternative theater, dance, 7,500 

and musie eompanies. 

For the Berkshire Senior Artisans’ Gallery and workshop. 6,000 

For workshops with children and senior citizens in rural 18,950 

and urban communities. 

For neighborhood arte including summer programs, Íestí-" 15,000 

vals, and workshops. 

For a touring program of puppe¿ performances and work- 10,000 

shops and for Store Front Theatre. 

For services by student and adul¿ nonpro]essionals that 5,000 

benefit blacks and senior citizens. 

For the Mobile Jazz Pro]ect, including workshops and 10,000 

vídeo productions. 

For the muele series, film series, the poetry program, and 7,500 

for workshops. 

To maintain ongoing programs. 10,000 

For the newly created RockÍord Cen¿er. 3,500 

For workshops in ¿he visual arte and erafts. 5,000 

l~or St. Mark’s Dance Company’s Lunch Theatre, inelud­ 4,500 

ing dance, drama, and music performances. 

l~’or a program providing transporta¿ion to cultural even¿s 5,000 

and workshops for senior ci¿izens. 
Expansion Arts 73 

Scripps College For the Contemporary Crafts exhibir series. 17,500 

Claremont, California 

Sheboygan Arts Foundation For the Kohler Arts Center’s presentations, residencies, 5,000 

Sheboygan, Wisconsin and elementary school tour program. 

Social and Public Art Resouree To maintain ongoing programs. 10,000 

Center 

Venice, Caliíornia 

Southern Folk Cultural Revival 

Project 

For the Southern Grassroots Music Tour. 10,000 

Nashville, Tennessee 

Southern Missouri Council on the For performances, visual arts exhibits, craft de~nonstra­ 2,500 

Arts tions, and creative writing workshops. 

Cape Girardeau, Missouri 

Spanish Theatre Repertory Company For performances in community centers and fora national 20,000 

New York, New York tour. 

Special Audience To expand the Prison Arts Program, including visual and 10,000 

Atlanta, Georgia performing arts workshops and performances. 

Special School District ~6 l~or an arts program in performance, exhibits, and 5,000 

St. Paul, Minnesota festivals. 

Store Front Gallery For exhibitions, workshops, educational programs, and 15,000 

Jamaica, New York performances. 

Street Theater l~or workshops and performances in prisons and com­ 25,000 

White Plains, New York munities. 

Sum Concerts For ]azz workshops and clinics related to a three-day 2,000 

Houston, Texas festival. 

Sun Foundation for Advancement in For lectures, performances, demonstrations, and work­ 15,000 

the Environmental Sciences and Arts shops for senior citizens, students, the handicapped, famiWashburn, Illinois lies, and teachers. 

Syracuse University 

Syracuse, New York 

For community artists to develop professional gallery experience. 9,500 

Taos Art Association 

Taos, New Mexico 

For performances in dance and theater as well as lectures and films at the Taos Community Auditorium. 8,000 

Teatro Libertad For ten performances with seminars for Chicano com­ 5,000 

Tucson, Arizona munities. 

Theatre Flamenco of San Francisco For workshops in musie and dance with performances in 5,000 

San Francisco, California schools. 

Theatre in a Trunk For a mobils theater presentation for handicapped 12,500 

New York, New York children. 

Theatre in Progress For the Garden Theatre Festival with community per­ 10,000 

Los Angeles, California formances. 

Theatre Without Bars For in-prison, arts-in-education workshops and Inmate 5,000 

Yardville, New Jersey Touring Company productions. 

Toba WestTheatre 

Pasadena, California 

For performances, demonstrations, and workshops at 

community centers andat convalescent and senior citizen 

10,000 

homes. 

Una Noche Plateda For the Special Audiences, and Prison Arts programs. 10,000 

Tueson, Arizona 

Virginia Wesleyan College 

Norfolk, Virginia 

For a theater program with workshops for inner-city 

youth. 

3,500 

Warren Wilson College For art classes involving the community children and 3,600 

Swannanoa, North Carolina adults. 

Washington Drama Soeiety For a comprehensive community art program. 15,000 

Washington, D.C. 
 

~4 Expansion Arts 

West Coast Theatre Company 

Los Angeles, California 

Western Washington State University 

Bellingham, Washington 

Whole Theatre Company 

Montclair, New Jersey 

Wilma Project 

Philadelphia, Pennsylvania 

Workshops for Careers in the Arts 

Washington, D.C. 

Xicaindio Artist Coalition 

Mesa, Arizona 

Special Summer 

Projects 

African Film Society 

San Francisco, California 

Alabama Shakespeare Festival 

Anniston, Alabama 

American Dance Festival 

Durham, North Carolina 

Baldwin (Abraham) Agricultural

College 

Tifton, Georgia 

Berea College 

Berea, Kentucky 

Boston Arts Group 

Boston, Massachusetts 

Boy Scouts of America 

St. Croix, Virgin Islands 

Butte Arts Council 

Butte, Montana 

Calvary Episcopal Church 

Charleston, South Carolina 

Center Stage of Honesdale 

Honesdale, Pennsylvania 

Centrum Foundation 

Port Townsend, Washington 

Chamber Dance Group 

New York, New York 

Charles River School 

Dover, Massachusetts 

For an artist-in-residence program in eity schools and in 12,500 

Lompoc Federal Correction Institution. 

For the continuing symposium on contemporary arts. 5,000 

For a workshops program to develop theater skills for 10,000

drug abusers. 

For workshops and performances with theater and dance 4,500

residencies. 

For the summer cultural enrichment theater arts touring 7,500 

program of performances for the inner-city community. 

For three exhibitions to tour Chieano and Indian popula­ 3,000

tion centers. 

To assist summer programs, led by professionals, that provide training or active participation in one or more art forros. 

Program funds: $499,980 

For the Third World Film Symposium and Third World $3,500 

children’s films in New York City and San Francisco. 

For the Alabama Shakespeare Festival Conserva~ory 5,000 

Program. 

For a community dance program ol~ering workshops, mini- 5,000 

concerts and classes in Afro-American dance and music 

by the Arthur Hall Afro-American Dance Company. 

For "Artsreach ’79," including a traveling team of local 5,500 

artisans and an acting group for weekend residencies in 

communities, "ArtsCamps" for ar~s training, and programa for senior citizens. 

For the Summer Puppetry Caravan, off ering puppe~ work- 8,000 

shops and shows for the southern Appalachian communifíes. 

For a summer theater troupe, including workshops and 5,000 

training to provide experience for youth in touring reperFor a program o~ering instruction by visiting master 6,000 artis¿s culminating in a series o~ eoncerts and lceturedemonstrations for the community. 

For a murals pro]ect with community members. 2,000 

For touring ah original black hiztory musical produetion 8,000 

by the Middleton A fro-American Club. 

For a theater training p~ogram. 1,750 

For "Surnmer Arts Season," a series of workshops and 9,500 

performances in the arts involving exhibitions and festivals. 

For travel costs to participate in the Second New World 6,000 

Festival of the African Diaspora in Haiti. 

For the summer multi-arts festivals in the performing 5,000 

arts including ah artists-in-residence program. 
Expansion Arts 75 

Chemung Valley Arts Coun¢il 

Corning, New York 

For a dance training program which prepares instruc¿ors 

to offer dance classes in creative movement to youth in 

rural eommunities. 

3,000 

Chinatown Planning Council For the Chinatown Summer Cultural Festival, offering a 5,000 

New York, New York variety of ethnie eelebrations for the eommunity. 

Cleveland Heights, City of For the Cain Park Summer Theatre, offering plays at 5,000 

Cleveland Heights, Ohio low prices and other events for the community and senior 

citizens. 

Columbia, City of 

Columbia, South Carolina 

For a summer-long ¢ommunity arts program ¿ncluding 

arts workshops and two festivals. 

5,000 

Community Mural Project 

Chicago, Illinois 

For wall murals by eommunity residents and youth ¿n 

[our different arcas of the city. 

7,500 

Concerned Musieians of tIouston For a ]azz workshop for junior and senior high sehool 11,000 

Houston, Texas youth including field trips and classes. 

Council of the Arts for Children For artist residencies, performances, field trips, speeial 9,000 

New Orleans, Louisiana education programs, and workshops with professional arts 

specialists. 

Creede Repertory Theatre 

Creede, Colorado 

For audience development, apprenticeships, dramaties 

workshops, and a guest artists program. 

12,500 

Cresson Lake Playhouse 

Spangler, Pennsylvania 

For a local history production, two other productions, a 

partwipation play for youth, workshops and demonstrations, anda touring sHde show. 

10,000 

Cultural Council Foundation 

New York, New York 

For Charas’ festivals, performances, and workshops in the 

arts for the inner-city community. 

7,500 

EcoTheater For workshops in theater skills and development of pro­ 10,000 

Hinton, West Virginia ductions by local residents. 

El Centro Cultural y Museo del 

Barrio 

For production by community members of murals for 

the interior walls of the Holy Cross Hospital. 

5,000 

Taos, New Mexico 

Festival of a Thousand Oaks Fora music schoIarship program offering minority youth 12,500 

Omaha, Nebraska performance experienee with coaching from professional 

artists. 

Greater Fall River Re-Creation For the Street Theatre Program, whieh offers two free 5,000 

Committee plays, including speeial performances for senior eitizens 

Fall River, Massaehusetts and speeial-needs residents. 

Greater Milwaukee Council of Arts 

for Children 

Milwaukee, Wiseonsin 

For the Summer Enriehment Experiences youtñ program, 

including classes, workshops, training, and arts experienees 

offered by siz professional arts groups. 

7,500 

Gruber Foundation Fora seholarship programat the Merrimack Valley 4,000 

Manehester, New Hampshire Musie Center for disadvantaged musie student instrumentalists from New England. 

Hartford Stage Company 

Hartford, Connecticut 

For the Summer Youth Theatre program offering workshops, training, and performance experience for disadvantaged inner-city youtñ. 

7,500 

Hawaii State Foundation on the For a series of art activities for senior citizens. 7,500 

Culture and the Arts 

Honolulu, Hawaii 

Hendersonville Arts Council For a program in the parks offering multi-disciplined arts 5,000 

Hendersonville, Tennessee training to arca youth. 

Inner City Youth League Cultural 

Arts 

For the "Art Department," which promotes ah awareness of the arts through instruetion, training, ezhibitions, 

5,000 

St. Paul, Minnesota workshops, and performances. 

Iowa Theatre Lab For "August Moon," ah intensive training program ¿n 4,950 

Catskill, New York exploratory theater and related diseiplines, including 

workshops, seminars, classes, and performances. 
76 Expansion Arts 

Jackson Community College 

Jackson, Mississippi 

Jersey City Cultural Arts Commission 

Jersey City, New Jersey 

Las Vegas Jazz Society 

Las Vegas, Nevada 

Learning Theatre 

Paterson, New Jersey 

Lindenwood Female Cullege 

St. Charles, Missouri 

Mettawee River Theatre Company
 

Whitehall, New York
 

Mid-Susquehanna Arts in Educa¿ion
 

Council
 

Carlisle, Pennsylvania 

Montana State University 

Bozeman, Montana 

Music Advisory Council 

Seattle, Washington 

Nalanda Foundation 

Boulder, Colorado 

Neighborhood Parents Club 

Baltimore, Maryland 

New Castle County

Wilmington, Delaware 

Niagara Council of Arts 

Niagara Falls, New York 

Ododo Theatre Foundation 

Tucson, Arizona 

Oklahoma Arts and Humanities 

Council 

Oklahoma City, Oklahoma 

Oklahoma Arts and Humanities 

Council 

Oklahoma City, Oklahoma 

Une Reel Vaudeville Show 

Sea¿¿le, Washing~n 

Otrabanda Company 

New Orleans, Louisiana 

Fora fins arts festival, including a variety of drama¿te, 4,000 

musical, and visual arts activities. 

For "Summer Festival ’79," offering a series of perform­ 5,000 antes and cultural events throughout the community. 

For a concert series saluting Duke Ellington, John Col- 5,000 trane, and Billie Holiday and ineluding workshops and 

pro-performance leetures. 

For "Paterson Arts Centered," offering a multi-disciplined 6,500 arts instruetion program, workshops, and performances to 

teenagers in the communi¿y. 

Fora theater ¿raining program including workshops for 5,000 youth, special educational workshops for teaehers, and 

performances for ¿he eommunity. 

For a theater touring season of outdoor performances in­ 4,000 eluding puppet and mask-making workshops, parades, and
 

festivals for small ¿own communities in upsta¿e New
 

York and Vermon¿.
 

Fora program in the performing and visual arts, crea­ 5,000 tive writing, and film and photography training for high
 

school students.
 

For "Shakespeare in the Parks ’79," ineluding touring to 10,000 rural communities and for the Renaissance Theatre Festival, a three-week repertory series for the community of
 

Bozeman.
 

For "Music in the Parks," featuring concerts of various 19,830 

musical styles for the community; and for "Summerstage 

’79," a series of workshops, classes, and stage experiences 

for youth, culminating in two touring produe¿ions to inelude performances for hospitalized children and the 

handieapped. 

For the "Talking Band," involving the crea¿ion, perform- 2,900 

ance, and touring of an original theater piece ¿o be performed for the community and special needs groups in
 

Boulder.
 

For instruetion and performances in the arts for high 15,000 

school students, and for a series of Íestivals for the 

community. 

For "Parks Coneerts 1979," a series of workshops, per- 7,000 

formanees, and demonstrations emphasizing different 

styles of ¿raditional American music. 

For the "Niagara Falls Experienee," a series of eoneerts 5,000 

and performances involving ethnic and cultural groups 

in the arca. 

For Ododo Teen Theatre, ineluding workshops, playwri¿- 5,000 ing, performances, and touring. 

For a musi~ programat ¿he Joe Harp Correctional 7,000 

"Facility, ineluding guest instructors and ah artist-inresidenee, workshops, elasses, and performances by the 

inmates. 

For the Oklahoma Summer Arts Institute, offering multi- 4,000 

art instruetion by master artists for youth, ineluding e~­

hibitions and performances in festivals. 

To plan, produce, perform and tour ah original vaude- 7,500 

ville show based on the music, myths, and history of the 

Paeific Northwest to be performed in rural eommunities. 

For the River Raf¿ Rsview, a series of free performances, 10,000 workshops, and demonstrations for small towns along 

the Mississippi River. 
Expansion Arts 77 

Park College 

Parkville, Missouri 

For interpreta¿ion workshops and the production of 

locally written original scripts for the Actor’s Prologue 

Company Original Repertory Theatre. 

5,000 

People’s Theatre Company 

Bethlehem, Pennsylvanía 

For a street theater program featuring three groups of 

tour~ng performers which perform original plays for community groups, including youth, the bilingual population, 

7,500 

the handicapped and the aged. 

Performing Arts Combined Talent For "Hello Phoeni~!" ah all-ethnic community festival. 3,000 

Phoenix, Arizona 

Pickle Family Circus 

San Francisco, California 

Fora program of workshops and demonstrations, including the touring of a one-ring circus production for local 

community service organizations. 

12,500 

Piedmont Citizens for Action For "Summer’s Worlds," featuring workshops, classes, 12,500 

Worcester, Massachusetts performances, exhibitions, mural painting, and cultural 

celebrations for city residents, including special programs 

for the elderly. 

Portsmouth, City of 

Portsmouth, New Hampshire 

For the "Festival," including multi-diseiplined arts workshops, demonstrations, and performances for the seacoast 

~’egion of the Northeast. 

7,500 

Project Discovery 

Taos, New Mexico 

Fora children’s ~nulti-arts progra~n offering workshops, 

instruction, performances, and exhibitions. 

10,000 

Providence Inner City Arts 

Providence, Rhode Island 

For technical and artistic assistance workshops for the 

planning, development, and implementation of various 

community arts festivals. 

5,000 

Riverfront Festival of Spokane 

Spokane, Washington 

For "Celebration ’79," a visual and performing arts 

festival including workshops, performances, cxhibitions, 

and a children’s festival. 

5,000 

Rutherford County Arts Council 

Forest City, North Carolina 

For an arts "County Convocation," including a pageant, 

folk music concerts, demonstrations and workshops of 

indigenous crafts and performing arts, and an arts camp 

7,200 

íor youth in the visual and performing arts. 

St. John’s Niantic Episcopal Church For the summer prison arts theater program. 3,000 

Niantic, Connecticut 

St. Mary’s Summer Festival 

Lexington Park, Maryland 

For a festival, offering concerts, lectures, art exhibits, 

crafts workshops, demonstrations, and theater perform7,000 

ances. 

San Francisco Dancers Forum For a dance program including scholarships, workshops, 4,500 

San Francisco, California elasses, and performances; field trips for low-income 

youth; and speeial workshops íor the handicapped. 

San Jose, City of 

San Jose, California 

For "New Sounds San Jose 11," a community muslo 

festival offering workshops, seminars, classes, artists-inresidence, and concerts. 

5,000 

Santa Fe, College of 

Santa Fe, New Mexico 

For the Santa Fe Mobile Theatre Company, including 

bilingual performances for remote villages, Indian pueblos, 

and barrios. 

6,000 

Self-Help Graphics and Art 

Los Angeles, California 

For "La Celebration del Día de Los Muertos," involving 

workshops, theatre exhibits and demonstrations, and 

culminating in a parade and festival. 

5,000 

Springfield, City of 

Springfield, Massachusetts 

Fora series of multi-art programs including workshops, 

classes, touring artists, and performances in the city’s 

parks. 

5,000 

Theatre for the New City Foundation For the creation, development, and perfor~nance of an 7,500 

New York, New York original musical street theater play to tour surrounding 

communities. 

Theatre Research For the South Street Theatre Company’s program, involv­ 7,500 

New York, New York ing the production of three plays o~ered free to lunchtime audiences. 
78 Expansion Arts 

Trotwood Circle Theatre 

Trotwood, Ohio 

University Settlement Society of 

New York 

New York, New York 

Vermont Mozart Festival 

Burlington, Vermont 

Westport, Town of 

Westport, Connecticut 

Wooster Art Center 

Wooster, Ohio 

Young Musicians 

Marylhurst, Oregon 

City Arts 

Arts and Science Council of Charlotte 

Charlotte, North Carolina 

Arte Council of San Antonio 

San Antonio, Texas 

Arte Development Service 

Buffalo, New York 

Atlanta, City of 

Atlanta, Georgia 

Baltimore, City of 

Baltimore, Maryland 

Boston Foundation 

Boston, Massachusetts 

Chicago Council on the Fine Arts 

Chicago, Illinois 

Cleveland Area Arte Council 

Cleveland, Ohio 

Dallas, City of 

Dallas, Texas 

Detroit, City of 

Detroit, Michigan 

Knoxville, City of 

Knoxville, Tennessee 

Los Angeles, City of 

Los Angeles, California 

Miami, City of 

Miami, Florida 

For ah intensive theater apprenticeship program includ- 2,100
 

ing scholarships, workshops, and perÍormances.
 

For "Action for Progrese," a program of summer cultural 5,000
 

events presented by I-tispani¢ artists.
 

For a classical music program including instruction, work- 4,000 shops, lecture demonstrations, and Íree concerts for the 

handicapped and aged. 

For the sixth Summer Arte Festival, a program involving 6,000
 

drama, dance, and muele activities for the community.
 

For the "Youth Theatre Workshop," olÍering workehops 2,750 to children ages six through 12 including the production oÍ 

a children’s play. 

For a program in the performing arte involving proles- 7,000 

sional instruction and perÍormance experience /or youth. 

To stimulate local involvement in the funding and administrative 

development of the neighborhood arts field. 

Program funds: $775,637 

For subgrants and technical assistance to community arte $25,000 

programs. 

For subgrants anda technical assistance program serving 60,000 

predominantly Black and Mexican-American communities. 

To provide subgrants and expand technical assistance 32,500 

services to neighborhood arte groups. 

For locally administered funding programs of grant- 50,000 

making and technical assistance to community arte programs, the Bureau of Cultural Affairs Major Arte Prograto, and the New Audiences project. 

For local financial and technical assistance to community- 57,500 

based arte organizations. 

To provide subgrants and technical assistance to neigh- 57,500 

borhood arte progra?ns. 

For subgrants and technical assistance to community arte 57,500 

programs. 

To provide subgrants and technical assistanee to neighbor- 28,000 

hood arte programs. 

For the grants-in-aid program which provides technical 42,000 

and financial assistance to organizations not currently 

receiving support from the Park and Recreation Department. 

To provide local financial and technical assistance to 63,137
 

community-based arts organizations.
 

For the CityArts Program designed to increase the avail- 60,000 

ability of quality neighborhood arte activities in the inner 

city atea. 

For the city’s subgranting and technical assistance pro- 75,000 

gram /or community-based arte programs. 

For subgrants and technical assistance to community arte 50,000 

programs. 
Expansion Arts 79 

Minneapolis, City of For the city’s cultural voucher program, providing funds 50,000 

Minneapolis, Minnesota to bring the arts to various inner-city communities. 

For subgrants and technical assistanee to neighborhood 67,500 Seattle, City of
 

Seattle, Washington arts programs.
 

To aid successful community arts organizations that serve as models 	ommunity for other groups. Cultural Centers Program funds: $654,500 

For specialized arts counseling, classes, workshops, ex- $15,000 Action for Bridgeport Community 

Development
 hibits and perÍormances for youth, low-income, and

Bridgeport, Connecticut minority populations.
 

30,000 Amigos del Museo del Barrio	 For exhibits for youth and adults, the mobile exhibits 

New York, New York and the program based on the Puerto Rican culture.

25,000 Baltimore Theatre Project	 For performances and workshops in the performing arts 

Baltimore, Maryland for the Baltimore Neighborhood Arts Circus.

10,000 Casa de Amigos Community Center	 For a bicultural art center for Chicanos involving the 

Houston, Texas visual and performing arts.

12,500 For workshops, tours to plays and concerts, film drama 

program, and the community theater and art shows. 

Collinwood Arts Council 

Cleveland, Ohio 

12,500 Columbia College Fora program of traditional mountain arts, including 

Chicago, Illinois workshops, displays and demonstrations in crafts, muslo 

and dance, community murals, children’s art classes, and 

festivals for Appalachian migrants in the arca. 

For a program of community services in the arts to in- 70,000 Dunham Fund for Research and 

Development of Cultural Arts dividuals of all ages, especially senior citizens and inmates. 

East St. Louis, Illinois 

10,000 East Cleveland Community Theatre For theater classes and training, workshops, performand Art Center ances, technical and artistic assistance to other theatcr 

Cleveland, Ohio groups, and instruction for youth and the low-income

community. 

7,000 El Centro Cultural Auctoctono For a program of Mexican-American art and culture including workshops, presentations, exhibitions and scholar- de la Gente ships, and to sponsor local performing and visual arts San Jose, California groups. 

For a cultural center which will provide various arts 10,000 Fine Arts Association 

Willoughby, Ohio	 activities for the community. 

17,500 For ah arts program for elementary school children in ¿he Forum: Center for the Arts 

Denver, Colorado inner city.

For instruction in the performing and visual arts for 30,000 Harlem School of the Arts 

New York, New York young, inner-city persons.

15,000 Henry Street Settlement	 For workshops and classes at the Music Center, and for
 

New York, New York the residency of the Frank Ashley Dance Company.


Ibero.American Action League	 For the Puerto Rican Art and Cultural Center’s arts pro- 7,500 

Rochester, New York grato, workshops, shows and exhibitions.

40,000 lnner City Cultural Center	 For the theater, dance and music programs, exhibitions,
 

concerts, festivals, and cross-cultural exchange programs.
 Los Angeles, California 

10,000 Inner City Cultural Center	 For classes in the performing arts and ethnic arts, audience development, and technical assistance to local com-
 Long Beach, California munity arts organizations. 

For the Galería del la Raza’s Studio 2$ gallery space 30,500

and design center. 

Intersection 

San Francisco, California 
80 Expansion Arts 

Karamu House 

Cleveland, Ohio 

Lewis (Elma) School of Fine Arts 

Roxbury, Massachusetts 

National Urban Coalition 

Washington, D.C. 

Newark Community Center of the 

Arts 

Newark, New Jersey 

Newark N.A.A.C.P. Multi-Purpose
 

Center
 

Newark, New Jersey
 

Performing Arts Society of
 

Los Angeles
 

Los Angeles, California
 

San Antonio, City of
 

San Antonio, Texas
 

Sharon Creative Arts Foundation
 

Sharon, Connecticut
 

Sun Valley Center for Arts and 

Humanities 

Sun Valley, Idaho 

Waianae Coast Culture and Arte 

Waianae, Hawaii 

Wilson (Woodrow) International
 

Center
 

Washington, D.C.
 

Community Arte 

Consortia 

Community Art Resource 

San Francisco, California 

Graduate School of Urban Resources 

and Social Policy San Diego, California 

National Arts Consortium 

New York, New York 

Rainbow Management and 

Development 

Los Angeles, California 

Rainbow Management and 

Development 

Los Angeles, California 

For the Urban Neighborhood Arte Projeet and the Arte 50,000 [_,ab Program. 

For workshops for senior citizens and disadvan¿aged youth 70,000 culminating in a stage production. 

For the training program including theater and dance 50,000 workshops, theater history elassee, exhibitions, and various
 

speeial events.
 

Fora training and scholarship program in muele, dance 15,000 and drama for inner-¢ity children, and the developmen$ of
 

a gifted-student program.
 

For training and workshops for all musical instruments, 15,000 and for a eommunity choir and instrumental ensemble. 

For salaries of administrators and multi-arts instructors 30,000 and for publicity and promotion. 

For the Zumbro Center and four performing companise 15,000 which tour and offer workshops. 

For summer and amateur theater performances, art e~­ 12,000 hibits and workshops, a film festival and special events
 

for a rural community.
 

For workshops in ceramics, photography, graphics, and 12,500 dance and for the salary for a eommunity programs
 

coordinator.
 

For workshops in the dance, musie, and craíts of the 20,000 Polynesian and other cultures in Hawaü. 

For a Latín program of muele, visual arte, ¿heater, and 12,500 dance training for youth. 

To enable groups of two or more community arts programs to share 

administrative, technical, financial development, and promotional 

resources.
 

Program funds: $142,000
 

For the administration of the consortia involving United $27,500 Proiects, Black Writers Workshops, United Visual Artists,
 

and Afro-American Friends of the Dance.
 

For the administration of the consortia involving ¿he 37,500 Black Theater Group, Filipine Dance Company, Chinese 

Danee-Theater, Hispani¢ Living Museum, and the 

Women’s Company. 

For the administration of the consortia involving the Alto­ 42,500 American Total Theater, Ballet Hispanieo oí New York, 

Jazzmobile, Weusi Nyumba Yasanaa Gallery, and 

Academy of Arte and Seiences. 

For the consortia, which provides administrative support, 32,500 fiscal planning, accounting services, marketing, advertiso 

ing, program planning, and development to several blaek 

art organizations. 

For the Consortia ~neeting held in 1979 and for produ¢­ 2,000 tion costs related to the development of MESBIC. 
Expansion Arts 81 

Neighborhood	 To aid organizations that provide technical assistance to community 

arts groups. Such assistance might include equipment loans, pub- Arts Services	 licity, sponsorship of activities, and help with real estate, fund 

raising, accounting, and legal matters. 

Program funds: $450,000 

Treasury funds: $ 50,000 

Private gifts: $ 50,000 

Arts Council 

Winston-Salem, North Carolina 

For the Urban Arts program, including technical and 

artistic assistance and workshops to neighborhood arts 

organizations, a newsletter, and the salary fora com­

$15,000 

munity facilitator. 

Arts Council of Baton Rouge 

Baton Rouge, Louisiana 

For technical assistance, planning, promotional and programmatic services, and for the coordination of festivals, 

workshops, touring performances, and instruction in the 

30,000 

visual arts and drama. 

Arts Council of Windham County 

Brattleboro, Vermont 

For a newsletter-calendar, a weekly arts-radio show, workshops and presentations, the School Arts Coordinators 

program, and an artist directory. 

2,500 

Arts Resource Services For classes and performances for special constituencies, 10,000 

Seattle, Washington technical assistance for community art groups, exhibition 

and perfor~nance space, management training workshops, 

anda graphic center. 

Asian Benevolent Corps 

Washington, D.C. 

For arts exhibitions, workshops, performances, and forums 

at the Amerasian Community Cultural Center. 

15,000 

Brooklyn Arts and Culture 

Association 

For workshops, scholarships in the arts, exhibitions, publicity, festivals, special events, and grants administration. 

20,000 

Brooklyn, New York 

Bronx Council on the Arts 

Bronx, New York 

For technical assistance, fund-raising advice, planning 

workshops, calendar and newsletters, grants administration, a "Model Art Center," a mural program and festi20,000 

val8. 

Chinese Culture Foundation of For workshops, seminars, exhibitions, a resource center, 10,000 

San Francisco and promotion of various performing arts groups. 

San Francisco, California 

COMPAS For workshops and activities at various neighborhood si~es, 30,000 

St. Paul, Minnesota involving professional artists in community arts programs, 

and for publication of a neighborhood arts newsletter. 

Cultural Council Foundation 

New York, New York 

For the Association of Hispanic Arts’ services to member 

organizations, including newsletters, lecture.demonstrations, workshops, festivals, promo¿ion, audience develop35,000 

ment and central dissemination of information. 

Cultural Council Foundation 

New York, New York 

For the Environmental Community Arts Corporation’s 

"Barter~own," a program creating neighborhood festivals 

for free exchange of ob]ects, services and skills, and for 

"Loafers," participatory festivals. 

10,000 

Cultural Council Foundation 

New York, New York 

For Seven Loaves, an organization o~ering administrative 

and technical assistance. 

17,500 

District of Colurabia Commission on 

the Arts and Humanities 

For a technical assistance program for neighborhood arts 

organizations. 

17,500 

Washington, D.C. 

Federation of Communities in Service 

Knoxville, Tennessee 

Fora neighborhood arts resource program for the central 

A ppalachian community. 

20,000 

Galveston County Cultural Arts 

Council 

Galveston, Texas 

For the Arts Uenter on ~he Strand’s professional arts 

classes, workshops, exhibits, performances, and ¢ommunity 

services. 

30~000 

Greater Philadelphia Cultural 

Alliance 

For a neighborhood arts services program to local arts 

organizations. 

17,500 

Philadelphia, Pennsylvania 
 

82 Expansion Arts 

Intercultural Council of the Arts 

San Diego, California 

For a program of technical services and assistance to

artists and arts groups. 12,500 

Intersection 

San Francisco, California 

For administrative costs as well as development oÍ neighborhood arts service8. 12,500 

Maryland-National Capital Park and 

Planning Commission 

For administrative salaries for arts activities in Prince 

George’ s County. 

15,000 

Riverdale, Maryland 

Nationa] Conference of Artists 

New York, New York 

For the Art Services Division, a program providing services to artists and art organizations. 

12,500 

Queens Council on the Arts For workshops, seminars in technical, programmatic, pro­ 10,000 

Queens, New York motional and financial assistance, equipment loans, quarterly periodicals, calendar of events, exhibitions, and 

festivals for the community. 

San Francisco Arts Commission For the Neighborhood Arts Program, including work- TF 50,000 

San Francisco, California shops, performances, services to neighborhood artists and PG 50,000 

arts groups. 

Santa Barbara County Schools For the salary fora neighborhood arts coordinator. 5,000 

Santa Barbara, California 

Staten Island Council on the Arts For neighborhood arts services. 10,000 

Staten Island, New York 

Tacoma, City of 

Tacoma, Washington 

For a neighborhood arts assistance program. 15,000 

University Circle For the Circle Center for Community Programs serving 10,000 

Cleveland, Ohio the local inner-city community with arts programs. 

Urban Appalachian Council For an oral history program, a media campaign, a theater 7,500 

Cincinnati, Ohio pro]ect, a video service program, and special events including festivals. 

Urban Gateways For the dissemination of arts education materials anda 40,000 

Chicago, Illinois teacher-training program, to provide consulting services, 

and to expand the artists-in-schools programs. 

General Programs To assist projects not included in other grant categories. 

Program funds: $768,970 

Alternate ROOTS For the salary of ah executive director of the Play Group $10,000 

Knoxville, Tennessee to coordinate a regional network of artists and arts organizations. 

Arts Ticket Service Boston For the salary of a community coordinator to engineer the 10,000 

Boston, Massachusetts mechanics of the ticket voucher program. 

California State College Sonoma For "Arts and the Elderly" and arts enrichment pro- 7,500 

Foundation for Educational gratas.

Development 

Rohnert Park, California 

Center for Book Arts	 For workshops and classes in graphic design, hand book­ 5,000 

New York, New York	 binding, letterpress printing, wood engraving, box making, 

and Íor conferences, exhibitions, lectures, films and demonstrations. 

Clark College Fora new folk opera, The Ballad of Catfoot Grimes, com- 10,000 

Atlanta, Georgia bining dance, music, theater, and early 20th-century history of southern Louisiana culture. 

Community Center for the Creative For administrative costs, workshops in the performing 12,500 

Arts arts and crafts, and outreach programs for minorities, 

Greeley, Colorado senior citizens, and the disadvantaged. 
Expansion Arts 83 

20,000 Compared to What? For ¿he winter and summer cultural arts and education
 

Washington, D.C. workshop programs and radio show.
 

For the Arte Management Skills Exehange program. 5,000 Cultural Council Foundation
 

New York, New York
 

7,500 Cultural Education Collaborative For administrative coste in its community arts program.

Boston, Massachusetts 

24,770 Dance Exchange	 For the production of a multi-media presenta¿ion for the
 

Washington, D.C. Expansion Arte Progra~n.


For an alternative eenter for the third world arts. 15,000 Fondo del Sol 

Washington, D.C. 

7,000 Graduate School for Urban Resources For the Cicely Tyson Ensemble, a black e~perimental
 

and Social Policy group.
 

San Diego, California
 

336,000 A contrae¿ for evaluation and technieal assistanee whieh 

Washington, D.C.	 is designed to provide on-site evaluation visite and comprehensive eerviees to community and neighborhood-based
 

ar¿s programs. Ezpertise is o1~ered in sueh arcas as managemen¿, production technology, fundraising, publicity, aceounting, eommunity organiza¿ion, sta~ and board development, and artisti¢ prograrn~ning. The technical assistants 

sent to the field may be artists, administrators, business 

persons, accountants, public relations specialists, or community organizers. For ¿he evaluation program, the contractor will handle administrative proeedures, fielding of 

evaluator.% and reporting on ¿he evaluation proeess. 

Media Associates* 

7,500 Miami, City of For Kwanza, a traditional African celebra¿ion including

Miami, Florida workshops in v~sual arte, musical heritage, oral history

tradi¿ion, and demonstrations by artists. 

15,000 Museum of African American Art For the museum’s administrative coste.

Los Angeles, California 

For a neighborhood and ethnic arts program. 16,500 National Center for Urban Ethnic 

Affairs 

Washington, D.C. 

10,000 Peoples and Cultures For a program of rollo arte and crafts among Clevela~d’s 

Cleveland, Ohio ethnie cultures. 

17,500 Rainbo~ Sign For the community center artist-in-residence program,
 

Berkeley, California poetry readings, lecture series, cIasses, and workshops in
 

the visual and performing arts.
 

20,000 Rainbow Television Workshops	 For a filmmaking and vídeo workshop, including training, 

produetion, and critique for the Museum of Afro-American 

History. Boston, Massachusetts 

172,200 Research Informa¿ion Systems and	 For the first and second phases of new service activities 

in behalf oí the neighborhood arts field, including comWashington, D.C.	 pilation and analysis of existing data, design, and initial
 

publica¿ion of a national newsletter, and workshops on
 

pro]ect models and on access to the ~nedia.
 

Evaluation* 

15,000 United Indians of All Tribes	 For ah eztensive promotion and audience development 

campaign to increase public awareness of aetivities at the Foundation 

Seattle, Washington	 Daybreak Star Arts Center. 

Fora study to assess the service needs of the neighborhood 17,500 Whitfield, Vantile E.*
 

Washington, D.C. arte field.
 

7,500 Writers in Residence For produetion workshops dealing with original manu-


Great Neck, New York scripts, ineluding Spanish, and for senior citizen’s workshops.
 

* ©ontract ; TF~Treasury funds ; ~PG--private gifts 

85 

Folk Arts
 

What are folk arts?  ̄ Folk arts are sophisticated. Each master 

Most of us think: craftsman, each master musician, works from 

 ̄ Folk arts are simple. They are easy and a tradition so complex and so artfully refined 

childlike; "anyone can play"; they represent over generations that ir takes the most careful 

documentation to capture it for our future the democratic ethos at its best. 

 ̄ Folk arts are benefit. Ukrainian egg-painters can distinguish natural. They are innate, their work from that of Polish or Russian egg- inborn, arising out of the general human condi­ painters ata glance. The rest of us, untutored tion, out of universal íeelings and perceptions, and naive, require thorough, sometimes even  ̄ Folk arts are unsophisticated. They may be scholarly, explanations to guide us through the a bit crude, but this is because they occur spon­ mysteries. taneously, free of restrictions. They are the  ̄ Folk arts are alive. Indeed, in many places ultimate expression of the individual psyche, and among many groups, they are growing. Ir uninstructed and untaught, 

is true that each week--sometimes, ir seems,  ̄ Folk arts are dead. They are what our each day--we lose another old master; itis great-grandparents did long long ago in the that which makes our work seem ever more Elysian age when things were (somehow) urgent. Still, the young people are always with easier, and when the simple, natural, and un­ us, and they seem, at this time, to be re-evalu­ sophisticated ways could (somehow) persevere, ating the past, to be learning from it, to be 

using it asa springboard for new artistic The Folk Arts Programat the National En- adventures. dowment for the Arts has not found this description true. Instead, we discover, as we look To support these complicated, culturally 

around our diverse nation, that: specialized, urbane, and lively arts, the Folk 

 ̄ Folk arts are complex. In our apprentice- Arts Program has formed its strategies after 

ship program, every report tells us that there the classic models: from the Little Tailor in 

is far more to learn than the neophyte has the Grimms’ fairy tales, from Monkey, from 

expected. The great guitarists, lace-makers, and Hodje, from B’rer Rabbit, from Coyote. We 

step-dancers make ir look easy, but mastering try to be quick and clever and creative; we try, 

the art and the essence of the style is a long- above all, to keep single-minded. We have only 

term job that requires a serious commitment, one goal: to help preserve the very highest 

forms of the multiple aesthetic systems that  ̄ Folk arts are culturally specific. In every make life in these United States joyful and one of our multi-cultural urban festivals, each exciting. ethnic or tribal group likes to demonstrate its 

own special aesthetic vision, its own particular "Multiple" is the important word. Other 

artistic life. The single truly universal principle programs within the Endowment endeavor to 

appears to be mutual appreciation. As one of sponsor variation and creativity by nurturing 

our most honored grantees, the great Black individual talent, the private visions of the 

singer, Mrs. Bessie Jones, once remarked: "I independent and self-motivated artis~. Folk 

just love to hear people play their own music Arts has a different task: the fostering and 

because they do it so well!" nurturing of whole aesthetic systems. That 

Ukrainian bandura player at Peoples and Cultures Benefit-­

Cleveland Pipeline Museum. Photo: Steve Cagan 
 

86 Folk Arts 

Victor Bobb, canemaker--Center for Southern Folklore, Memphis. Tennessee.
 

Photo: Bill Ferris
 

these systems exist is enough to enliven everyday life in the present. Their development may 

well enlighten the future that awaits us. We 

look to the past to inform the present and make 

the future more elegant, 

Ir is nota simple job; and, naturally, we 

make mistakes every day. Naturally, too, we 

prefer to talk about our successes: our IrishAmerican tour that for two years has brought 

the very finest of traditional Irish musicians 

and dancers into communities across the United 

States; our folk arts coordinator program that 

has to date placed full-time folk arts advocates 

in central positions in 15 state governments; 

our documentary activities that have produced 

such widely shared films as No Maps on my 

Taps, on Black tap dancers, or The Popovich 

Brothers of South Chicago, on a Serbian-American musical family. Our quieter grants have 

a special importance too: our sponsorship of 

small local festivals in sites as remote as St. 

Simon’s Island, Georgia; Zion National Park, 

Utah; Topeka, Kansas; and Hallowell, Maine; 

our Folk-Artists-in-Schools programs in Ohio, 

North Carolina, and Alabama. 

We are proud, too, of our "speciar’ grants: 

to support, through a series of workshops for 

younger tribal members, the skin-sewing skills 

of Alaskan Eskimos; to help the Basques of 

our western states retain their ancestral musiseries of radio programs broadcasting traditional contemporary California corridos (narrative songs about actual events). We support 

Mexican-American mariachi teachers, Black 

blues pickers, German-American hammer dulcimer makers, New Mexico Hispanic tinsmiths, 

and Native-American Klicketat basketweavers. 

We try to use our federal monies creatively. One of our proudest discoveries is that 

during the years of the Folk Arts Program’s 

existence, we have funded only ñve organizations on an annual basis. Many of the groups 

that we help take pride in telling us good-bye: 

"We hada real nice festival (or concert series 

or workshop or exhibir), and we raised enough 

money so that we don’t have to come back to 

you next year." 

We tell them, "So long, and Godspeed; remember us ir you ever need us again." Then 

we turn our attention to the next of the myriad 

of regional or cultural groups in our incredibly 

varied nation that need a little encouragement 

to remain themselves, to retain their uniqueness, to honor and revere their artistic pastspresents-futures, to keep American cultural 

diversity and creativity alive and well. 

cal skills through teaching their young people ~ ~ ~¿N~.~~ ~.~~~-~ to play the txistu, their traditional flute; to 

encourage Mexican-American traditional song- Bess Lomax Hawes 

compositional styles by means of support to a Director, Folk Arts Program 
Folk Arts 87 

Folk Arts Advisory Panel
 

Roger Abrahams, Cha|rman
 

Professor
 

Department of English
 

Scripps College
 

Claremont, California
 

Edward Ives
 

Director
 

Northeast Archives of Folklore and
 

Oral IIistory
 

University of Maine
 

Orono, Maine
 

William Ivey
 

Executive Director
 

Country Music Foundation
 

Nashville, Tennessie
 

Frederic Lieberman 

Professor 

Department of Music 

University of Washington 

Seattle, Washington 

Worth Long
 

Folklorist
 

Field Research Specialist
 

Union College
 

Jackson, Mississippi
 

Judith McCulloh
 

Editor
 

University of Illinois Press
 

Champaign, lllinois
 

Clydia Nahwooksy
 

Dírector, Cultures and Arts
 

of Native Americans
 

Norman, Oklahoma
 

Petir Seeger


Folk Singer 

Beacon, New York 

Folk Arts Grants
 

Folk Arts 

Acadiana Arts Council 

Nashville, Tennessee 

Alabama State Council on the 

Arts and Humanities 

Montgomery, Alabama 

Alaska State Council on the Arts 

Anchorage, Alaska 

Alaska, University of 

Fairbanks, Alaska 

Alternative Center for 

International Arts 

New York, New York 

America the Beautiful Fund 

Washington, D.C. 

American Dance Guild 

New York, New York 

American Indian Council on 

Alcoholism 

Milwaukee, Wisconsin 

John Szwed
 

Professor of Folklore and Folklife
 

University of Pennsylvania
 

Philadelphia, Pennsylvania
 

Barre Toelken
 

Professor of English
 

University of Oregon
 

Eugene, Oregon
 

Roger Welsch
 

Professor of English
 

University of Nebraska
 

Lincoln, Nebraska
 

Program funds: $2,443,858 

To enable nonprofit organizations to support arts activities where 

folk arts are presented, such as local festivities, concerts, exhibits, 

and touring performances. Grants are also awarded for the documentation of traditional arts through radio, film, and recording; and 

for general assistance to the field. 

Program funds: $2,376,080 

For the Acadian Music and History series, classroom pre­ $11,000

sentations designed to develop ah understanding oí the 

"Cajun" folk music traditions of southwest Louisiana. 

For experimental workshops in Alabama schools and com- 5,940 

mz~nities. Films that focus on individual Alabama traditional artists will be shown, followed by live pressntations 

by the same artists. 

For a folk-native arts coordinator. 20,810

For a festival featuring native singers, dancers, storytell­ 26,200

ers, carver~, weavers, and other traditional Alaskan artists. 

For seven concerts of traditional music from around the 3,500

world. 

For a folk arts coordinator in the New York metropolitan 17,784

a~d z~pstate areas. 

For a touring program. Each stop will include a film 25,000 

screening of No Maps on My Taps, a live tap dancing performance, a dance workshop, and/or a lecture/discussion. 

For programs demonstrating the traditional tribal crafts, 17,500 

dance, music, and verbal arts of the Oneida peoples ~ow 

resident in Wisconsin. 
88 Folk Arts 

American International Sculptors 

Symposium 

New York, New York 

Amigos del Museo del Barrio 

New York, New York 

Appalachian Community Development 

Association 

Cincinnati, Ohio 

Appalshop 

Whitesburg, Kentucky 

Appalshop 

Whitesburg, Kentucky 

Arizona, University of 

Tucson, Arizona 

Atlanta, City of 

Atlanta, Georgia 

Atlanta, City of 

Atlanta, Georgia 

Baldwin (Abraham) Agricultural 

College 

Tifton, Georgia 

Balkan Arts Center
 

New York, New York
 

Balkan Arts Center
 

New York, New York
 

Balkan Arts Center
 

New York, New York
 

Berea College 

Berea, Kentucky 

Berea College
 

Berea, Kentucky
 

Big Drum Nation Dance Company 

Brooklyn, New York 

Boricua College
 

New York, New York
 

Boricua College
 

New York, New York
 

Bowling Green-Warren County Arts 

Commission 

Bowling Green, Kentucky 

Bowling Green-Warren County Arts 

Commission 

Bowling Green, Kentucky 

Brooklyn Academy of Music
 

Brooklyn, New York
 

BrooklynArts and Culture
 

Association
 

Brooklyn, New York 

Support to donate 1000 one-year subscriptions of Sing 5,000 

Out!, a folk arts periodical, to community and folklore 

centers, libraries, prisons, and other resource centers in 

the U.S. 

For workshops in the playing oÍ traditional Puerto Rican 11,730 

instruments and Íor concerts in Puerto Rican communities 

in the New York metropolitan area. 

For the folk musie component of the Cincinnati Appala- 10,000 

chian Festival and associated local community minifestivals. 

To present ~5 performances of traditional Appalachian 15,000 

story-telling programs in 25 southern Appalachian communities where conventional theater seldom travels. 

For development of 39 half-hour television shows featur- 20,000 

ing the art and culture of eastern Kentucky. 

Fora state-wide folk arts coordinator. 29,220 

For five folk arts summer exhibitions and demonstrations 2,500

by local artists in Central City Park. 

For the crafts and folkways component of the Georgia 3,260 

Grassroots Music Festival. 

For a folklorist in residence who will continue to develop 21,490 

community projeets increasing local understanding of folk 

arts traditions. 

To hire a consultant to develop a funding strategy to ex- 17,500 

pand the base oÍ support for the Balkan Arts Center. 

Second-year support in developing funding strategies and 12,900 

materials and expanding the base support of the Balkan 

Arts Center. 

For workshops, concerts and other artistic presentations 40,000 

by traditional ethnic communities in greater New York. 

To invite Mrs. Lily Mae LedÍord Pennington, singer and 9,443 

banjo and fiddle player from Red River Gorge County, to 

the Berea College campus as an artist-in-residence. 

For the Berea College Appalachian Center’s four-day cele- 2,000 

bration of traditional music. 

To enable a group of traditional singers, dancers, and 23,900 

musicians from Carriacou, Grenada (who now live in
 

Brooklyn), to tour community centers in the New York
 

area and to renovate the instruments of the group.
 

Fora series of trulla performances, a Puerto Rican Chrizt- 8,000
 

mastide musical tradition.
 

For the traditional arts component oÍ the two-day Loiza 17,500
 

Aldea Fiesta, a Puerto Rican folkloric celebration in honor
 

of St. James.
 

To document traditional artists in Warren County, to puf 13,700
 

together a traveling exhibir about the folk arts of the atea,
 

and to compile a guide to the arts and artists of the community.
 

To produce 12 radio programs presenting the traditional
 2,800

music of Kentucky, including coal mining songs, old time
 

ballads, string bands, and Blaek sacred and secular muslo.
 

For the second annual country music Íestival. 6,000 

For a film documenting the Manteo family, third and 13,000 

fourth generation Italian-American puppeteers. 
Folk Arts 89 

Burk (Frederic)Foundationfor 

Education 

For preparation of a traditional quilt exhibition from 

Black, Anglo, and Mennonite quilters now living in Cali17,488 

San Francisco, California fornia. 

Burk (Frederic) Foundation for

Education 

To amend a previous grant for continued support for the 

production of a film documenting the life stories and artis23,000 

San Francisco, California tic skill8 of a number of traditional quilt-makers in Cali­

]ornia. 

Byard Ray Folk Festival Association 

Hurdle Mills, North Carolina 

For a festival presenting the traditional music, song, and 

dance of the southern Appalachian mountains. 

3,000 

Caldwell Parish Police Jury To expand the Louisiana Art and Folk Festival and to in­ 4,500 

Columbia, Louisiana elude honoraria for local artists. 

California, Regents of the 

University of 

For documentation of the musical traditions of the Yurok 

and Tolowa Native Americans. 

10,246 

Los Angeles, California 

California, Regentsofthe 

University of 

To document the music of several southern California 

Indian tribes. 

15,559 

Los Angeles, California 

California, Regents of the To amend a previous grant supporting p~roduction of a 7,000 

University of film on Luther Metke, American folk artist and traditional 

Los Angeles, California log cabin builder. 

California State University, To amend a previous grant to support two documentary 7,000 

Foundation of filn~s about the traditional verbal arts of two Micronesian 

Sacramento, California cultures on the islands of Palau and Ponape. 

California State University Fresno 

Foundation 

To amend a previous garnt to support ¿he residen$ folk 

ar~ists program a~ the California State University at 

3,871 

Fresno, California Fresno. 

Carroll County Heritage Center For research, artists’ lees, anda booklet en Ozark stories 5,900 

Berryville, Arkansas and songs illustrating the art of storytelling in the region. 

Center for Gulf South Hístory 

and Culture 

For the production of a Ca]un-French version of the film, 

Gumbo--The Mysteries of Creole and Cajun Cooking. 

7,000 

New Orleans, Louisiana 

Center for Southern Folklore Fora folk art survey of western Tennessee, eastern 20,000 

Memphis, Tennessee Arkansas, and northwestern Mississippi, with associated 

outreach programs. 

Centrum Foundation For the annual Festival of A~nerican Fiddle Tunes, the de­ 19,080 

Port Townsend, Washington velopment of a week-long ethnic dance festival, and a yearlong position fora folk musician coordinator. 

Chelsea House of Folklore Center For performances at the center by New England folk 3,000 

Brattleboro, Vermont musicians. 

Chicago Celtic Cultural Council For interviewing ten traditional Irish musicians and for 7,000 

Chicago, Illinois preparing a series of articles abou$ them fora Chicago 

Irish-American newspaper. 

Chinese Music Society of For workshops on Chinese musical traditions for teenage 9,320 

North America students in Chinese cultural schools. 

Woodbridge, Illinois 

Circuit Playhouse 

Memphis, Tennessee 

For workshops and seminars in local Memphis pubIic 

schools by blues artists and other traditional musicians 

10,190 

from the Beale Stree$ Muslo Festival. 

Claiborne County Board of 

Supervisors 

Port Gibson, Mississippi 

For "Mississippi: Cultural Crossroads," a eommunity pro]­

ect to document the folk arts heritage of southwes~ Mississippi. 

9,114 

Collective Black Artists For a pilot film treatmen¿ of traditional Black gospel 5,000 

New York, New York music assemblies. 

College of the Atlantic 

Bar Harbor, Maine 

For a local festival of Maine folklife to include Frenchspeaking, English-speaking, and Native American tradi13,000 

tional artists. 
90 Folk Arts 

Columbia College For two multi-ethnic eraÍts e~hibits and an outreach pro- 8,000 

Chicago, Illinois gram to take exhibitions, lectures, and demonstrations of 

ethnic arts into Chicago neighborhoods. 

Columbia Historical Society	 To amend a previous grant to include honoraria for an 2,000 

Washington, D.C.	 additional folk artist and the services of a professional 

sound ~nan in a film documenting the oral poetry of fishmongers in the public market o] Washington, D.C. 

Columbus College of Art and Design	 To amend a previous grant /or additional film footage, 16,942 

Columbus, Ohio 

Committee on the Aging for 

Randolph County 

Elkins, West Virginia 

Creative Garden Theatre Company 

Grafton, West Virginia 

Dartmouth College, Trustees of 

Hanover, New Hampshire 

Daybreak Institute Music Society 

Los Gatos, California 

District of Columbia Music Center 

Washington, D.C. 

Dixie College 

St. George, Utah 

Documentary Educational Resources 

Watertown, Massachusetts 

Documentary Education Resources 

Watertown, Massachusetts 

Documentary Research 

Buffalo, New York 

Dogwood Arts Festival 

Knoxville, Tennessee 

East Tennessee State University 

John City, Tennessee 

Edward (John) Memorial Foundation 

Los Angeles, California 

El Centro Cultural y Museo el Barrio 

Taos, New Mexico 

Federation of Southern Cooperatives 

Epes, Alabama 

Ferrum College 

Ferrum, Virginia 

Ferrum College 

Ferrum, Virginia 

editing, and preparation of a booklet to accompany a film 

documenting the traditional art of Leonard L. St. Clair. 

For the "Old Masters" program of traditional arts work- 5,000 

shops conducted by local senior musicians and craftsmen. 

For radio programs devoted to the homeland ntusic of 5,750 

West Virginia. 

For local folk artists in Celebration Northeast, a two-day 2,000 

celebration of the traditional music of northern New England. 

To support artists performing traditional ethnic folk music 2,000 

of the Americas at the second annual Festival of International Folk Music in Santa Cruz. 

For Carl ("Mr. Rhythm") Jackson, a veteran tap dancer, 3,000 

to offer tap dancing workshops and seminars to the innercity community of Washington, D.C., and to tape record 

interviews with other veteran hoofers. 

Continued support for the celebration of the traditional 2,000 

arts of southern Utah at the Southern Utah Folklife Festival in Zion National Park. 

To produce films about the Francophone, Pakistani, and 17,500 

Hispanic traditional arts from footage shot during the 

1976 Festival of American Folklife. 

To produce a film on Eskimo music and dance.	 17,500 

For a film centering on William August May, a commer- 21,485 

cial deepwater fisherman who has worked the California 

coast fcr over 50 years, and the traditional arts and crafts 

connected with fishing, primarily net-making and storytelling. 

Fora traditional local music and crafts component in the 8,000 

¿wo-day festival. 

For a pilot folk artist-in-schools program.	 16,440 

For the initial phase of a discography of the many ethnic 29,450 

music recordings produced in the U.S. between 1895 and 

19~5. The information retrieved will be made available to 

ethnic cultural organizations and the general public 

through bilingual pamphlets. 

To photograph the work of the enjaradora, the women 29,820 

who traditionally do the final plastering and seulpting of 

fireplaces in adobe bornes. 

For the fieldwork and presentational expenses involved in 13,500 

mounting a festival of traditional artists and musicians in 

four counties in rural northeastern Mississippi. 

For ah internship at Blue Ridge Institute.	 9,280 

To dernonstrate at the 1979 Blue Ridge FolkliÍe Festival 1,850 

the skills that hace grown up around the craft of automobile design. 
Folk Arts 91 

Ferrum College To develop a section for the 1979 Blue Ridge Festival con­ 1,260 

Ferrum, Virginia cerning children’s traditional music, songs, games, contests, stories, crafts. 

Film Arts Foundation Fora film documenting several renowned American folk 15,000 

San Francisco, California musicians, including Mike Seeger and Elizabeth Cotton. 

Folklore Society of 

Greater Washington 

For the 1979 Washington Folk Festival to be held at Glen 

Echo Park, Maryland. 

2,500 

Washington, D. C. 

Foresta Institute for Ocean and To amend a previous grant to include additional fieldwork 14,386 

Mountain Studies in Nevada at sites where local folk festivals are in progReno, Nevada ress or being planned. 

Fort Laramie Historical Association For a folk arts festival featuring traditions oÍ eastern 2,025 

Fort Laramie, Wyoming Wyoming and western Nebraska. 

Fort Mason Foundation For a folk arts specialist to identify ethnic and occupa­ 15,000 

San Francisco, California tional traditions and artists for a variety of year-round 

presentations in the Golden Gafe Park and at the Western 

Regional Folk Festival. 

Fort Mason Foundation Continued support for the Western Regional Folk Festival. 11,650 

San Francisco, Caliíornia 

Foster (Stephen) Center 

White Springs, Florida 

For a survey of folk arts and artists in the northeast regions oÍ Florida and Íor preparation of slide/tape progratas for local presentation. 

19,740 

Friends of the Douglas County For a two-day folklife festival featuring the traditional 10,000 

Museum 

Rosenburg, Oregon 

skills, crafts, foodways, music, and ~olk stories indigenous 

to the Umpqua Valley. 

Genessee Arts Council To amend a previo~~s grant to s~~pport a film on Iroquois 12,900 

Batavia, New York traditio~~al arts. 

Georgia Folklore Society For tI~e ann~~al Georgia Sca lslands Festival. 8,000 

Atlanta, Georgia 

Georgia, University of For field work in northcrn Gcorgia to locate and record 7,480 

Athens, Georgia local traditio~~al musicians, for archivi~g the recorded materiaIs, and for prese~~tation oÍ ah exhibition: "Folk Visio~~s and Voices." 

German (George B.) Music Archives For lees for tl~e traditio~~al cowboy artists in the Split 1,720 

Sioux Falls, South Dakota Rock Swing Festival of Sioux Falls, Sot~th Dakota. 

German (George B.) Music Archives For a videotape of cowboy si~tgers oÍ South Dakota to bc 9,200 

Sioux Falls, South Dakota st~own on p~~blic tclevisio~~. 

German (George B.)Music Archives Support Íor a tour of cowboy singers and composers 1,000 

Siuox Falls, South Dakota throt~gh seven towns. 

Great River Festival of Arts For artists’ lees and related expenses in the Great River 3,000 

La Crosse, Wisconsin Festival of local traditional ethnic music and crafts. 

Greater Cleveland Ethnographic For rcsearch and preparation of ah exhibir of needlework 8,322 

Museum Írom the ett~nic commt~nities i~, the Cleveland atea to be 

Cleveland, Ohio toured tl~rottgh eth~tic neigt~borhoods. 

Greater Cleveland Ethnographic For artists’ Íees, research expe~tses, and booklet prepara­ 17,000 

Museum tion for a two-disc albu~n documenting the music, songs, 

Cleveland, Ohio and tales oÍ tI~c Balkan Slavs of northern Ohio. 

Han ShengChineseOpera Institute For training local Chinese-American artists in various 10,000 

Washington, D.C. aspects of Cl~inese Peki~tg Opera, and for performance expenses. 

Itellenic American Neighborhood 

Action Committee 

For ah exhibition on Greek embroidery and rug weaving

and Íor local community workshops by traditional needle8,000 

New York, New York work artists. 

Home Education Livelihood Program For workships and concert-demonstrations in local schools 7,500 

Albuquerque, New Mexico by traditional mariachi musicians. 
92 Folk Arts 

Hudson River Sloop Restoration 

Poughkeepsie, New York 

Ibero-American Action League 

Rochester, New York 

Institute for Southern Studies 

Chapel Hill, North Carolina 

Institute for the Study of 

Human Issues 

Philadelphia, Pennsylvania 

International House of Philadelphia 

Philadelphia, Pennsylvania 

International Institute of 

Youngstown, Chic 

Youngstown, Chic 

Irish Cultural and Folklore Society 

Washington, D.C. 

Jackstraw Memorial Foundation 

Seattle, Washington 

Jefferson National Expansion 

Historical Association 

St. Louis, Missouri 

Jewish Community Centers of 

South Florida 

Miami, Florida 

Jonesboro, Town of 

Jonesboro, Tennessee 

Kansas Arts Commission 

Topeka, Kansas 

Kansas State Historical Society 

Topeka, Kansas 

Kentucky Research Foundation, 

University of 

Cumberland, Maryland 

Kiltie Band of York 

York, Pennsylvania 

Kotzebue Teen Center 

Kotzebue, Arkansas 

La Casa de la Raza 

Santa Barbara, California 

Lewiston, City of 

Lewiston, Maine 

Los Rios Community College 

Sacramento, California 

Louisiana State Arts Council 

Baton Rouge, Louisiana 

For the research and presentation of Asian, Haitian, Jew- 6,500
 

ish, East European, and Hispanic traditional arte as a
 

part of the 1979 Great Hudson River RevivaL
 

To support artists" lees and booklet preparation costa for 6,000
 

a record album of local Puerto Riean traditional musie.
 

To amend a previous grant to include additional sound 6,000
 

transfer, editing, and technical expenses as well as artists’
 

lees for a film documenting master Appalaehian fiddler
 

Tommy Jarrell.
 

For a film documenting the Philadelphia Mummers’ tradi- 25,000
 

tion.
 

For the International House Folklife Festival series fea­ 9,600

turing artists, musicians, and singers from the varied cultural and ethnic groups in the Philadelphia arca. 

For a folk arts slide show to demonstrate the work of ¿he 8,000

traditional artisans in Youngstown’s ethnie neighborhoods. 

For performances and workshops by Irish and Irish-Ameri- 10,850 

can musicians in the 1979 Irish Folk Festival and Jubilee 

in Glen Echo Parlo, Maryland. 

For radio programs on KRAB-FM which explore the musi- 25,430 

cal and verbal folk arte of various ethnie and oecupational 

communities in the metropolitan Seattle atea. 

For the Frontier Folklife Festival of traditional Missouri 10,000 

crafts and musie. 

3,000 For the Yiddish cultural festival, "Generation to Generation." 

To celebrate with a three-day public event, including per- 10,610 

formances and open discussions, the development of country music radio from its roots in traditional mountain 

music. 

For a survey to identify and document practicing folk art- 20,000 

ists in Kansas communities. 

For the annual Celebration of Kansas Folklife. 10,000

To print, mount, matte, and frame historie photographs 2,665 

for ah exhibir depicting traditional arte and architecture 

in a coal community. 

To support costs of master Scottish Highland bagpipers, 5,000 

as resident teachers in a summer clinic devoted to Seottish 

traditional arte. 

To revitalize the old Inupiat skills of skin sewing, the con- 17,770 

struction of traditional clothing, and sled building, through 

sessions in which senior traditional artists will instruet 

younger members of the tribe. 

To identify traditional corrido compoeers and singers in 10,000 

Santa Barbara and Ventura counties, to broadcast ¿heir 

compositions on a local radio program series, and to produce a record of the best material. 

For a musical soiree, the traditional arte eomponent of the 5,600 

Lewiston Franco-American Festival. 

To pay musieians’ lees at a free community-wide blues 5,200

festival. 

Fora state folk arte coordinator. 18,256
Folk Arts 93 

Louisiana State Arts Council 

Baton Rouge, Louisiana 

For a conference dealing with the identification, presentation, and preservation of the folk arts of the many cultural 

6,500 

and occupational groups in Louisiana. 

Many Races Cultural Foundation Continued support for the Martin Luther King, Jr., Folk 10,000 

New York, New York Festival in Haynesville-Homer, Louisiana. 

Mary College To amend a p~revious grant to support ¿he recording, tran­ 4,434 

Bismark, North Dakota scribing, and translating of the music of the Arikara tribe 

of North Dakota. 

Maryland Arts Council For the production of a film on Maryland folk musicians 3,300 

Baltimore, Maryland Ola Belle Reed, Fields Ward, and Little Wonders. 

Memphis State University For research and performers’ lees in a pro]ect to produce 10,000 

Memphis, Tennessee and distribute recordings of local Mississippi Delta Blues 

singers. 

Micronesia, Community College of To record the traditional music of Micronesia and to de­ 38,820 

Ponape, East Caroline Islands velop radio programs for broadcasting Micronesian music. 

Middletown Folk Festival For the traditional music and crafts component of the 2,500 

Middletown, New Jersey Middletown Folk Festival. 

Minnesota Folklife Center For a survey o/ traditional artists within the New Ulm 6,000 

St. Paul, Minnesota and Brown County areas. 

Mississippi Action for Community For the Delta Folk Gospel Music Festival. 7,500 

Education 

Greenville, Mississippi 

Mississippi Action for Community 

Education 

To amend a previous grant to bring local musicians to the 

Delta Blues Festival. 

2,500 

Greenville, Mississippi 

Mississippi Action for Community For the second annual Delta Blues Festival. 25,000 

Education 

Greenville, Mississippi 

Missouri Friends of the Folk Arts For The Missouri Tradition, a weekly hour-long radio pro­ 3,029 

New Haven, Missouri gram featuring the traditional music and folklore of Missouri. 

Monroe County Rural Heritagi Support for three folk musicians to teach free classes on 5,000 

Alliance traditional mountain musical instruments throughout 

Union, West Virginia Monroe County. 

Monroe County Rural Heritage 

Alliance 

Continued support for instruction in traditional mountain 

music. 

5,596 

Union, West Virginia 

Museo del Barrio For concerts of Latín American folk music, documentation 10,000 

New York, New York of these concerts, anda workshop in the playing of the 

Puerto Rican instrument, the cuatro. 

Museum of Contemporary Art For a concert series on Chicago-style blues. 2,500 

Chicago, Illinois 

Museum of New Mexico For a workshop by traditional weavers in the techniques 2,355 

Santa Fe, New Mexico of Hispanic jerga (rug)weaving. 

Nampsch’ats Community Foundation To amend a previous grant to record ¿he verbal arts tradi­ 2,000 

Tokeland, Washington tions of Shoalwater tribal members. 

National Board of YMCA’s For a film production associated with the International 41,588 

of the USA 

New York, New York 

Year of the Child, documenting traditional ¢hildren’s folk 

arts and centering on American camp songs and camp 

traditions. 

National Center for Urban For a tour of Irish-American musicians and dancers to 30,870 

Ethnic Affairs give perfor~nances in Irish neighborhoods in rna]or urban 

Washington, D.C. areas. In selected communities, musie classes will be established as a follow-up to the tour. 

National Center for Urban Fora second tour of traditional Irish musicians to urban 15,300 

Ethnic Affairs areas where Irish-Americans have settled. 

Washington, D. C. 
94 Folk Arts 

NationalCouncil forthe 

Traditional Arts 

Washington, D.C. 

National Council for the 

Traditional Arts 

Washington, D.C. 

National Council for the 

Traditional Arts 

Washington, D. C. 

National Council for the 

Traditional Arts 

Washington, D.C. 

Natural Heritage Trust/Artpark 

Lewiston, New York 

Nebraska State Historical Society 

Lincoln, Nebraska 

Nebraska State Historical Society 

Lincoln, Nebraska 

Neighborhood Centers--Day Care 

Association 

Houston, Texas 

New Hampshire Commission 

on the Arts 

Concord, New Hampshire 

New Jersey Department of Education 

Trenton, New Jersey 

New Mexico Arts Division 

Santa Fe, New Mexico 

New Mexico Arts Division 

Santa Fe, New Mexico 

New Mexico Highlands University 

Las Vegas, New Mexico 

New River Community College 

Dublin, Virginia 

New York, Research Foundation 

of the State University of 

Canton, New York 

New York State Council on the Arts 

New York, New York 

Newport News, City of 

Newport News, Virginia 

North American Basque Organization 

Reno, Nevada 

NorthCarolina Departmentof 

Cultural Resources 

Raleigh, North Carolina 

North Carolina Departmentof 

Cultural Resources 

Raleigh, North Carolina 

North Dakota Council on the Arts 

Fargo, North Dakota 

For a tour of Appalachian artists (musicians, singers, 29,620

dancers, storytellers) to midwestern urban communities to 

which Appalachians have migrated. 

Fora six-week series of concerts at Glen Echo Parlo, Mary­ 5,800

land to celebrate the folk music traditions of the several 

states surrounding Washington, D.C. 

For the 41st National Folk Festival held at Wolf Trap 15,000

Farm Park, Vienna, Virginia. 

Support to copy and catalogue tape recordings and slides 5,000

made during the previous five National Folk Festivals for 

use in planning future festivals and for deposit in the Folk 

Song Archives at the Library of Congress. 

To presenta celebration of the folk arts of Black, Polish, 14,750 

and ltaliau-Americans in the Niagara Falls region. 

1,660 To amend a previous gran~ to include a survey of folklife 

in the Nebraska panhandle atea. 

20,000 To hire a folk arts coordinator to work at the Center for 

Nebraska Folklife. 

For a teaching program by traditional mariachi musicians 9,680 

in a community center in a Mexican-Ameriean barrio. 

For a folk arts coordinator to survey New Hampshire folk 18,500

arts resources and help in the developmen$ oí local presentations. 

25,000 For a state folk arts coordinator. 

For three workshops at the Oke Oweenge Crafts Coopera- 3,360 

tive of the San Juan Pueblo. Three senior artisans will 

teach belt weaving, pottery making, and willow basketry 

to younger members of the Pueblo. 

To record Spanish ]olk music of New Mexico for broadcast 14,850

over local radio stations. 

To amend a previo~~s grant for two films: Los Tejedores, 9,380 

doc~tmenting Hispanic weaving traditions; and Los Santeros, depicting Southwest santo carvers. 

Fora sztrvey o.f local traditional artists in selected south- 16,559 

west Virginia counties which will become the resource material for developing folk arts presentations. 

12,264 For the Festival of North Country Folklife, to present the 

traditional arts of northern New York State. 

25,168 To hice a folk arts coordinator. 

For performances and workshops by three traditional ’3,150

m~~sicia~~s. 

4,590 For fecs s~~ppo~’ti~~g traditional Basque musicians in workshops designed to teach the Basque txistu, and drum musie 

to Basq~~e-American young people. 

For a folk music-in-the-schools pro]ect featuring local 15,000 

black a~d white musicians. 

Fora ]~dl-ti~e sta~í folklorist Íor the Office of FoIklife 13,926

Programs. 

14,389 For a state folk arts coordinator. 
Folk Arts 95 

Northeast Carry For a local traditional crafts presentation within the Com- 4,000 

Hallowell, Maine mon Ground Country Fair of Hallowell, Maine. 

Northside Presbyterian Church For two concerts at the Ark featuring folk musicians and 3,500 

Ann Arbor, Michigan singers. 

Northwest Film Study Center For a film on the Polish-American polka tradition. 25,000 

Portland, Oregon 

Northwest Media Project To produce a film documenting the artistic and cultural 22,800 

Portland, Oregon traditions of the Russian Old Believers in Woodburn, Oregon. 

Northwestern State University of	 For a folk festival featuring the traditional arts of north- 7,500 

Louisiana west Louisiana.

Narchitoches, Louisana 

3,000 

Columbus, Ohio folk music to be distributed to museums and schools. 

Ohio Folklife	 For research costs and artists’ lees fora record of Ohio 

Ohio Foundation on the Arts For fieldwork in six Ohio counties culminating in a tradi- 13,730 

Columbus, Ohio tional arts festival and residencies by folk artists in atea 

schools. 

Oklahomans for Indian Opportunity	 To display ah exhibir of Kiowa tepee models in Lawton, 15,355 

Oklahoma. Lawton, Oklahoma 

4,000 Old Town, City of For the inclusion of local traditional artists in a festival 

Old Town, Maine of Franco-American culture, music, and traditions. 

Oregon Arts Commission For fieldwork leading to a major exhibir of Oregon folk 10,485 

Salem, Oregon art that will tour Oregon and be presented at the Renwick 

Gallery, Washington, D.C. 

Oregon Arts Commission Partial support for the position of Folk Arts Coordinator 13,560 

Salero, Oregon at the commission. 

Oregon Arts Commission For mounting and touri~g costs of "Webfoots and Bunch- 23,440 

Salem, Oregon grassers," ah exhibition and catalogue of Oregon folk arts. 

Our Lady of Mt. Carmel Church For a series of workshops deaIing with the foodways and 8,000 

Youngstown, Ohio traditional culture of Italian provinces represented in the 

Youngstown Italian-A~nerican community. 

To produce six one-hour radio programs documenting the 5,800

Berkeley, California American political folksong tradition. 

Pacifica Foundation 

Peoples and Cultures For a traveling exhibir of the finest examples of Cleve- 8,000 

Cleveland, Ohio land’s ethnic communities’ folk craíts. 

Phelps Stokes Fund, Trustees of the	 For artists’ lees for the musicians, singers, and dancers 6,000 

New York, New York participating in a Caribbean-American cultural festival in

New Yor~¢ City. 

44,000 

Pittsburgh, Pennsylvania ranch life in the Tongue River Valley in southeastern 

Montana. 

Pittsburgh, University of	 For a ~ílm doc~~menting the traditional arts of cowboy and 

Public Television 19 To amend a previous grant supporting a film, Tale-Tellers 10,000 

Kansas City, Missouri of the Ozark Mountains. 

4,000 Rappahannock Community College For ah arts festival featuring the heritage of the rural 

Glenns, Virginia Black Tidewater community, the C]~esapeake watermen, 

and the Mattaponic lndians. 

15,000 St. Innoeent Chureh To foster the liturgical singing traditions oÍ Alaska native 

Anchorage, Alaska peoples through a series of community singing assemblies. 

All sessions will be tape-recorded for study. 

5,000 St..lohnsbury TV Co-op For the production of a series featuring Vermont tradiSt. Johnsbury, Vermont tional artists for local cable TV broadcast. 

2,500 San Francisco, City of For the seventh San Francisco Blues Festival. 

San Francisco, California 

18,600 

Seattle, Washington in concert. Seattle Folklore Society	 For a documentary film featuring 16 major blues artists 
96 Folk Arts 

Seattle Folklore Society 

Seattle, Washington 

Seattle Folklore Society 

Seattle, Washington 

Shelby State Community College 

Memphis, Tennessee 

Sino-American Cultural Society 

Washington, D.C. 

South Carolina, University of 

Columbia, South Carolina 

Southeastern Massa¢husetts 

University Foundation 

North Dartmouth,. i~Iassachusetts 

Southern Folk Cultural 

Revival Project 

Nashville, Tennessee 

Southern Folk Cultural 

Revival Pro]ect 

Nashville, Tennessee 

Southern Folk Cultural 

RevivalProject 

Nashville, Tennessee 

Spartanburg Gospel Music Workshop 

Spartanburg, North Carolina 

Spillville Historic Action Group 

Spillville, Iowa 

SUM Concerts 

Galveston, Texas 

Sun Valley Center 

Sun Valley, Idaho 

Tarpon Springs, City of 

Tarpon Springs, Florida 

Tennessee Folklore Society 

Whitleyville, Tennessee 

Texas Inter-Cooperative Council, 

University of 

Austin, Texas 

United Labor Agency of Greater 

Washington 

Washington, D.C. 

Universal Christian Church 

Pipestem, West Virginia 

Urban Gateways 

Chicago, Illinois 

Utah Arts Council 

Salt Lake City, Utah 

Utah State University 

Logan, Utah 

For five tours of master musicians to rural and urban 25,000

areas on the West Coast, and to bring traditional artists
 

to showcase at booking conferences for community arts
 

and university center programmers.
 

For second-year support of the rollo arts advocatc project 25,000
 

to bring master American traditional musicians before a
 

wider public.
 

To present traditional folio craftsworkers and musicians at 12,000
 

the first African-American Crafts Conference and Jubilee
 

in Memphis.
 

For per]ormances and lecture-demonstrations of Chinese 14,380
 

opera in five east coas¿ cities.
 

To enable filmmakers to attend "Folk Arts and Filmmak- 6,430
 

ing," a symposium on folklore of the Southeast.
 

To support a local folk festival. 2,000
 

For artists’ lees and booklet costs for an album of tradi- 3,000
 

tional musicians recorded on SFCRP’s ¿ours.
 

For the fourth annual Tennessee Grassroots Days Festival. 8,000
 

To initiate a musical workshop series in Glynn County 8,000
 

Public Schools employing traditional singers and instru.
 

mentalists from the sou¿hern coast of Georgia.
 

For the p~esentation of gospel workshops and concerts. 6,000
 

For a Czech folk arts component in the 1979 National 2,500
 

Dvorak Festival.
 

For lees for traditional blues musicians appearing in the 10,000
 

annual Juneteenth Blues Festival.
 

For the second annual Northern Rockies Folk Festival. 10,000
 

For a survey of traditional artists in the Greek community 1,755
 

of Tarpon Springs so that they migh¿ be used as artistsin-residence in local schools.
 

Support for Southbound, a 13-part television series which 50,000
 

will presenta comprehensive look at di]eren¿ genres of
 

Southern music.
 

For the completion of the film, The Death of Judas, docu- 12,160
 

menting the culture of the Totonac Indians of Sierra de
 

Puebla, Mexico.
 

To amend a previous grant fora multi-media presentation 9,305
 

of traditional stories and skills of the tire fighters of Washington, D.C.
 

To support artists’ lees for the annual folk arts, craf¿s, 10,000
 

and music ]estival in Pipestem.
 

30,260 For a folk arts coordinator and trainee to work wi¿h the Artists-in-Schools programs. 

For residencies by traditional Navaho artists in weaving, 9,000

basketmaking, and silversmithing in Navaho community 

schools. 

To locate and bring traditional ar¿ists and craftspeople 14,820 

from the three-corner area of Utah, Wyoming and Idaho 

to participate in the Fife Conference on Western Amerio 

can Folk Culture and the Great. West Crafts Fair. 
 

 

Folk Arts 97 

Vermont Council on the Arts	 For the Festival des Deux Mondes, a touring presentation 12,000 

Montpelier, Vermont	 of French-American folk arts to be presented in small 

French-speaking towns in Maine, New Hampshire, and 

Vermont. 

Virgin Islands Family Institute and For documentation of traditional folk songs and tales of 25,000 

Training Center the Virgin Islands, performances in local communities, 

St. Thomas, Virgin Islands production of radio programs, and development of a Folk 

Arts Resource Center. 

Washington State University For the identification, preservation, and dissemination of 7,000 

Pullman, Washington the German-Russian and Scandinavian folk arts and tradi­

~ions of Endicott, Washington. 

West Virginia Arts and Humanities To amend a previous gran$ fora film on bluegrass music 2,545 

Council pioneer, Everett Lilly. 

Charleston, West Virginia 

Western Carolina University For the presentation of local traditional artists in Moun- 12,000 

Cullowhee, North Carolina tain Heritage Day, ah annual celebration held in Cullowhee. 

Western Carolina University For a folk arts specialist to work with the Mountain Herí- 15,971 

Cullowhee, North Carolina tage Center. 

Wilson (Warren) College To suppor$ two series of concerts featuring local tradi- 3,000 

Swannanoa, North Carolina tional musicians. 

Womanswork Fora Íolk arts specialist to help in the documentation of 5,000 

Minneapolis, Minnesota women’s crafts and craftswomen, especially from Minneapolis ethnic neighborhoods. 

Yeh Yu Chinese Opera Association For a tour of Chinese opera performances. 12,620 

New York, New York 

To support individuals wishing to initiate activities described under Folk Arts/Pilot the Folk Arts category. 

Program funds: $36,370 

Cohen, John For editing costs for folkloric footage, including a short $3,000 

Putnam Valley, New York film on Sarah and Maybelle Carter, historically importan$ 

Southern folk singers. 

Dalsemer, Robert G. To document the traditional square dances of western 1,500 

Baltimore, Maryland Pennsylvania. 

2,500 Green, Stephen	 To record and interview traditional musicians in Vermon~. 

Brattleboro, Vermont 

McMillon, 6,870 Robert L.	 For a North Carolina ballad singer to visit remote Appalachian areas and to record mountain songs. Lenoir, North Carolina 

7,500 Robb, John D.	 To transcribe and catalogue the J. D. Robb collection oÍ 

Albuquerque, New Mexico	 Southwest traditional music and verbal lote. 

Singer, Roberta Louise	 For tape re¢ordings o[ musical selections and interviews 15,000 

New York, New York with Victor Montanez y Pleneros, a Puerto Rican traditional ensemble now in New York. 

Folk Arts	 To enable performers or craftsmen to study with traditional masters 

in their field. Apprenticeships 

Program funds: $31,408 

Dillman, Glen To study hammer dulcimer making with traditional craÍts- $2,842 

Torrington, Wyoming man Albert Fahlbusch. 
Photo: Center for Southern ~’olklore 
Folk Arts 99 

Fahlbusch, Roger A. To study hammer dulcimer making with Alb~rt Fahlbusch. 2,400 

Scottsbluff, Nebraska 

Gentry, Andy To study hammer dulcimer making with Albert Fahlbusch. 2,485 

Scottsbluff, Nebraska 

Gerrard, Alice To study fiddle playing with master traditional music~an 1,000 

Garrett Park, Maryland Tommy Jarrell. 

Gonzalez, Roberto To study mariachi violin with traditional musician Luis 1,000 

Houston, Texas Munoz. 

Hernandez, Hector To study with Atanacio P. Davila, muralist. 2,500 

Houston, Texas 

Herrera, Fermin To study the Veracruz harp with master musicians Lino 1,000 

Oxnard, California Chavez and Mario Barradas. 

Holton, Rodney W. To study hammer dulcimer making with Albert Fahlbusch. 2,400 

Scottsbluff, Nebraska 

Mansfield, William T. To s~udy clawhammer banjo with Fred Cockerham. 1,160 

Apex, North Carolina 

McPartland, Thomas 

Sweet Springs, Nevada 

To study Appalachian fiddling with master musician Frank 

George. 

1,000 

Miranda, Maria-Isabel To study ¿he Mexican jarana with master musician Lino 1,000 

Oxnard, California Chavez. 

Mylet, Thomas 

Elk Creek, Virginia 

To studg the ~raditional clawhammer banjo with master 

~nusician Kyle Creed. 

1,000 

Romero, Marie Cash de To study the local Hispanic decorative craft of tin-smith­ 5,000 

Santa Fe, New Mexico ing with master artisans Emilio and Senaida Romero. 

Schmer, Robert H. To study hammer dulcimer making with Albert Fahlbusch. 2,621 

Mitchell, Nebraska 

Spires, William To study Cajun violin performance with master tradicional 1,000 

Cloverdale, California musician Dennis McGee. 

Taylor, John D. To study Irish Union pipe playing with master musician 1,000 

Clemson, South Carolina Brendan Breatnach. 

Williams, David To study mandolin and guitar with master musician Jethro 1,000 

Dekalb, Illinois Burns. 

Witty, Kathleen 

New York, New York 

To study the Irish wooden flute with master musician 

Cathal McConnell. 

1,000 

101 

Literature
 

Writing is often correctly perceived to be a screening. This leads to a marathon panel mee~­

ing in August, during which an advisory panel solitary art form. But as with any other art 

must arrive at a final list of recommendations form, ir is an act of communication which requires the engagement oí an audience in the	 íor the National Council. In this round, that 

final list comprised 275 writers of great talent imaginative experience. Simply stated, writers from 42 states and Puerto Rico, the largest must have both readers and live audiences for number of fellowships awarded in the Pro- their work. 

This pressing need, to bring writers to- gram’s history. While the greatest growth is in

fellowships for playwrights, a significant first gether with their own particular audiences, has íor the Program is the awarding of fellowships long been a major concern of the Literature for Hispanic authors writing in their native Program. Under its first new director for eight Spanish. The panel found a heartening improve- years, and with the help of an assistant direc­ ment in the quality of work submitted and tor, the Program is moving toward a fuller ac­ awarded lar more fellowships than had been complishment of this goal. anticipated. Life does not divide itself neatly into yearly Other grants within the Literature Pro- units, fiscal or otherwise, and a true picture of gram address the corollary concern of increas­ the Literature Program can only be drawn ing audiences for writers and their work. Resifrom a greater perspective than a single year dencies for Writers is an attempt to put writers allows. With this in mind, one may perhaps in personal contact with their audiences. Short begin by examining the Program’s most visible, and long-term residencies, and other innovative and sensitive, category: Fellowships for Crea­ programs, receive direct aid from the Litera­ tive Writers. Although offered only in alter- ture Program, all monies going to writers in 

nating years, these fellowships are the corner- the form of fees, per diem, and travel expenses. 

stone of the Program’s support of literature, Perhaps more than any other category, Resi­ since they help provide the necessary time for dencies for Writers is oriented specifically 

writers to practice their art. And because these toward organizations and geographic regions 

fellowships serve a diverse and active commu­ which have had little previous contact with nity, they must be flexible and broadly based. living writers, since ir has been found that 

This year, the fellowship program was actual contact with the writers themselves exstretched to its limits. Some 3,750 applications pands audiences and increases their appreciawere received from playwrights, poets, and tic- tion of a writer’s work. And, of course, this is 

tion writers of every conceivable style and from one more way of providing professionally active 

every place where writers live. This number writers with financial help. Residencies for 

represented a 26 percent increase over the pre- Writers, in existence for several years, has been 

vious (1977) round of applications, substantially broadened this year and, again, 

While the list of winners is not announced the largest number of grants ever made in this

until fiscal 1980, the bulk of the work leading category has been awarded. 

up to the final list took place in fiscal 1979. In America, perhaps throughout the world,

Every manuscript is logged by the staff and
 publishers have not been able to keep up with

sent to a panel of readers for preliminary the growth of writers and their audiences. In
 

Photo: Marcia Sartwell 
102 Literature 

Photo: Stephen A]tman 

this country and many others, traditional avenues for publication have been signiñcantly 

augmented through a network of independent, 

noncommercial publishers of books and magazines, 

For several years, the Literature Program 

has offered increasing support for independent 

literary publishers, directly through grants-inaid and indirectly through the Coordinating 

Council of Literary Magazines. Yet while the 

means of publication have been available to 

small publishers, efficient methods of reaching 

their natural audiences have not existed, or 

have been only partly functioning. In 1979 the 

Literature Program increased substantially its 

support for innovative and experimental projects attempting to solve the problems of distributing and promoting fine contemporary 

creative literature from whatever source. For 

instance, the Program is supporting book buses 

(which make contemporary literature available 

to new audiences) such as those of the Plains 

Distribution Service of Fargo, North Dakota, 

(serving the upper Midwest) and the Visual 

Studies Workshop in Rochester, New York 

(serving the northeastern states), 

These programs reflect broad-ranging decisions made by the advisory panel. This group 

of talented writers and editors, drawn from 

a broad geographical, ethnic, and stylistic 

background, is responsible for all policy and 

application review, makes its recommendations 

directly to the National Council, and is the 

backbone of the Literature Program. Its decisions provide the Program with direction, helping to ensure that ir remains responsive to a 

field that is constantly in flux. 

Since literature is perhaps more diverse 

than at any time in its history and lacks a 

definable stylistic center, ir is most appropriate 

that 1979 witnessed a broadening of the advisory panel’s scope. In an attempt to benefit from 

the advice and experience of as many individuals as possible, the panel has been increased 

to over 30 members. Even so, it is not possible 

to represent every conceivable style, region, and 

school of writing; and members must make a 

conscientious attempt to serve on behalf of 

literature asa whole. This year’s panel devoted 

an extraordinary amount of time and energy 

to the Program’s policy and application review 

needs. All these individuals deserve thanks for 

their efforts, especially for the time taken away 

from their own writing and editing careers. 

The problems of writers and literature in 

contemporary society are lar larger than the 

present capabilities of this Program. But ir 

must be noted that freedom of expression becomes a meaningless phrase ir economic conditions prevent writers from writing or from 

reaching their audiences through publications 

and performances. This Program is concerned 

that such conditions exist today and intends to 

do everything in its power to support writers 

directly. Ir also hopes that, by calling attention 

to the actual situation of writers in America, 

some badly needed improvements will be made. 

5~9,, ~~))~ ~

David Wilk 

Director, Literature Program 
 

Literature 103 

Literature Advisory Panel
 

Policy Panel 

Frances McCullough, Chairman 

Chief Editor for Fiction and Poetry 

Harper & Row 

Hastings-on-Hudson, New York 

Chloe Aaron 

Media Specialist 

Jennifer Moyer 

Literature Program Director 

Illinois State Arts Council 

Chicago, Illinois 

Miehael Palmer 

Poet 

San Francisco, California 

Vice President for Programming, PBS Anne Pride 

Washington, D.C. 

Doris Betta 

Novelist, Teacher 

Sanford, North Carolina 

Rita Mae Brown 

Novelist, Screenwriter

Charlottesville, Virginia 

Barbara Garson 

Playwright 

New York, New York 

Lyn He|inian 

Poet, Small Presa Editor

Berkeley, California 

Romulus Linney 

Playwright, Novelist 

New York, New York 

William Matthews 

Poet, Critic, Teacher

Former Little Magazine Editor 

Seattle, Washington 

Howard McCord 

Fiction Writer, Poet, Editor

Bowling Green, Ohio 

James McPherson 

Fiction Writer 

Charlottesville, Virginia 

Editor, Publisher, Distributor

Pittsburgh, Pennsylvania 

Charles Rowell 

Poet, Literary Magazine Editor 

Lexington, Kentucky 

Muriel Rukeyser 

Poet, Essayíst, Crític 

New York, New York 

Ricardo Sanchez 

Poet, Fiction Writer, Teacher

Salt Lake City, Utah 

Ted Wilentz 

Bookstore Managing Director 

Small Presa Editor 

l~ew Haven, Connecticut 

Suzanne Zavrian 

Poet, Small Presa Editor, Critic 

New York, New York 

Grants Panel 

David Aaodaca 

Editor, Distributor, Poet 

Las Cruces, New Mexieo 

Ron Arias 

Poet, Critic

Claremont, California 

Literature Grants
 

Alvin Aubert
 

Editor, Poet, Teacher
 

Fredonia, New York
 

Kathy Barr
 

Editor, Poet
 

San Francisco, California
 

Ann Darr
 

Poet
 Chevy Chase, Maryland 

Cynthia Gair
 

Distributor
 

Washington, D.C.
 

John Jacob
 

Poet, Reviewer, Editor
 

Oak Park, Illinois
 

Steve Katz
 

Fiction Writer
 

Boulder, Colorado
 

Colleen McElroy 

Poet, Fiction Writer, Teacher
 

Seattle, Washington
 

 ̄ Iark Medoff
 

Playwright, Teacher
 

Las Cruces, New Mexico
 

Ron Padgett
 

Poet, Teacher
 

New York, New York
 

Thomas Sanchez
 

Novelist
 

Santa Barbara, California
 

Program funds: $3,903,110 

Residencies 

for Writers 

To enable organizations and public institutions such as state arts 

agencies, libraries, theaters, museums, art centers, prisons, hospitals, 

colleges, and proíessional groups to sponsor residencies by published 

writers. 

Program funds: $360,990 

Actors Theatre of Louisville For a pla~wrüTht in residence. $5,000 

Louisville, Kentucky 

Adept Publications New American For writers’ lees for poetry readings sponsored by Energy 1,925 

Folk Center Earth Communications. 

Houston, Texas 
104 Literature 

Alabama State Council on the 

Arts and Humanities 

Montgomery, Alabama 

Alaska, University of 

Fairbanks, Alaska 

All-Media Dramatic Workshop 

Chicago, Illinois 

Arizona Commission on the 

Arts and Humanities 

Phoenix, Arizona 

Arizona Commission on the 

Arts and Humanities 

Phoenix, Arizona 

Arizona State University 

Tempe, Arizona 

Arizona, University of 

Tucson, Arizona 

Arts Exchange 

Lebanon, New Jersey 

Basement Workshop 

New York, New York 

Beloit College 

Beloit, Wisconsin 

Berkeley Stage Company 

Berkeley, California 

Boise State University 

Boise, Idaho 

Bowling Green State University 

Bowling Green, Ohio 

Bronx Council on the Arts 

Bronx, New York 

California, University of 

Davis, California 

Center Theatre Group of Los Angeles 

Los Angeles, California 

Chemeketa Community College 

Salero, Oregon 

Chicago Theatre Group 

Chicago, Illinois 

Circle Repertory Theatre Company 

New York, New York 

Clark (Sterling and Francine) 

Art Institute 

Williamstown, Massachusetts 

Cleveland Playhouse 

Cleveland, Ohio 

Colby College, President and Trustees of 

Waterville, Maine 

Colorado, University of 

Boulder, Colorado 

Community Arts Foundation 

Chicago, Illinois 

For a writer in residence and visiting writers’ workshops 

in two or more state prisons in Alabama. 

5,000 

For a one-month writer’s residence. 2,375 

For the creation of an original play for ¿he 1979-80 

Chicago Radio Theater Series. 

1,100 

For writers’ residencies and readings throughou~ rural 

Arizona. 

5,000 

For writers as workshop leaders in the Arizona state 

prison system. 5,000 

For writers in residence. 5,000 

For writers’ lees for par~icipation in a reading~~ series 2,000 

For readings series throughout New England for new and 

established writers. 

10,500 

For Asian-American writers in residence. 4,760 

For two writers in residence to conduct readings and 

workshops during a new summer arts festival at Beloit 

College. 

3,030 

For a playwright in residente. 3,100 

For six two-day writers’ residencies in the Boise community. 

3,700 

For short-term writers’ residencies for five poets and tire 

fiction writers. 

4,000 

For a writer in residence to conduct readings and workshops with writers in the Bronx. 3,750 

For a writer in residence. 1,620 

For playwrights in residence at the Mark Taper Forum. 5,000 

Fora scriptwriter for television and film, anda playwright in shor$-term residencies involving readings and 

workshops. 

2,200 

To support David Mamet as ~glaywright in residence a$ 

the Goodman Theatre. 

5,000 

For playwrights in residence. 5,000 

Fora readings series. 4,100 

For two playwrights in residente. 4,925 

For writers’ lees for short-term residencies. 5,000 

For writers’ lees for the Colorado Poetry Circuir, which 

brings poetry readings to isolated parts of the state. 

3,200 

For playwrights in residente with the Body Politic Theatre 

Laboratory. 

2,250 
Literature 105 

Company of Players To enable two playwrights in residence to write a new 2,000 

Denver, Colorado children’s musical. 

3,265 Connectieut College For two fiction writers in residence. 

New London, Connecticut 

3,710 To enable writers to conduct readings and workshops with 

Washington State Prison Washington State Prison inmates. 

Pasco, Washington 

Creative Writers of 

1,000 Deer Track	 To enable writers in residence to conduct poetry workshops in South Bend. South Bend, Indiana 

1,375 Drake University For writers’ lees for the "Monday’s Writers" series. 

Des Moines, Iowa 

2,250 80 Langton Street For four writers in one-week residencies. 

San Francisco, California 

5,000 Fine Arts Work Center in Provincetown For writers’ lees for the center’s visiting writers progams. 

Provincetown, Massachusetts 

1,525 For a writer’s residency for eight weeks in the farmhouse Franconia, Town of 

Franconia, New Hampshire	 formerly owned by Robert Frost. 

5,000 Frankel (Gene) Theatre Workshop For a playwright in residente. 

New York, New York 

5,000 Guthrie Theatre Foundation For playwrights in residence. 

Minneapolis, Minnesota 

3,700 Hamilton College, Trustees of	 For writers’ readings and residencies. 

Clinton, New York 

5,000 Hawaii StateFoundationon For one-to-two-week residencies thro~~ghout Hawaii by 

Culture and Arts mainland writers. 

Honolulu, Hawaii 

For two twelve-week writers’ residencies, workshops, and 1,800 Henry Street Settlement readings at the Arts for Living Center. New York, New York 

4,850 Houston, University of	 To support writers’ lees for readings and conducting
 

Houston,’Texas workshops at various Houston libraries, community centers, and parks. 

5,000 Idaho, University of For a writer in residence. 

Moscow, Idaho 

4,300 Ithaca College For a woman playwright in residence at lthaca ColIege. 

Ithaca, New York 

3,970 Jewish Community Center For writers’ lees for "The American Poets Series." 

of Kansas City 

Kansas City, Missouri 

5,000 Julian Company Theatre For five two-month residencies for playwrights. 

San Francisco, California 

To support a writer in residence for three weeks at 14 1,200 Kansas City Regional Council 

for Higher Education instit~~tions of higher education in Kansas City. 

Kansas City, Missouri 

Kansas State University For five regional writers to conduct readings and workManhattan, Kansas shops.

1,685 Laguna Gloria Art Museum	 For writers’ lees /or "Uross Works," a local, state, and
 

national series of poetry readings and community work-
 Lake Forest, Illinois shops conducted by Laguna Gloria Art Museum. 

5,000 For playwrights in reside~~ce at Academy Festival Theatre. Lake Cook Theatre Foundation 

Lake Forest, Illinois 

1,000 Lawrence (Sarah) College For a writers-in-residence series of lectures. 

Bronxville, New York 

Magic Theatre	 For a playwright in residence. 5,000

San Francisco, California 

500 
106 Literature 

Maine State Commission on 

the Arts and Humanities 

Augusta, Maine 

Maine, University of 

Orono, Maine 

Manhattan Theatre Club 

New York, New York 

McCarter Theatre Company 

Princeton, New Jersey 

Michigan, University of 

Ann Arbor, Michigan 

Milwaukee Public Library 

Milwaukee, Wisconsin 

Minnesota Chippewa Tribe 

Case Lake, Minnesota 

Minnesota, University of 

Morris, Minnesota 

New Orleans, University of 

New Orleans, Louisiana 

New Playwrights’ Theatre 

of Washington 

Washington, D. C. 

New York, Research Foundation of 

the State University of 

Albany, New York 

North Olympic Library System 

Port Angeles, Washington 

Oberlin College 

Oberlin, Ohio 

Oklahoma Arts and Humanities Council 

Oklahoma City, Oklahoma 

Peay (Austin) State University 

Clarksville, Tennessee 

Pennsylvania Repertory Theatre 

Pittsburgh, Pennsylvania 

Performance Community 

Chicago, Illinois 

Pima Community College 

Tueson, Arizona 

St. Mark’s-in-the-Bowery 

New York, New York 

St. Michael’s College 

Winooski, Vermont 

St. Michael’s College 

Winooski, Vermont 

St. Nicholas Theater Company 

Chicago, Illinois 

San Jose Museum of Art Association 

San Jose, California 

For eeveral visiting writers’ resideneies at the Poetry 

Programat the Maine State Prison. 

3,000 

Fora novelist in residenee. 2,900 

For tire playwrights’ commissions on new works for poseíble production at Manhattan Theatre Club. 3,510 

Fora playwright in residenee. 5,000 

For four five-day residencies at the Residential College. 2,000 

For a series of writers’ short-term resideneies at Booz, 

Inc., a eontemporary literature bookstore. 

5,000 

For a writer in residence with Chippewa Tribal communities of Minnesota. 

5,000 

Fora readings series and short-term resideneies. 2,000 

For four poets’ lees for short-term resideneies at the 

University of New Orleans. 

3,265 

For a playwright in residenee. 5,000 

For a playwright in residenee at the Empire State Youth 

Theatre Institute. 

2,380 

For a poet in residenee at the Gray Wolf Press in Port 

Angeles. 

2,060 

For a writers’ series of readings and residencies. 1,980 

For writers in residenee at Central State University. This 

program serves asa training program Íor teaehers of 

contemporary poetry. 

19,750 

Fora readings series and writers’ workshops. 1,000 

To provide, through the Academy of Prison Ar¿s, four 

visiting poets in residenee at the state eorrectional institution in Pittsburgh. 

3,040 

For writers’ lees at the Dinglefeet Theatre Company’s 

resideney program. 

For writers’ lees/or three-day residen
les. 

2,125 

1,800 

For writers’ lees for St. Mark’s Wednesday Night Readings Series. 

For a playwright’s lee Íor a six-week residency. 

3,625 

2,975 

For a reeidency by Hayden Carruth at several colleges in 

the state. 

4,500 

Fora playwright in residence. 4,500 

For poets’ readings ~ees at the San Jose Poetry Center. 3,820 
Literature 107 

San Mateo, College of 

San Mateo, California 

For writers’ short-term residencies in a community out­ 4,625

reach program. 

Seattle Arts Festival For writers’ lees for readings at the Seattle Arts Festival, 3,000 

Seattle, Washington "Bumbershoot." 

Soundscape 

Durham, North Carolina 

For writers’ lees for the production of six one-hour programs for radio audiences featuring the work of active 

young writers in North and South Carolina. 

7,900 

South Carolina Arts Commission To enable a writer in residence to reach special audienees 5,850 

Columbia, South Carolina through workshops with teenagers, prison inmates, older

adults, and the handicapped. 

South Dakota Arts Council Foundation For a writer in residence at several colleges in South 3,000 

Sioux Falls, South Dakota Dakota. 

Southern Mississippi, University of 

Hattiesburg, Mississippi 

For eight visiting writers in residence at the Center for 

Wri~ers. 

5,000 

Stephens College For tire writers in residence. 4,750 

Columbia, Missouri 

Symbrinck Associates 

Williamsport, Pennsylvania 

For a visiting writer in residence at the state and federal 

eorrectional i~stitutions at Muncy and Allenwood. 

2,430 

Texas Woman’s University For a writer in residence. 5,000 

Denton, Texas 

Theatre for the New City 

Foundation 

For lees for six playwrights in residence with Thea$re 

for the New City. 

3,500 

New York, New York 

Theatre Incorporated For three playwrights in residence at the Phoenix Theatre. 5,000 

New York, New York 

Utah, University of 

Salt Lake City, Utah 

For writers’ readings and workshops in the galleries of 

the Utah M~~se~~m of Fine Arts. 

4,050 

Vassar College For two month-long residencies by a novelist and a poet. 5,000 

Poughkeepsie, New York 

Vermont, University of 

Burlington, Vermont 

For two four-day writers’ reside~c~es of readings and 

workshops. 

980 

Wesleyan University 

Middletown, Connecticut 

For a four-weelc playwright’s residency at the university’s 

Theater Department. 

510 

West Virginia Arts and Humanities 

Commission 

To s~~pport Mary Lee Settle in readings and disc~~ssions in 

20 or more communities throughout West Virginia. 

4,000 

Charleston, West Virginia 

West Virginia Arts and Humanities 

Commission 

To support Davis Grubb as resident writer with 

Commission. 

the 5,000 

Charleston, West Virginia 

Western Illinois University To support Denise Levertov asa poet in residence. 1,000 

Macomb, Illinois 

Wilkes College Fora fiction writer and playwright in residence. 5,000 

Wilkes-Barre, Pennsylvania 

William and Mary, College of 

Williamsburg, Virginia 

For readings, workshops, panel discussions, and interviews by writers in a three-day festival of contemporary 

poetry and fiction. 

3,500 

Women’s Community 

Los Angeles, California 

For writers’ lees for readings and workshops at the 

Women’s Writers Series. 

5,000 

Writers Community For a fiction writer in residence. 5,000 

New York, New York 
108 Literature 

Distribution For projects designed to increase the public’s access to contemporary

literature. and Promotion 

Program funds: $482,400 

Alameda County Neighborhood Arts 

Program 

Oakland, California 

and/or service 

Seattle, Washington 

COMPAS 

St. Paul, Minnesota 

COMPAS 

St. Paul, Minnesota 

Cultural Council Foundation 

New York, New York 

Dutchess Community Arts Council 

Rhinebeck, New York 

Generalist Association 

New York, New York 

Generalist Association 

New York, New York 

Generalist Association 

New York, New York 

Generalist Association 

New York, New York 

Generalist Association 

New York, New York 

Generalist Association 

NewYork, NewYork 

To enable the West Coast Print Center to provide quality $100,000 printing services, teach produetion, and serve asa clearinghouse about printing and related fields. 

To support Skylo Distribution’s service Íor literary maga- 7,850 zines and independent presses. 

For the promotion and distribution oÍ literary magazines 27,000 by Bookslinger. 

For Truck Distribution Service’s expanded activities of 17,300 distribution and promotion oÍ small press literary books 

and magazines. 

To enable the Print Center to provide quality printing at 32,500 

cost and to teach production. 

For the Open Studio Print, Shop, which provides quality, 23,740 

low-cost book production to individual writers, independent 

small publishers, and literary arts service organizations. 

To amend a previous grant to enable SPRIL-East to place 3,500 small press book racks in libraries in the Northeast. 

For the promotion oí small press publications ~hrough a 9,000 syndicated review column, "Home Grown Books," which 

appears in rural newspapers. 

To provide free literary magazines and small press rol- 6,100 umes to prison inmates, and to publish a newsletter to be 

sent to prison inmates and to writers engaged in workshops at prisons. 

For publication and distribution pro]ects oÍ the New 15,000 

England Small Press Association. 

For the promotion of small press publications through a 8,300 

syndicated review column which appears in rural newspapers. 

For the Cosmep Van pro]ect which distributes small 27,000 

press volumes and literary magazines throughout the 

Southeast. 

Institute for the Preservation and Study For a small press bookfair to be held in downtown Wash- 4,010 

of African American Writing 

Washington, D.C. 

Intersection 

San Francisco, California 

Kansas Arts Commission 

Topeka, Kansas 

Kentucky Arts Commission 

Frankfort, Kentucky 

Milwaukee Public Library 

Milwaukee, Wisconsin 

Netzahaulcoyot! Historical Society 

Berkeley, California 

New Classroom 

Washington, D.C. 

Plains Distribution Service 

Fargo, North Dakota 

ington, D.C. 

For the Small Press BooI¢ Center, which distributes 15,000 

literary magazines and small press books to bookstores 

and libraries. 

For Midwest Distributors, which distributes small press 12,000 books and literary magazines in the lower Midwest. 

For distribution and promotional activities, including the 12,050 purchase of small press volumes. 

For the acquisition of small press literary volumes. 3,810 

For the Before Columbus Foundation, which iyromotes 15,000 and distributes literary magazines and small press books 

throughout the West. 

For the Poet’s Audio Center distribution program. 15,200 

To amend a previous grant for support oÍ the distribu. 3,000 

tion and promotion of literary magazines and small press 

volumes throughout the Midwest. 
Literature 109 

Plains Distribution Service For the promotion and distribution of literary magazines 15,350 

Fargo, North Dakota and small press volumes throughout the Midwest in 1979. 

Plains Distribution Service 

Fargo, North Dakota 

For the promotion and distribution of literary magazines 

and small press volumes throughout the Midwest in 1980. 

25,645 

Private Arts Foundation of Washington 

Washington, D.C. 

For distribution and promotion oÍ literary magazines and 

small press books. 

10,535 

Texas Commission on the Arts and Fora small press distribu~ion network in Texas. 10,000 

Humanities 

Austin, Texas 

Visual Studies Workshop 

Rochester, New York 

For costs of the Book Bus anda salesman to travel ¿o 

communities throughout the Northeast. 

10,000 

Visual Studies Workshop 

Rochester, New York 

To enable the Book Bus to distribute literary magazines 

and small press volumes. 

36,300 

Wisconsin Arts Board For distribution and promo¿ion activities ]or literary 17,210 

Milwaukee, Wisconsin magazines and small press books. 

Assistance To help support not-for-profit magazines that regularly publish 

poetry, fiction, plays, or literary criticism. Grants finance special

to Literary Magazines issues, efforts to improve format, design, production, or readership, 

and in a few cases, long-range development. 

Program funds: $745,650 

$470,140 Coordinating Councii of Literary For CCLM’s program of subgrants to literary magazines 

Magazines and related services. 

New York, New York 

The following literary magazines received support for projects related to future publications: 

$4,125 Agni Review For publication of the magaz~ne. 

Cambridge, Maine 

3,340 Ahern, Toro For Diana’s Bimonthly Press.

Providence, Rhode Island 

3,000 Alabama, University of For The Black Warrior Review. 

University, Alabama 

4,430 Alaska Association For The Arts for Permafrost.

Fairbanks, Alaska 

5,000 American Poetry Review For publication of the magazine.

Philadelphia, Pennsylvania 

4,000 Arizona, University of For Sun Tracks. 

Tucson, Arizona 

5,000 Bellamy, Joe David For Fiction International. 

Canton, New York 

3,880 For L-A-N-G-U-A-G-E. Bernstein, Charles 

New York, New York 

1,430 Bloodroot For publication of the magazine.

Grand Forks, North Dakota 

3,000 Borawski, Walta For Boston Gay Review.

Boston, Massachusetts 

5,000 Boston University, Trustees of For Alcherinea. 

Boston, Massachusetts 
110 Literature 

Brody, Leslie 

San Francisco, Ca]ifornia 

Calyx, A Northwest Feminist Review 

Corvallis, Oregon 

Centro Cultural de la Raza 

San Diego, California 

Cultural Council Foundation 

New York, New York 

Cuomo, Joseph 

Flushing, New York 

DeColores Corporation 

Albuquerque, New Mexico 

Drake, Albert
 

Okemos, l~Iichigan
 

Fuller, George 

Los Angeles, California 

Garmhausen, James 

Bowling Green, Ohio 

Giorno Poetry Systems Institute 

New York, New York 

Grimstad, Kirsten 

Los Angeles, California 

Gr~ssinger, Richard 

Richmond, California 

Halpern, Daniel 

New York, New York 

Hershon, Robert 

Brooklyn, New York 

Hogan, Judy 

Chapel Hill, North Carolina 

Hollow Spring Artists and Writers 

Guild 

Berkshire, Massachusetts 

Indiana University 

Bloomington, Indiana 

Kirby, Michael 

New York, New York 

Klepfisz, Irena 

Brooklyn, New York 

Louisville, University of 

Louisville, Kentucky 

Mazzolini, Michael 

Elkins, West Virginia 

Mernit, Susan 

Columbus, Ohio 

Messerli, Douglas 

College Park, Maryland 

Miller, Yvette 

Pittsburgh, Pennsylvania 

Moore, John 

Hollins College, Virginia 

For Boxcar. 1,445 

Fox" publication of ¿he ~nagaz~ne. 30,000 

Fox" Maize. 3,000 

~’or Unmuzzled Ox. 2,000 

/;’of A Shout in the Street. 2,920 

Fox" future publications. 30,000 

For Happiness Holding Tank. 445 

Fox" Jazz Press. 3,230 

For Black Book. 1,000 

Fox" fut~~’e publ~cations. 5,000 

For Chrysalis l~agazine. 4,590 

~’o~" Io. 4,975 

Fox" Antaeus. 5,000 

For Hanging Loose Magazine. 3,550 

For The Hyerion Poetry Journal. 5,000 

l~or fut~~’e publications. 3,500 

Fox" RevistaoChicano Riquena. 5,000 

I~or The Drama Review. 4,800 

For Conditions. 2,700 

For The Louisville Review. 2,190 

For Cheat Mountain Poets. 450 

Fox" Yellow Pages Poets. 4,500 

For Sun and Moon. 2,950 

For Latin American Literary Review. 5,000 

For The Hollins Critic. 1,000 
Literature 111 

New Wilderness Foundation For publication of the magazine. 5,000 

New York, New York 

New York, Research Foundation of For Credences. 15,000 

State University 

Albany, New York 

Northeast Missouri State University For The Chariton Review. 1,400 

Kirksville, Missouri 

Ohio University For The Ohio Review. 2,850 

Athens, Ohio 

Paradis, David For Piquod. 4,000 

Forest Knolls, California 

Patler, Louis For Yanagi. 1,770 

Bolinas, California 

Performing Arts Journal For publication of the magazine. 4,980 

New York, New York 

Petrosky, Patricia For Slow Loris Reader. 4,480 

Pittsburgh, Pennsylvania 

Phillips, William For Partisan Review. 5,000 

Boston, Massachusetts 

Poetry in Review Foundation For Parnassus. 5,000 

New York, New York 

Robertson, Kirk For Scue Magazine. 2,550 

Carpintería, Caliíornia 

Rondinone, Peter For City Magazinc. 2,400 

New York, New York 

Schneider, Harold For Kansas Quarterly. 3,000 

Manhattan, Kansas 

Sobin, Anthony For The Ark River Review. 3,160 

Wichita, Kansas 

Southern Mississippi, University of For The Mississippi Review 5,000 

Hattiesburg, Mississippi 

Swanger, David For Quarry West. 2,620 

Santa Cruz, California 

13th Moon For publication of the magazine. 5,000 

New York, New York 

Valine, Robert For West Coast Plays. 4,850 

Berkeley, California 

Washington Review of the Arts, For publication of the magaz~ne. 3,000 

Friends of the 

Washington, D.C. 

Weber, Elizabeth for Giitedge For New Series. 1,500 

Missoula, Montana 

West Virginia Wesleyan College For The Laurel Review. 1,200 

Buckhannon, West Virginia 

Will, Frederic For Micromegas 3,300 

Amherst, Massachusetts 

Yale University For Theater Magazine. 10,000 

New Haven, Connecticut 

Ziegler, Alan For Some Magazine. 2,000 

New York, New York 
112 Literature 

Assistance	 To help small, independent presses publísh and distribute creative 

prose and poetry that might not otherwise be published. This in­ to Small Presses cludes the work of new writers and experimental work by established 

Abbott, Ward T.
 

Santa Fe, New Mexico
 

Barker, David
 

Lakewood, California
 

Bridwell, Toro
 

Dennis, Massachusetts
 

/	 Centrum Foundation 

Port Townsend, Washington 

Chantikian, Kosro 

San Francisco, California 

Chayt, Stephen
 

Pasadena, California
 

Cottonwood Arts Foundation 

Norman, Oklahoma 

Cushman, Don
 

Berkeley, California
 

de Silva, Rachel
 

Seattle, Washington
 

Drake, Albert 

Putnam Valley, New York 

Elder, Gary
 

Alamo, California
 

Elmslie, Kenward
 

Calais, Vermont
 

Feminist Press
 

Old Westbury, New York
 

Gentile, Karlene
 

Columbia, Missouri
 

Gershator, Phyllis
 

Brooklyn, New York
 

Gill, John
 

Trumansburg, New York
 

Grossinger, Richard
 

Richmond, California
 

Gunderson, .loanna
 

New York, New York
 

Hershon, Robert
 

Brooklyn, New York
 

Heyeck, Robin
 

Woodside, California
 

Hocks, Paula
 

Santa Fe, New Mexico
 

Howard, Noni
 

San Francisco, California
 

Howell, Christopher 

Amherst, Massachusetts 

writers. 

Program funds: $379,875 

For Desert Review Press. $1,500 

For Rumba Train Press. 1,000 

For Salt-Works Press. 9,600 

For Copper Canyon Press. 6,000 

For Kosmos. 9,170 

For Kinmore Press. 2,770 

For Point Riders Press. 4,000 

For Cloud Marauder Press. 4,300 

For Seal Press. 3,700 

For Stone Press. 1,000 

For Holmgangers Press. 6,300 

For Z Press. 6,000 

For publications. 6,000 

For Singing Wind Publications. 3,000 

For Downtown Poets Coop. 4,480 

For The Crossing Press. 2,000 

For North Atlantic Books. 7,000 

For Red Dust. 4,200 

For Hanging Loose Press. 10,000 

For Heye¢k Press. 3,850 

For Running Women Press. 1,400 

For New World Press. $4,900 

For Lyn~ House Press. 10,000 
Literature 113 

Iowa State Arts Council For The Toothpaste Press. 8,150 

Des Moines, Iowa 

Jaffe, Dan For Bkmk Press. 6,000 

Kansas City, Missouri 

Jargon Society For publications. 10,000 

Highlands, North Carolina 

Kansas Arts Commission For The Tansy Press. 2,400 

Topeka, Kansas 

Kastan, Denise For Hoddypoll Press. 1,750 

San Francisco, California 

Kentucky Arts Commission For The Gnomon Press. 6,500 

Frankfort, Kentucky 

Korn, Henry James For Assembling Press. 10,000 

Brooklyn, New York 

Lange, Gerald For Bieler Press. 5,800 

Madison, Wisconsin 

Levitt, Annabel For Vehicle Editions. 2,500 

New York, New York 

Leyland, Winston For Gay Sunshine Press. 10,000 

San Francisco, California 

Liscomb, Roble For Fathom Press. 3,790 

Chicago, Illinois 

Mailman, Leo For Maelstrom Press. 820 

San Pedro, California 

Malone, Kirby For Pod Books. 7,000 

Baltimore, Maryland 

Mattingly, George For Blue Wind Press. 10,000 

Berkeley, California 

McCurdy, Michael For Penmaen Press. 6,300 

Lincoln, Massachusetts 

McPherson, Bruce For Treacl~ Press. 10,000 

New Paltz, New York 

Mele, Jim For Cross Coun$ry Press. 7,000 

Woodhaven, New York 

Miles, Robert For Miles and Weir. 4,510 

San Pedro, California 

Miller, Yvette 

Pittsburgh, Pennsylvania 

For Latín American Literary Review Press. 10,000 

New Wilderness Foundation For publications. 8,000 

New York, New York 

Payne, Gerry For White Bear Books. 1,000 

Occidental, California 

Perlman, James 

Minneapolis, Minnesota 

For Holy Cow ! Press. 4,000 

Petrosky, Patricia For Slow Loris Press. 8,620 

Pittsburgh, Pennsylvania 

Plath, Sarah For Black Ca$ Bone. 3,430 

Chicago, Illinois 

Plymell, Pamela Beach For Cherry Valley Editions. 5,000 

Cherry Valley, New York 

Quasha, George For Station Hill Press. 10,000 

Barrytown, New York 
114 Literature 

Reese, tIarry
 

Isla Vista, California
 

Robertson, Kirk
 

Carpintería, California
 

Russ, Barbara
 

Gulfport, Florida
 

St. Andrews Presbyterian College 

Laurinburg, North Carolina 

Slater, Michael
 

New York, New York
 

So’~thern Review
 

Charlotte, North Carolina
 

Tarachow, Michael
 

Milwaukee, Wisconsin
 

Tedlock, Ernest
 

Los Cerrillos, New Mexico
 

Truesdale, C.W.
 

St. Paul, Minnesota
 

Urick, Kevin
 

Adelphi, Maryland
 

Vincent, Stephen 

San Francisco, California 

Violo, Paul
 

Putnam Valley, New York
 

Waldrup, Rosemary
 

Providence, Rhode Island
 

Walker, Scott
 

San Francisco, California
 

Walkup, Kathleen A.
 

San Francisco, California
 

Watten, Barrett
 

San Francisco, California
 

Young, Geoffrey
 

Berkeley, California
 

Ziegler, Alan
 

Brooklyn, New York
 

Creative Writers’ 

Fellowships 

Abbott, Lee K. 

Cleveland, Ohio 

Abbott, Raymond H. 

Louisville, Kentucky 

Abish, Walter 

New York, New York 

Ahern, Thomas F. 

Providence, Rhode Island 

For Turkey Press. 8,000 

For Duck Down Press. 3,795 

For Konglomerati Press. 10,000 

For The St. Andrews Press. 1,050 

For Ailanthus Press. 1,500 

For Red Clay Books. 2,500 

For Pentagram Press. 9,500 

For San Marcos Press. 3,000 

For New Rivers Press. 10,000 

For White Ewe Press. 1,000 

For Momo’s Press. 8,750 

For Swollen Magpie Press. 1,130 

For Burning Deck Pres~. 9,000 

For The ~raywolf Press. 10,000 

For Five Trees Press. 6,410 

For This Press. 4,500 

For The Figures. 10,000 

For Release Press. 5,000 

To allow published writers to set aside time for writing, research, or 

travel, and generally to advance their careers. 

Program funds: $1,270,000 

The following creative writers were awarded $10,000 each: 

Ai, Pelorhankhe O. Andrews, Bruce E. 

Miller, New York New York, New York 

Allen, Samuel W. Asantewa, Xam S. 

Boston, Massachusetts San Francisco, California 

Anaya, Rudolfo A. Athas, Daphne 

Albuquerque, New Mexico Chapel Hill, North Carolina 

Anderson, James C. Auster, Paul 

Oxford, Iowa Stanfordville, New York 
Literature 115 

Barks, Coleman B. 

Athens, Georgia 

Cortez, Jayne 

New York, New York 

Junkins, Donald A. 

Deerfield, Massachusetts 

Barthelme, Frederick J. 

Hattiesburg, Mississippi 

Dacey, John P. 

Cottonwood, Minnesota 

Justice, Donald R. 

Iowa City, Iowa 

Benedikt, Michael 

Boston, Massachusetts 

Darragh, Tina 

Mt. Rainier, Maryland 

Kahn, Paul D. 

Arlington, Massachusetts 

Berge, Carol 

Albuquerque, New Mexico 

Di Palma, Ray A. 

New York, New York 

Kaufman, Shirley 

Jerusalem, Israel 

Berkson, William C. 

Southampton, New York 

Di Prima, Diane R. 

San Francisco, California 

Klappert, Peter

Alexandria, Virginia 

Bernheimer, Alan W. Jr. 

San Francisco, California 

Dow, Philip 

Pittsburgh, Pennsylvania 

Knott, William K. 

Henninker, New Hampshire 

Bernstein, Charles K. 

New York, New York 

Dukes, E. Norman 

Cambridge, Massachusetts 

Kroll, Judith 

New Delhi, India 

Berrigan, Ted 

New York, New York 

Eshleman, Clayton 

Santa Barbara, California 

Lahey, Edward T. 

Butte, Montana 

Biddle, Wayne B. 

Altamonte Springs, Florida 

Fagin, Larry 

New York, New York 

Lange, Arthur D. 

Chicago, Illinois 

Black, David 

West Stockbridge, Massachusetts 

Friebert, Stuart 

Oberlin, Ohio 

Latta, John A. 

Ann Arbor, Michigan 

Blaisdell, Gus 

Albuquerque, New Mexico 

Gallup, Richard J. 

Boulder, Colorado 

Logan, John B. 

Buffalo, New York 

Booth, Philip 

Castine, Maine 

Ginsberg, Allen 

New York, New York 

MacInnis, Jamie 

New York, New York 

Bosworth, David L. 

Cambridge, Massachusetts 

Gluck, Louise E. 

Cabot, Vermont 

MacLow, Jackson 

New York, New York 

Boucher, Marilyn S. 

Berkeley, California 

Goldbarth, Albert 

Austin, Texas 

McManus, James L. 

Winnetka, Illinois 

Bour]aily, Vance 

Iowa City, Iowa 

Grahn, Judith R. 

0akland, California 

McNair, Wesley C. 

North Sutton, New Hampshire 

Brandi, John L. 

Guadalupita, New Mexico 

Greenwald, Theodore M. 

New York, New York 

McPherson, Sandra J. 

Iowa City, Iowa 

Bredes, Donald G. 

St. Johnsburg, Vermont 

Grenier, Robert B. 

Oakland, California 

Mayer, Bernadette F. 

Lenox, Massachusetts 

Bromige, David 

San Francisco, California 

Guest, Barbara 

New York, New York 

Meyer, Thomas 

Highlands, North Carolina 

Broner, Esther M. 

Detroit, Michigan 

Hernandez, Luz C. 

Oakland, California 

Middleton, Christopher 

Austin, Texas 

Brownstein, Michael 

Boulder, Colorado 

Herrera, Juan F. 

Stanford, Calífornia 

Morgan, Robin 

New York, New York 

Burnside, Madeleine H. 

Great River, New York 

Hershon, Robert 

Brooklyn, New York 

Morrison, J. Madison 

Norman, Oklahoma 

Cassity, Turner 

Decatur, Georgia 

Hollo, Anselm A. 

Sweet Briar, Virginia 

North, Charles L. 

New York, New York 

Chester, Laura 

Berkeley, California 

Hoover, Paul A. 

Chicago, Illinois 

Notley, Alice E. 

New York, New York 

Collom, Jack 

Boulder, Colorado 

Inada, Lawson F. 

Ashland, 0reg0n " 

Oppenheimer, Joel L. 

New York, New York 

Corbett, William 

Boston, Massachusetts 

Jellema, Roderick H. 

Bethesda, Maryland 

Orlen, Steven L. 

Tucson, Arizona 

Com, Alfred D. 

New Haven, Connecticut 

Jensen, Laura L. 

Tacoma, Washington 

Orlovsky, Peter 

New York, New York 
116 Literature 

Owen, Maureen A. 

Guilford, Connecticut 

Patrick, William B. 

Arlington, Vermont 

Pauker, John 

Washington, D.C. 

Ponsot, Marie
 

Jamaica, New York
 

Rakosi, Carl
 

San Francisco, California
 

Rector, Ronald E.
 

Washington, D.C.
 

Reese, Marshall H.
 

Baltimore, Maryland
 

Ríos, Alberto A. 

Tucson, Arizona 

Robinson, Kit L.
 

San Francisco, California
 

Ruark, Gibbons 

Newark, Delaware 

Rutsala, Vern A. 

Portland, Oregon 

Schiff, Harris 

New York, New York 

Scholnick, Michael J. 

New York, New York 

Services to the Field 

Associated Writing Programs 

Noríolk, Virginia 

Beyond Baroque Foundation 

Venice, California 

Beyond Baroque Foundation 

Venice, California 

Burk (Frederic) Foundation for

Education 

San Francisco, California 

Centro de la Familia 

Albuquerque, New Mexico 

Columbia University in the City of 

New York 

New York, New York 

Fine Arts Work Center in 

Provincetown 

Provincetown, Massachusetts 

P.E.N. American Center 

New York, New York 

St. Mark’s-in-the-Bowery 

New York, New York 

Schwerner, Armand 

Staten Island, New York 

Seaton, Peter 

Portland, Maine 

Shapiro, David J. 

New York, New York 

Siegel, Robert H.
 

Whiteñsh Bay, Wisconsin
 

SiIliman, Ronald G.
 

San Francisco, California
 

Simic, Charles
 

Strafford, New Hampshíre
 

Stein, Charles F.
 

New Paltz, New York
 

Sukenick, Lynn L.
 

Ben Lomond, California
 

Tate, James V.
 

Amllerst, Massachusetts
 

Towle, Anthony R.
 

New York, New York
 

Tysh, George K.
 

Denver, Colorado
 

Unterecker, John E.
 

Honolulu, Hawaii
 

Van Walleghen, Michael
 

Urbana, Illinois
 

Vigil, Evangelina S. 

San Antonio, Texas 

Violi, Paul R. 

Putnam Valley, New York 

Waldman, Anne L. 

Nederland, Colorado 

Waldrop, Rosemarie
 

Providence, Rhode Island
 

Ward, Diane L.
 

Washington, D.C.
 

Warsh, Lewis D.
 

Lenox, Massachusetts
 

Watten, Barrett J.
 

San Francisco, California
 

Welt, Bernard
 

Washington, D.C.
 

White, Mary J.
 

Charlotte, North Carolina
 

Wier, Dara
 

Salt Lake City, Utah
 

Zavatsky, Bill
 

New York, New York
 

Indirect assistance to American writers and their craft through 

grants to major service organizations. 

Program funds: $411,685 

To ac~ asa clearinghouse for information about publication and placement services to writers and college level $49,335 

creative writing departments. 

For a phototypeset~ing and graphics center ]or use by 

noncommercial publishers. 18,860 

To enable the Beyond Baroque Library to purchase small 

press volumes. 19,500 

For archival activity, including cataloging, inde~ing, and 

reference work relating to contemporary literature; and 39,565 

acquisition and distribution o] media materials. 

To enable a central archive o] Chicano literature to serve 

as a resource Íor libraries, schools, and the general public. 18,560 

To enable the Translation Center to provide fellowships

and Íees for translators. 60,000 

Fora writer’s fellowship program at the Fine Arts Work 28,865 

Center. 

For the United States branch of International P.E.N. and 75,600 

its service programs. 

For administrative suppor~ of the Poetry Project. 25,000 
 

Literature 117 

Teachers and Writers Collaborative	 For publications which are used in the Poetry-in-the- 67,000 

New York, New York Schools program.

Writer’s Center For a phototypesetter facility to aid independent publish- 9,400

Glen Echo, Maryland	 ers in cutting costs and improving the graphic quality of 

their work. 

General Programs To assist projects not included in other grant categories. 

Program funds: $252,510 

American Internationai Scu]ptors	 For the Poetry in Public Places program. $18,000 

Symposium 

New York, New York 

Carnegie-Mellon University For the production of volumes by the Carnegie-Mellon 10,000 

Pittsburgh, Pennsylvania University Press Poe¿ry Series. 

Carnegie-Mellon University For Poe¿ry on the Buses, which provides poe¿ry placards 20,000 

Pittsburgh, Pennsylvania to transi~ companies throughout the United States. 

9,560 

Memphis, Tennessee ¿oasts, oral narraHve poems, anecdo$es, jokes, and riddles. 

Center for Southern Folklore	 For "Oral Art," a collection of audio tapes containing 

10,000 

Athens, Georgia Georgia Press. Georgia, University of	 For the prod~¿ction of volumes by the University of 

11,000 Iilinois Arts Council For a "Poetry on the Buses" program which places poetry 

Chicago, Illinois placards on buses and trains in the Chieago area. 

7,620 Illinois, University of For the production of volumes for the lllinois Short FicChampaign, Illinois ¿ion Series by the University of Illinois Press. 

13,660 Kentucky Arts Commission For the replacement of paper stock and supplies los¿ by 

Frankfort, Kentucky flood damage to Lockspur Press. 

Kenyon College For the production o] The Kenyon Review. 10,000 

Gambier, Ohio 

3,500 Louisiana State University For the production of a novel as par¿ of the Louisiana 

Baton Rouge, Louisiana State University tic¿ion program. 

Louisiana State University For the prod~~ction of poetry voh~mes. 4,900 

Baton Rouge, Louisiana 

4,620 O’Neill (Eugene)Memorial Theatre For playwrights’ íees and related service costs for the 

Center National Playwrights Conference’s "New Drama for TeleWaterford, Connecticut vision" project.

10,000 O’Neill (Eugene) Memorial Theatre	 For production costs of the second edition of The National 

Center Playwrights Directory.

Waterford, Connecticut 

Pittsburgh, University of For the produc¿ion of volumes ]or the Pitt Poetry Series 10,000 

Pittsburgh, Pennsylvania by the University of Pittsburgh Press. 

7,400 St. Mark’s-in-the-Bowery	 For the producHon of four oral histories and two dramaNew York, New York tizations by lower Eas¿ Side youth through the Community

Documen¿ation Workshop. 

10,000 Teachers and Writers Collaborative For the production o] volumes.

New York, New York 

12,500 Theatre Communications Group For publishing new works for the stage. 

New York, New York 

Western States Arts Foundation* To examine existing support for literature in the member 59,750 

Denver, Colorado sta¿es of the foundation and to make recommendations 

¿heir continued grow¿h. 

Young, Al For the writing and producHon of dramatie scripts for 20,000 

Palo Alto, California radio. 

119 

Media Arts:
 

F ilm/R adio/T el e vi sion
 

A report on a year’s activity demands a dual	 public. Travelling exhibitions and performing 

perspective: one eye íocuses on the incremental	 arts groups tour to the same end; with Progains over the twelve-month period; the other	 gramming in the Arts major series, short 

looks towards the vision which our funding	 series, and special programs are designed for 

plans help to define. This report, then, is in the	 transmission through the 240-odd constituent 

nature of corrective lenses íor our bureaucratic
 stations of the Public Broadcasting System

eyes~ne near, the other far-sighted---to help (PBS), the 219 member stations of National
 

Public Radio (NPR), and other non-profit sta­ us to focus on the changeable media arts field. 

For media arts are the prime example of tions, of ~vhich there are some 800. 

a discipline where the means of production and The first phase oí programming in the arts 

delivery are constantly modified, altered, re-	 (1972-78) concentrated successfully in bringing 

placed. With television and radio satellites,	 the performing arts to broadcast. In the process the complex art that results from success-
 cable television, videodiscs, microwave transmission, home video cassette systems, advanced	 fully crossing a performing art ~vith the media 

consumer-priced audio processing devices comes	 arts was defined, and media artists were trained 

a corresponding change in the entire support	 for this specialized task. Such television series 

system designed to exhibir and distribute work.	 as Live from Lincoln Center, Live from the Met, 

The three constants--production, distribution,	 and Da~~ce in America continue, as does Earpreservation--remain, but they are constantly	 play on radio. In 1978-79 the groundwork ~vas 

redefined. This wary expectation of change laid for major series on the design arts, jazz, 

monitors our daily activities in this department, and the visual arts. A national opera series, 

Ir is clear to us that since its inception in originating in several centers, is in planning. 

1972, this department has had an increasing-- Short series on photography and folk arts are 

and possibly excessive~influence on the field, in production. T~vo new series, presenting selecThis is partly due to scanty funds elsewhere; tions írom the rich universe of independent 

partly to the powers attributed to the federal film/video are also in preparation at WNET

New York and at Global Village, N.Y. The lat­ government, and partly, perhaps, to the emerging nature of the field itself. Ir also became clear ter is the first programming in the arts grants
 

some years ago that without stable and re- to an independent media center.
 

sponsible organizations, the field could not sus- Such series require the Media Arts department to coordinate experts in the field, artists tain itself, let alone grow. With the advice of 

its policy panel, the department established	 in the disciplines involved, private and founthree priorities for development in 1977: Media	 dation funding sources, and other program 

Art Centers, Production Grants, and Program-	 departments at the Endowment. This coordiming in the Arts. To these, one other priority	 nating effort occupied much of the Media Arts 

was added this year: Exhibition Assistance.	 Program’s energies in fiscal 1979. 1980 is expected to be a step-up year to a major initiative Programming in the Arts has a separate in 1981. budget and structure within the Media Arts 

department. Begun in 1972, it is designed to The Production category, initiated in fiscal 

fulfill the charge in the Endowment’s enabling 1978, funds single productions in film and vídeo 

act to bring the arts to the widest possible as well as pilots for series; ir also funds radio 

’°Mother of Us AII" in production. Photo: WTTW/Chicago Public Television 
120 Media Arts 

Jean Marsh and Carole Shelley in "Beggar’s Choice" for the

radio series, °’Earplay." Photo: National Public Radio 

programs and series. In 1980, radio production qualified, however, since costs of production and 

will become a separate category. Again, ir is post-production are climbing lar in excess of 

now apparent that funds for certain ventures the rate of inflation. Fewer artists, it appears, 

are mainly available from government, and that will have access to the tools of creation, and 

free choice of subject and mode of presentation with the decrease of commercial film production 

are largely preserved by government funding, and exhibition, options are further limited. Ir 

We do not see this asa healthy state of affairs, should be said that the Media Department’s conThis production category, available to indi- cerns extend to the maintenance of quality work 

viduals and organizations, joins several other in the field at large~commercial and independmodes of production support already in place~ ent~and that these two categories of producvideo artists grants (in association with the tion are lar from rigid and exclusive of each 

visual arts department), the Independent Docu- other. 

mentary Fund at the Television Laboratory at 

WNET, New York, jointly supported by the Media Arts Centers, identified asa category in 

Ford Foundation and the Endowment (the 1978, are, along with exhibition centers and

Ford Foundation’s departure from support of facilities, essential to the growing but fragile 

public broadcasting, to which ir contributed support system for the media artist throughout 

with unmatched largesse, has not been re- the country. A phenomenon of the past decade, 

placed), and the Independent Filmmaker Pro- media arts centers bring works of classic and 

~ram grants made through the American Film advanced media art to the public through exhiInstitute~the oldest grant program for film- bition programs, workshops, and residencies. 

makers in the country. A variety of funding They focus the attention of artists, critics, and 

sources for production is preferable, since ir public on key issues affecting our understanding 

does not distort the configuration of artists ir is of the media. And they provide a vital resource 

designed to assist. Grants go across the five for media artists through equipment access progenres of film/video : narrative film, documen- grams and to the public through maintenance of 

tary, experimental film, animation, and elec- film-video collections and publications. Increastronic manipulation, ingly, media centers are serving as centers of 

Support across categories and genres production; many are developing cordial relashould, ir possible, be structured vertically from tions with their local public and commercial 

the federal to the local level. State and local television stations, e.g., in Buffalo, Houston, 

support for media artists is increasing. To place Minneapolis, Boston, New York, and Los Anthe decision-making process close to the com- geles. 

munities served, the Media Arts Program has The program supports 21 media centers, 

initiated regional fellowship programs in the including two (Bay Area Video Coalition and 

Southeast and Southwest; further regional pro- the Film Center of the Carnegie Museum in 

grams will follow. And small pilot programs in Pittsburgh) added this year. 

three areas (Chicago, New York, ttouston) While media centers now exist in the 

making direct grants to developing artists Northeast, the Southeast, the South, and the 

through independent media organizations were Midwest, the coverage of the country is spoalso initiated. This optimistic picture should be radic. One center (S.W.A.M.P.) exists between 
Media Arts 121 

Texas and California. The area bounded by San What do we see with the prospective eye? 

Francisco, Portland, Minneapolis, and Houston A field showing immense energy in ah area 

includes nearly half of the United States. Yet where high costs are intrinsic and funds relaonly one media center (the Rocky Mountain tively scanty; organizational skills which have 

Film Center in Colorado) attempts to serve generated institutions now attempting to conthis huge area. No media center is as yet solidate their position; technological changes 

minority-operated, multiplying the modes of access and delivery 

Aware of the problems facing them, the	 (the Media Arts Program is publishing a book 

on satellite access for independents) ; minori­ directors of the media arts center, along with ties whose problems of access to the means of emerging media organizations, independent 

media artists, private foundation representa­ production and distribution are harshly limited; a wider acknowledgement of the distinc­ tives, and Endowment staff met at Lake Min­ tive voice and social presence of the independ­ newaska in upstate New York in spring 1979 en~ media artist. to lay the groundwork fora national organization of media centers. 1980 will see the first For the Media Arts Program the problem 

results of this collective enterprise, is not so much lack of funds--that is a given 

in any funding situation. The problem is deter- In this, as in other areas of the media arts mining the funding priorities. Here the ques­ field, optimista is sharply qualified by fiscal tion of democracy versus narrow-band funding realities. Ir is generally expected that the 80’s 

will be rather arid fiscal territory; private becomes uncomfortably pressing. A recent survey by the Media Arts departmen~ of fellow- funds for media art centers have not been ship grantees revealed that many fel~ insuffi­ forthcoming in signiñcant amounts. A major cient funding of a major project to be a kind problem, it seems to us, is that the media art of harassment. These questions--program pri­ center, a new institutional entity, is notas orities, strategies of funding--attend every easily focused on as, say, a museum or dance panel’s deliberations. While the consensus on company. Indeed the nature of media arts the funding question has been to occupy the themselves, as with photography at the start middle ground, that compromise is not always of the 70’s, remains blurred in the popular 

mind. And the work of the independent artist, productive. Here practical problems begin to

which maintains ah individual voice in a mass fray the edges of ideal blueprints.

medium overwhelmingly devoted to commer- As we move into the 80’s, large questions 

cial ends, is still a misunderstood and under- begin to come into focus: How will the young 

exploited resource, independent media field survive in the next 

Mindful that production remains ah empty five years ? What will be the quality of its presence? What achievement can be pointed to that exercise without a system of delivery, Exhibi­ gives authority to its past and direction to its tion Aid was added to the Media Arts priority future? programs for 1980. In need of clarifica~ion is 

the exact relation of the 33 exhibition programs "" 

supported by the Endowment to commercial 

exhibition and distribution. Preliminary discussions offer evidence that many distributors ~ ~.~.~-­ have a more open attitude to independent work 

than had been previously assumed--further 

proved by the extraordinary response of dis- Brian O’Doherty Director, Media Arts Program tributors to the short ñIm showcase films now 

seen in some 6,000 commercial exhibition 

houses across the country. 

The tack of packaging (the grouping of 

films/videoworks in a way that expresses a 

vision of an aspect of the field, supported by 

adequate prjnted material) has become acute. 

Apart from some pioneering efforts by the 

American Film Institute and the American 

Federation of Arts, few packages circulate 

through Endowment-supported exhibition 

houses. These needs will be addressed in 1980. 

The fact that the exhibition program has not 

insisted on its own growth by its own energetic 

demands remains puzzling. 
122 Media Arts 

Medh Arts Adv~sory Panel
 

Policy Review Panel Robert Wise William Greaves 

Film Director, Producer Filmmaker 

James Blue Malibu, CaliSornia New York, New York 

Filmmaker, Professor of Film 

Center Sor Media Study 

Buffalo, New York 

Ruby Dee 

Actress 

Services to the Field Panel 

Robert Sitton 

Director 

Northwest Film Study Center 

Portland, Oregon 

New York, New York 

Cliff Frazier 

Linda Blackaby 

Film Exhibitor 

Neighborhood Film Project 

Anthea Syibert 

Vice President, Special Projects 

Warner Brothers Studios 

Filmmaker, Third World Productions Philadelphia, Pennsylvania Los Angeles, California 

New York, New York 

David Bordwell .lesus Trevino 

Virgil Grillo 

Director, Rocky Mountain Film Center 

Boulder, Colorado 

Assistant ProSessor of Film 

University of Wisconsin 

Milwaukee, Wisconsin 

Television Producer, KCET-TV 

Los Angeles, California 

Edward Hugetz 

Director 

Southwestern Alternate Media 

Louise Etra 

Video Artist 

Oakland, California Media Arts Centers Panel 

Project 

Houston, Texas Clilf Frazier . 

Filmmaker, Third World Productions 

Virgil Grillo 

Director, Rocky Mountain Film 

Lucy Kostelanetz 

Deputy Director Sor Communications 

and Visual Arts 

New York State Council on the Arts 

New York, New York 

New York, New York 

Nancy Legge 

Acting Director, Media Program 

New York State Council on the Arts 

New York, New York 

Center 

Chairman, Film Studies Department 

University oS Colorado 

Boulder, Colorado 

Virginia Fox 

Adan Medrano 

Director, Oblate Communications 

San Antonio, Texas 

Victor Nunez 

Filmmaker 

Tallahassee, Florida 

Associate Director Sor Broadcasting 

Kentucky Educational Television 

Lexington, Kentucky 

.leanne Mulcahy 

Director for National Programming 

KCET-TV 

Los Angeles, California Production Aid : Radio Panel 

Nancy Legge 

Acting Director, Media Program 

New York State Council on the Arts 

New York, New York 

Clare Spark 

Radio producer 

President, Yankee Doodle Society 

Yuri Rasovsky 

Director, National Radio Theater 

Robert Stearns 

Director, Contemporary Arts Center 

Cincinnati, Ohio 

Pacific Palisades, California Chicago, Illinois 

’Alan Rich 

American Film Institute 

Music Critic, New York Magazine 

New York, New York Aid to Film/Video 

Exhibition Panel 

Review Panel William Siemering Anthony Gittens 

General Manager, WUHY-FM Director, Black Film Institute 

Kathleen Nolan 

Actress 

President, Screen Actors Guild 

Hollywood, California 

Gordon Parks 

Film Director, Photographer 

New York, New York 

Philadelphia, Pennsylvania 

Clare Spark 

Radio Producer, Writer 

President, Yankee Doodle Society 

Pacific Palisades, California 

University of the District of Columbia 

Washíngton, D.C. 

Roger Greenspun 

Film Critic 

Professor of English, Rutgers 

University 

New York, New York 

Robert Sitton 

Director 

Northwest Film Study Center 

Portland, Oregon 

Production Aid : 

Film/Video Panel 

Edward Hugetz 

Filmmaker, Director 

Southwestern Alternate Media Projeet 

Houston, Texas 

Daniel Taradash 

Screenwriter 

Beverly Hills, California 

Sally Dixon 

Acting Director, Film in the Cities 

St. Paul, Minnesota 

Norie Sato 

Media Director, and/or service

Seattle, Washington 

John Whitney, Sr. 

Filmmaker 

Paciñc Palisades, California 

Jill Godmilow 

Filmmaker 

New York, New York 

Melinda Ward 

Film Coordinator, Walker Art Center 

Minneapolis, Minnesota 
 

 

Media Arts 123 

In Residence/Workshop Panel Philip Mallory Jones Lawrence Fraiberg 

Videomaker Independent Television Producer 

James Blue Director, Ithaca Vídeo Projects New York, New York 

Professor of Film Ithaca, New York 

State University of New York 

Buffalo, New York Ron Green Adan Medrano 

Director, Oblate Communications Chairman Henry Breitrose Department of Photography and San Antonio, Texas Professor of Film and Broadcasting Cinema 

Ohio State University Stanford University 

Palo Alto, California Jay Ruby Columbus, Ohio Department of AnthropoIogy 

Temple University Albert $ohnson Philadelphia, Pennsylvania Charles Hobson Professor of Cinema 

University of California at Berkeley Television and Radio Producer 

Berkeley, Caliíornia Cecile Starr WETA-TV

Film Critic, Author Washington, D.C. 

Jennifer Lawson New York, New York 

National Coordinator Rosalind Krauss The Film Fund 

New York, New York Art Critic

New York, New York 

Adan Medrano Programming in the Arts Panel Director, Oblate Cornmunications Jack Kroll San Antonio, Texas Theater Critic, Newsweek James Blue New York, New York Gail Waldron Professor of Film 

Executive Director State University of New York 

Bay Atea Video Coalition Buffalo, New York Beverly Sills San Francisco, California New York City Opera

Marge Champion New York, New York 

Dancer, Actress 

Los Angeles, California 

General Programs Panel 

Sally Dixon 

Louise Etra Acting Director 

Video Artist Film in the Cities 

Oakland, California St. Paul, Minnesota 

Media Arts Grants Program funds: $7,900,468

Treasury funds: $787,000 

Private gifts: $700,000 

Open in fiscal 1979 only to proposals aimed at developing a series of Programming programs on the arts for national broadcast on television or radio. in the Arts 

Program funds: $1,906,000
 

Treasury funds: $787,000
 

Private gifts: $700,000
 

American Federation of Arts To assist filmmaker, art critic, and historian Barbara Rose $40,000 

New York, New York to produce fiIms on Patrick Henry Bruce, on American ar~ 

of the 30’s and $O’s, and on a lithography workshop. 

Brooklyn Institute of Art and For Julia Hotten to research and develop a pilo~ program 15,000 

Science fora series of television dramas based on the 13~h century 

Brooklyn, New York African empire of Mali and its principal hero, Sundiata. 

Children’s Television Workshop To amend a previous gran$ for research and developmen$ 20,000 

New York, New York of new broadcast programming in the arts for children. 

Community Television of For a series on the American musical comedy, from 0kla- TF 150,000 

Southern California/KCET-TV homa to Chorus Line. PG 150,000 

Los Angeles, California 

Community Televisionof To complete Conversations about the Dance, a television 8,000 

Southern California/KCET-TV special featuring Agnes de Mille and the Jo~rey Ballet. 

Los Angeles, California 
124 Media Arts 

Educational Broadcasting 

Corporation 

New York, New York 

Educational Broadcasting 

Corporation 

New York, New York 

Educational Broadcasting 

Corporation 

New York, New York 

Global Village Video Resource 

Center 

New York, New York 

Historical Perspectives Films 

New York, New York 

House Foundation for the Arts 

NewYork, NewYork 

Learning in Focus 

New York, New York 

Lincoln Center for the 

Performing Arts 

New York, New York 

Media Probes 

New York, New York 

Metropolitan Opera Association 

New York, New York 

Mississippi Authority for 

Educational Television 

Jackson, Mississippi 

National Public Radio 

Washington, D.C. 

New York Foundation for the Arts 

New York, New York 

112 Workshop 

New York, New York 

Performing Artservices 

New York, New York 

PTV Production 

Mill Valley, California 

Tennessee Folklore Society 

Whitleyville, Tennessee 

Twin Cities Public Television 

St. Paul, Minnesota 

WGBH Educational Foundation 

Boston, Massachusetts 

WGBH Educational Foundation 

Boston, Massachusetts 

WGBH Educational Television 

Boston, Massachusetts 

For a national television series featuring the work of in- 145,000 

dependent film and video artists. 

l~or the second year of the Independen~ Documentary Fund 300,000 for Public Television, which supports the production oÍ independent film and video documentaries for broadcast ove~" 

the Public Broadcasting Service. 

For four new productions in the series, Dance in America. 50,000 

TF 450,000 

PG 400,000 

For a national television series featuring the work of ¿n- 145,000 

dependent film and video artists. 

For a four-part series on the aehievements of photography. 94,000 

Fora work fusing film and dance by choreographer Mere- 25,000 

dith Monk and filmmakers Amram Nowak and Robert 

Rosen. 

To produnce a short series based on James Baldwin’s novel 63,000 

Go Tell Ir on the Mountain. TF 37,000 

For the fourth season of Live from Lincoln Center. 275,000 

For a series of programs demonstrating the effect of media 90,000 

on our assumptions, judgments and perceptions. 

For the third season of Live from the Metropolitan Opera.	 TF 150,000 

PG 150,000 

To enable Alan Lomax, John Bishop, and Worth Long to 35,000 

complete a documentary television program on blacl¢ musical traditions of Mississippi. 

To produce radio dramas for national broadcast, including 200,000 

Earplay (a series oÍ original dramas) and to acquire independently produced works. 

For Charles Musser to produce a fim on the work of Edwin 20,000 

S. Porter, producer of The Great Train Robbery. 

For a media art work resulHng from collaboration between 6,000 

choreographer Kenneth King and filmmakers Robyn Brentano and Andrew Horn. 

For a film version of Sam,el Beckett’s The Lost Ones by 40,000 

Mabou Mines. 

For four films documenting the environmen~s crea$ed by 90,000 

salve ar~ists in the tradition of Simon Rodia. 

For 13 half*hour programs on Southern muslo (hollerin’, 90,000 

balladeering, rural blues, white gospel, black gospel, old 

time music, traditional jazz, Tex-Mex, Cajun muslo, Western swing, urban elee¿rie blues, bluegrass, and fiddlin’ contests). 

For the production of a television special, Minnesota Land- 15,000 

scapes, consisting of six specially commissioned works of 

video art. 

To support Camera Three, a series of cultural programs. 50,000 

To amend a previous grant fora series on the life of 60,000 

Eugene O’Neill. 

To research and develop a pilot for a series oí arts pro- 30,000 

grams for children ages 8 to 1~. 
Media Arts 125 

~e~,;ona1 To assist Media Arts Centers to undertake a variety of projects 

which will make the arts of film, video, and radio more widely ap- Development: preciated and practiced. Centers may be independent of associated 

Major Media Centers with another organization such as a museum, university, or state arts 

agency. 

Program funds: $718,000 

Alabama Film-Makers Co-op 

Huntsville, Alabama 

For media center activities, including provision of film and 

video facilities; publication of The Reel World; workshops 

with artists in residence; and administration oÍ filmmakers-in-schools. 

$20,000 

Appalshop 

Whitesburg, Kentucky 

For media center activities, including workshops with 

artists-in-residence, film exhibition programs, and provision of 16mm filmmaking facilities. 

20,000 

Art Institute of Chicago 

Chicago, Illinois 

For the Film Center programs of film exhibitions, information services, appearances by filmmakers and scholars, 

maintenance of a film study collection, distribution of instructiónal films, and publication of the Film Center Gazette. 

36,000 

Bay Atea Video Coalition 

San Francisco, California 

For media center programs and services in 1979, including 

provision of vídeo facilities, publication of Vídeo Networks, provision of consulting services to vídeo artists, 

workshops and forums, and grants management services. 

20,000 

Bay Arca Video Coalition 

San Francisco, California 

For media center programs and services in 1980. 22,000 

Boston Film/Video Foundation 

Allston, Massachusetts 

For media center activities in 1979, including regular film 

and vídeo exhibitions; access to film and vídeo facilities; 

publication of Visions; maintenance of a film/vídeo archive 

and library; and sponsorship of workshops, seminars, and 

courses in film and vídeo. 

25,000 

Boston Film/Video Foundation 

Allston, Massachusetts 

For media center activities in 1980. 30,000 

California, University of

Berkeley, California 

For an exhibition program by the Pacific Film Archive of 

American independent cinema, personal appearances by 

film and vídeo makers, video exhibitions and installations, 

publication of the Film/Video Calendar, and the Public 

Service Screening Program. 

42,000 

Carnegie Institute 

Pittsburgh, Pennsylvania 

For the 1979 activities of the museum’s film seetion, including film exhibition series; critics and scholars in residence; a visiting filmmakers series; publication of the 

Film and Video Makers Travel Sheet and Film and Video 

Makers Directory; and maintenance of a film collection. 

22,000 

Carnegie Institate 

Pittsburgh, Pennsylvania 

For the 1980 activities of the museum’s film section. 26,000 

Colorado, University of 

Boulder, Colorado 

To enable the Rocky Mountain Film Center to support nine 

short-term residencies by filmmakers, expand exhibition 

programs, publish the RMFC Calendar and News, operate 

the Children’s Film Series, and develop information services and satellite exhibition programs. 

30,000 

Film in the Cities 

St. Paul, Minnesota 

For maintenance of a regional media resource center providing access to equipment for filmmakers, a visiting artist 

program, a sound exploration laboratory, community exo 

tension programs, associate degree programs in film for 

arca schools, and regular film exhibition programs. 

22,000 

Global Village Video Resource 

Center 

New York, New York 

For a video and film exhibition series, maintenance of a

video post-production Íacility, publication of Videoscope, 

ah in-residence/workshop program, and distribution of the 

video eollection. 

30,000 

Haleakala 

New York, New York 

For 10 three-week video exhibitions, 30 art performances 

involving media, 20 individual and group screenings, the 

video archive and library, and national circulation of ¿he 

tape library during 1979. 

32,000 
126 Media Arts 

Haleakala 

New York, New York 

Media Study 

Buffalo, New York 

Millenium Film Workshop 

New York, New York 

Museum of Modern Art 

New York, New York 

Northwest Film Study Center 

Portland, Oregon 

Pittsburgh Film-Makers 

Association 

Pittsburgh, Pennsylvania 

South Carolina Arts Commission 

Columbia, South Carolina 

Southwestern Alternate Media 

Project 

Houston, Texas 

Syracuse University 

Syracuse, NewYork 

University Film Study Center 

Cambridge, Massachusetts 

Walker Art Center 

Minneapolis, Minnesota 

Regional Development: 

Aid to Film/Video

Exhibition 

and/or service 

Seattle, Washington 

Archdiocesan Communications 

Center 

San Francisco, California 

Artists Television Network 

New York, NewYork 

For the Kitchen Center’s 1980 media programs, including 38,000 

~nedia installations, performances, equipment acce~s, film 

exhibitions, archiving and distribution of video works, and 

operation of the Media Bureau. 

To support Media Study asa film/vídeo resource center 40,000 

o~ering film and video screenings, visiting artist workshops, artist-in-residence programs, conferences and seminars, and special programs. 

For media center activities, including film exhibitions, 30,000 

seminars and workshops, provision of facilities, and publications. 

For the bi-monthly independent film-makers exhibition 45,000 

program; the "Video Viewpoints" series; and Film Study 

Center operations; the Cineprobe series; and program 

notes and documentation for distribution. 

For film exhibitions, a young people’s film festival, instruc­ 42,000 

tion in film/vídeo theory and production, administration 

of the filmmaker-in-schools program for the state, and 

publications, and circulating film programs. 

For an open access equipment facility; publie screenings 27,000 

of classic, independent, and avant-garde films; the quarterly publication Field of Vision ; and a visiting filmmakers 

and scholars program. 

For access to the film editing studio ; circulation of the film 27,000 

collection; publication of the Independent Spirit newsletter ; the Southern Conf erence on Independent Filmmaking ; 

and regional filmcraft workshops. 

For the Rice Media Center film series; the annual festival 27,000 

of Southwest film; public workshops in animation; production of The Territory, a series on independent film produced for local PBS broadcast; and services to local media 

artists. 

For activities of the Synapse Video Center, including pro­ 18,000 

vision of facilities, exhibitions, visiting artist programs, 

and publications. 

For the New England Media Program, including a monthly 

newsletter, reference library, a 600-film study collection, 

20,000 

and distribution of the Guide to Film and Video Resources 

in New England. 

For ¿he exhibition program of classic and independent 27,000 

films, a visiting filmmakers’ program, outreach workshops 

and exhibitions, and maintenance of a film study center. 

To assist organizations in exhibiting high quality film and video art 

that may not be available to the public through regular commercial 

channels. 

Program funds: $282,400 

For video exhibitions, vídeo installations, and appearances $9,000
 

by video artists.
 

To support Vídeo Free America’s exhibitions, discussions 5,000
 

with video artists, open screenings, and audience development.
 

For twice-weekly exhibitions of vídeo artists’ works on 10,000
 

Manhattan cable television, promotion of distribution of
 

these programs to universities and other cable systems,
 

and publication of Cable SoHo’s video catalogue.
 
Media Arts 127 

Baltimore Film Festival For an exhibition series of classic and independent film 5,000 

Baltimore, Maryland and an annual International Film Festival. 

Berks Filmmakers For an avant-garde film series with lectures by visiting 4,000 

Reading, Pennsylvania filmmakers. 

Chicago Filmmakers 

Chicago, Illinois 

For an exhibition of works by independent filmmakers and 

personal appearances by the artists, with special emphasis 

8,000 

on new works. 

Christian Association of the For the International Cinema program, fea~uring screen­ 10,000 

University of Pennsylvania ings and traveling programs involving non-European and 

Philadelphia, Pennsylvania Third World films. 

Collective for Living Cinema 

New York, New York 

For exhibition of independent films, classic narrative films, 

films by black independent filmmakers, and othsr ethni¢ 

7,000 

films. 

Craft and Folk Art Museum For exhibitions of American and foreign films, publication 6,500 

Incorporating the Egg and the Eye of program notes, and audience development. 

Los Angeles, California 

District of Columbia, 

University of the 

For Che lectures and screenings of the Black Film Institute. 10,000 

Washington, D.C. 

Everson Museum of Art For five eight-week exhibitions of video works appropriate 7,000 

Syracuse, New York to a museum set~ing, workshops and lectures by vídeo artists, and the curatorial research pro]eet. 

Facets-Multimedia For screenings of films, film appreciation courses for ele­ 4,000 

Chicago, Illinois mentary and high school students, and directore’ retrospectives with the filmmakers present. 

Film Art Fund For regular screenings of American and foreign independ­ 10,000 

New York, New York ent films by Anthology Film Archives. 

Film Art Fund For the vídeo exhibition program presented by Anthology 10,000 

New York, New York Film Archives. 

Foundation for Art in Cinema For twice-weekly showings of independent films. 8,000 

San Anselmo, California 

Independent Media Artists 

of Georgia, Etc. 

For the 1979 public exhibitions of independent film and 

video works by Southeastern filmmakers. 

5,000 

Atlanta, Georgia 

Independent Media Artists For the 1980 film and vídeo exhibition program and a se­ 8,000 

of Georgia, Etc. ries on work8 from the Atlanta Independen$ Film and 

Atlanta, Georgia Vídeo Festival. 

Institute for New Cinema Artists For exhibitions of film and vídeo works, discussions with 5,000 

New York, New York film and vídeo artists, and lecture-workshops. 

Inter-Media Art Center For exhibitions of films and video works, vídeo installa­ 6,000 

Bayville, New York tions, special program8 focusing on works by local vídeo 

artists, and vídeo performances. 

International Museum of For the Dryden Theater’s exhibition program of films from 5,000 

Photography the archives of George Eastman House anda special series 

Rochester, New York on the scenic designs of Harry Horner. 

Kent State University 

Kent, Ohio 

For exhibition of independent, experimental, classic, and 

documentary films a~d video works. 

5,000 

LongBeach Museum of Art For the Southland Vídeo Anthology exhibition program, 7,500 

Long Beach, California vídeo art broadcasts over cable television, and documentation of the vídeo exhibitions. 

Los Angeles Independent For exhibitions of independent films, with spedal attention 8,000 

Film Oasis to the work of West Coast independent filmmakers. 

Los Angeles, California 

Los Angeles Institute of 

Contemporary Art 

For the video exhibition program, including five lO-week 

screenings, initiation of a video archive, and publication of 

4,000 

Los Angeles, California program notes. 
128 Media Arte 

Millenium Film Workshop 

New York, New York 

Moving Image 

New York, New York 

Museum of Fins Arte 

Boston, Massachusetts 

Nebraska, University of 

Lincoln, Nebraska 

New England New Media 

Norwich, Vermont 

Pennsylvania, Trustees 

of the University of 

Philadelphia, Pennsylvania 

Real Art Ways Raw Ink 

Hartford, Connecticut 

St. Louis Art Museum 

St. Louis, Missouri 

Some Serious Business 

Venice, California 

Sun Ship Communications 

Buffalo, New York 

Upstate Films 

Rhinebeck, New York 

Walnut Street Theater 

Corporation 

Philadelphia, Pennsylvania 

Whitney Museum of American Art
 

New York, New York
 

Whitney Museum of American Art 

New York, New York 

Regional Deve]opment: 

In.Residence 

Workshop 

Alabama Film-Makers Co-op 

Huntsville, Alabama 

Alabama State Council on the 

Arte and Humanities 

Montgomery, Alabama 

Appalshop 

Whitesburg, Kentucky 

Christian Association of the 

University of Pennsylvania 

Philadelphia, Pennsylvania 

Collective for_Living Cinema 

New York, New York 

For regular exhibitions of experimental and personal 

cinema. 

10,000 

For Film Forum’s screening of new works by independent 

filmmakers. 

13,000 

For research and exhibition of three series: the artists on 

film, film ~nodernism, and a survey oí silent film in Russia. 

4,000 

For the exhibition program of the Sheldon Film Theater: 

film claseics, independent and documentary filme, the plays 

of Shakespeare, foreign filme, and filme on the arte. 

10,000 

For film and vídeo exhibitions and appearances by visiting 

filmmakers. 

4,000 

For the exhibition program of the Annenberg Cinematheque of foreign and American independent filme. 

5,000 

For film and video exhibitions, including bimonthly screenings of independent filme. 

5,000 

For exhibitions of independent and ]eature filme with special programs in the series Black on Black. 

6,000 

For exhibitions, screenings of independent video, and Video 

Art (produced for broadcast over Southland Cable stations). 

4,000 

For lectures and sereenings focusing on minority film and 

vídeo artists. 

7,000 

For exhibitions of independent filme, special programs on 

women’s filme and animation, a series on the filme of Joris 

Ivens, and filme on China. 

5,400 

For exhibition programs featuring independent film and 

vídeo and recent foreign films. 

10,000 

For the 1979 New American Filmmakers series, featuring 15,000 

premieres of independent works, and the video exhibition 

program. 

For the 1980 film and video exhibition program, consisting 17,000 

oí the New American Filmmakers series; a lecture series 

on early cinema and its relation to the avant-garde; and 

an exhibition of video deeigned ]or public spaces. 

To enable organizations to invite renowned film and videomakers, 

radio producers, and critics for lectures, workshops, or residencies. 

Program funde: $164,500 

For a residency by ah independent filmmaker to conduet $8,000

post-production and production workshops. 

For a film/video coordinator to dsvelop statewide commu­ 6,000

nity sponsorship for film/video programs. 

For tire visiting artists to conduct workshops in film/ 5,000 

radio / television production. 

For visits by 1~ independent doeumentary filmmakers in 8,000

the Real-to-Reel series and two workshops on the history 

of political filmmaking. 

For filmmaking workshops condueted by independent film­ 5,000

makers. 
Media Arts 129 

Communications for Change For four video artists to conduct screening sessions and 5,000 Chicago, Illinois workshops on independent video production. 

Community Film Workshop For a series of one-day lecture/workshops by black pro- 5,000 of Chicago Íessionals in the film industry. 

Chicago, Illinois 

Foundation for Art in Cinema For visits by 35 filmmakers and critics for lectures and ex- 5,000 

San Anselmo, California hibitions at the Canyon Cinematheque. 

FriendsofSeven/KPBS-TV For a six-month residency by filmmaker Carl Jones to 3,500 

Spokane, Washington work on a documentary on prison life. 

Goddard College For a residency by vídeo artist Ann McIntosh to conduct 6,500 

PIainfield, Vermont workshops. 

Independent Media Artists For presentations by 1¿ film and vídeo artists in conjune- 7,000 

of Georgia, Etc. tion with the 1MAGE exhibition program. 

Atlanta, Georgia 

Institute of New Cinema Artists For workshops by professionals in the film and television 7,000 

New York, New York industries for interns selected by the institute. 

Inter-Media Art Center For vídeo workshops to be conducted by Ed Emshwiller. 7,000 

Bayville, New York 

J. B. Speed Art Museum	 For lecture/screenings by independent filmmakers Danny 4,000 

Louisville, Kentucky	 Lyon, Jon Pubin, Bruce Wood, J. J. Murphy, and Richard 

Myold. 

Maryland, University of 

(Baltimore County) 

Catonsville, Maryland 

For artists-in-residence 

graphics. 

to experiment with compu~er 5,000 

Millenium Film Workshop 

New York, New York 

For weekly seminar classes led by visiting filmmakers. 4,000 

Minnesota State Arts Board 

Minneapolis, Minnesota 

For a coordinator to assist community sponsors in developing experimental film and vídeo programs throughout 

Minnesota. 

10,000 

Moore College of Art For visit~ by ten independent filmmakers to screen their 4,000 

Philadelphia, Pannsylvania works and to conducta special workshop with Hispanic 

community groups. 

New School for Social Research For six animators-in-residence to create study materials 8,000 

New York, New York on animation techniques. 

Ohio University For a four-day workshop on sound and music in film prac- 3,500 

Athens, Ohio rice and aesthetics at the Appalachian Media Center. 

Squaw Valley Community For a two-week workshop for screenwriters, during whieh 3,000 

of Writers portions of their work will be performed by professional 

San Francisco, California actors. 

Sun Ship Communications For film and vídeo workshops and for residencies by ser- 7,000 

Buffalo, New York eral black filmmakers. 

Syracuse University For four workshops led by visiting artists on video pro- 8,000 

Syracuse, New York duction and post-production, legal aspects of broadeasting, 

and access to broadcast channels at the Synapse Video 

Center. 

Tucson Museum of Art For workshops in fiImmaking by 11 professional filmmak- 5,000 

Tucson, Arizona ers and actors for the Southwestern Film Consortium. 

University Student	 For video workshops by midwestern vídeo artists. 5,000 

Telecommunications Corporation 

Minneapolis, Minnesota 

Walnnt Street Theater For workshops with community organizations and student 5,000 

Philadelphia, Pennsylvania groups. 

Western States Arts Foundation For 12 community tours by film and video íellowship win- 7,000 

Denver, Colorado ners. 
130 Media Arts 

YoungFilmmakersFoundation 

New York, New York 

Endowment/
 

CPB Joint Program
 

Chicago Project 

New York, New York 

Global Village Video 

Resource Center 

New York, New York 

International Film Seminars 

New York, New York 

Lukas, Christopher 

Grandview, New York 

New York Foundation for the Arts 

New York, New York 

Shared Communications Systems* 

New York, New York 

Short Film Showcase 

For directors’ workshops and seminars, screenwriters’ 8,000 

seminars, and a two-week workshop on post-production. 

The Media Arts Program works with the Corporation for Public 

Broadcasting by jointly funding specific projects which foster the 

arts on public television. 

Program funds: $158,775 

$15,000 For production of Turgenev’s The Torrents of Spring. 

40,000 To hold six regional workshops for independent media artists and public television station personnel to further the 

involvement of local artists in public television, and to explore new electronic technologies. 

44,350 For the eighth annual conference on public television and 

independent film and video. 

4,425 For research .and development of a public broadcasting 

arts resource bank. 

30,000 To complete a feature documentary, Lee Strasberg and the 

Actors Studio by veteran filmmaker Herbert Kline. 

25,000 A contract to produce a handbook ]or media artists on how 

to distribute films, vídeo, and radio programming to cable 

systems, public broadcasting, and other outlets. 

The Foundation for Independent Vídeo and Film administers for the 

Endowment a program to dis~ribute selected short films by independent filmmakers to commercial movie theaters throughout the 

United States. 

Program funds: $98,493 

Griflin, George	 2,500 Filmmakers New York, New York 

Ten filmmakers received honoraria for the non- Magden, Norman	 2,500 exclusive distribution of their films to commercial 

theaters. 

Aellen, Richard 

Berkeley, California 

Beattie, Alan 

Los Angeles, California 

Brister, .lohn 

Bloomington, Minnesota 

Cahn, Iris and Aviva Slesin 

New York, New York 

Foundation for Independent 

Video and Film* 

New York, New York 

Dekalb, Illinois 

Manson, Dan	 2,500 $2,500 Santa Monica, California 

Petty, Sara	 2,500 2,500 Reseda, California 

Stiever, Greg	 2,500 2,500 Hopkins, Minnesota 

2,500	 Surges, Carl 2,500 

Shorewood, Wisconsin 

73,493 To amend a previous contract for additional administratire costs necessary for the continuation of the Shor$ Film 

Showcase program. 
 

 

Media Arts 131 

American Film	 Support for the American Film Institute for its work in preserving 

and developing the nation’s artistic and cultural resources in film.

Institute	 The institute is concentrating essentially in the following areas’: 

archives education, advanced filmmaker training, filmmaker grants, 

and research and publication. 

Program funds: $1,700,000 

American Film Institute For general administration and 8upport of 8uch activities $1,700,000 

Washington, D.C. asa film conservatory, educational workshops, information 

services, film exhibitions, and various publications. 

AFI/Endowment	 To help organizations locate, preserve, and catalogue films of artistic 

value. Archival Program Program funds: $487,500 

$487,500 

Washington, D.C. Archival Program, including subgrants Íor preservation, 

coordination, and administrative costs. 

American Film Institute*	 For services related to the AFl/Arts Endowment Film 

AFI/Endowment The AFI administers for the Endowment a program of grants’ to filmmakers working in animated, documentary, experimental, and

Independent Filmmaker narrative film. 

Fellowships Program funds: $450,000 

$450,000 

Washington, D.C. grato. 

American Film Institute*	 A contract for the Independent Filmmaker Awards ProProduction Aid: To improve the artistic quality of the media arts of film and video

through support of single productions by tax-exempt organizations. Film and Video Grants 

Program funds: $580,000 

Alabama Filmmakers Co-op For regional fellowship grants. $30,000 

Huntsville, Alabama 

For a documentary film by Susan Fanshel on a community 18,000 Bronx Council on the Arts 

New York, New York arts program in New York City’s South Bron~.

California, Regents of the Fora film by Eli Hollander, in collaboration with Eugene 25,000 

University of Ionesco, based on a novel by Ronald Sukenick. 

Santa Cruz, California 

Center for Documentary Media For a documentary film by Jacl¢ Willis on the 1960’s civil 30,000 

New York, New York rights movement. 

City University of New York, Fora documentary film by Jaime Barrios on Puerto R~co. ~0,000 

Research Foundation of 

New York, New York 

Creative Artists Program Services For the production of an original teleplay by John Keeler 28,000 

New York, New York and Ruth Rotko. 
 

132 Media Arts 

Downtown Community 

Television Center 

New York, New York 

Film Arts Foundation 

San Francisco, California 

Film Fund 

New York, New York 

Haleakala 

New York, New York 

Health Policy Advisory Center 

New York, New York 

Institute for New Cinema Artists 

New York, New York 

New York Foundation for the Arts 

New York, New York 

New York Foundation for the Arts 

New York, New York 

New York Foundation for the Arts 

New York, New York 

New York Foundation for the Arts 

New York, New York 

Nguzo Saba Films 

San Francisco, California 

Northeastern Pennsylvania 

Educational Television Assocíation 

Pittston, Pennsylvania 

On Television 

New York, New York 

Performing Artservices 

New York, New York 

Pueblo Artes Chicano 

Pueblo, Colorado 

Southwestern Alternate Media 

Project 

Houston, Texas 

Tides Foundation 

San Francisco, California 

Production Aid: 

Radio Grants 

AlI-Media Dramatic Workshop 

Chicago, Illinois 

Appalshop 

Whitesburg, Kentucky 

Frank, Joseph L.

Washington, D.C. 

Fora vídeo documentary by Jon Alpert about the Ameri- 25,000 

can muele industry. 

For a documentary film by Jon Else about J. Rober~ Op- 25,000 

penheimer. 

To complete a documentary film by Tom and Leo Hurwitz 30,000 

about midwestern miners returning to work after the longest strike in their history. 

Fora nationwide cablecast of a performance of a multi. 25,000 

media composition by Robert Ashley. 

To complete a film by Bonnie Friedman on women aleo- 20,000 

holics. 

Fora documentary film by Horace Jenkins exploring the 25,000 

li fe and work of Romar~ Bearden. 

For completion of a film by Martha Sandlin about the tela­ 10,000

tionship between two blind women. 

Fora documentary film by John Block about a family’s 15,000 decision to place their patente in a home for ¿he elderly. 

For a narrative film by Robert Gardner about the educa- 25,000 

tion of children outside the classroom. 

Fora film by Michael Roemer entitled Pilgrim Farewell 50,000 

about the etíect of a death of a wife and mother on family 

relationships. 

For an animated film by Carol Munday Lawrence. 9,000 

For completion of a documentary by Charles Guggenheim 10,000 

detailing the passage of a bill through Congress. 

For a pilot program fora documentary series examining 25,000 

the social, cultural, and economic impaet of Ameriean television. 

For a one-hour documentary film by Louis Malle on aspects 30,000 

of American mass culture. 

For a film by Juan Salazar on the Canto al Pueblo Festi- 25,000 

val. 

For regional f ellowehip grants. 30,000 

Fora documentary film by Joan Churehill and Nick 40,000 

Broomfield on poliee academies. 

To improve the artistic quality of the media art of radio through 

support of single productions by tax-exempt organizations. 

Program funds: $235,000 

For 26 radio plays for distriSution as the Chicago Radio $20,000 

Theater. 

For the radio drama Red Fox/Second Hangin’, conceived 3,000 

and performed by the Roadside Theater. 

Fora nightly program entitled In the Dark to be broad- 8,000 

cast over station WBAI-FM. 
Media Arts 133 

Frederikse, Julie A. For a series of half-hour radio documentaries on the mod­ 10,000 

Washington, D.C. ern nomad. 

Green, James For an audio documentary on the American carnival. 5,000 

Boulder, Colorado 

Malloch, William 

Los Angeles, California 

For a ten-part series on early European mechanical musical instruments. 

10,000 

Minnesota Public Radio For the fifth season of A Prairie Home Companion, a 15,000 

St. Paul, Minnesota satirical radio program. 

Minnesota Public Radio For Minnesota in Recital, a series of 97 performances by 15,000 

St. Paul, Minnesota various musical organizations. 

National Public Radio For the 1979 season of Jazz Alive. 25,000 

Washington, D.C. 

New Mexico, University of For production by station KUNM-FM of a series of ex­ 18,500 

Albuquerque, New Mexico perimental musical and sound works. 

Niblock, Phill For concerts by composers at the Experimental Intermedia 7,000 

New York, New York Foundation. 

Ossman, David H. For a comedy feature set in a space-colonized future. 5,000 

Santa Barbara, California 

Pacifica Foundation 

Berkeley, California 

For radio station KPFA-FM to produce eight programs 

about outstanding women. 

25,000 

Pacifica Foundation 

North Hollywood, California 

For radio station KPFK-FM to produce original dramas. 15,000 

ProvisionalTheater Foundation For radio production of the group’s newest work, Inching 7,500 

Los Angeles, California through the Everglades. 

Radio Foundation 

New York, New York 

For Larry Josephson to produce an acoustic documentary 

Automata, on the sounds of post-industrial America. 

10,000 

Seattle Opera Association For English-language broadcasts of tire major operas. 9,000 

Seattle, Washington 

Sombke, Laurence R. and 

Edward P. Herrmann 

For eight new muslo concerts combining taped and live 

sounds, live radio workshops, and call-in questions. 

9,000 

Columbia, Missouri 

Vermont Public Radio 

Windsor, Vermont 

For workshops in symphonic engineering, fine arts program development, and broadcast ]ournalism. 8,000 

ZBS Foundation For production of a series of contemporary Indian short 10,000 

Ft. Edward, New York stories for radio. 

Services To assist organizations in providing services to filmmakers, videomakers, and radio producers and to increase knowledge and oppor­ to the Field tunities in film, radio, and television. 

Program funds: $839,000 

American Federation of Arts To develop a circulating exhibition of contemporary Euro- $5,000 

New York, New York pean avant-garde films. 

American Federation of Arts	 To publish a catalog and to cireulate films and videotapes, 10,000 

NewYork, NewYork	 including a selection from the Whitney Museum’s New 

American Filmmakers series, to media ai’t centers, museums, universities, and libraries. 

Austin Community Television For a conference offering workshops and seminars, and 5,000 

Austin, Texas fora bimonthly newsletter. 
134 Media Arts 

Boston Film/Vídeo Foundation 

Allston, Massachusetts 

Bourne, St. Clair 

Brooklyn, New York 

Bourne, St. Clair 

Los Angeles, California 

Camera Obscura 

Berkeley, California 

Camera Obscura 

Berkeley, California 

Center for the Study of 

Fiimed History 

New York, New York 

Center for the Study of Filmed History 

New York, New York 

Center Screen 

Cambridge, Massachusetts 

Christian Association of the 

University of Pennsylvania 

Philadelphia, Pennsylvania 

Colorado, Regents of the 

University of 

Boulder, Colorado 

ColumbiaArtAssociation 

Columbia, South Carolina 

Communications for Change 

Chicago, Illinois 

Converse College 

Spartanburg, South Carolina 

Corporation for Public Broadcasting 

Washington, D.C. 

Cultural Council Foundation 

NewYork, New York 

Cultural Council Foundation 

NewYork, New York 

DiFrancesco, David 

Brookville, New York 

Directors Guild Educational 

and Benevolent Foundation 

Hollywood, California 

Educational Film Library 

Association 

New York, New York 

Electron Movers, Research 

in the Electronic Arts 

Providence, Rhode Island 

Everson Museum of Art 

Syracuse, New York 

For the Media Center Outreach Program, providing films 5,000 

and videotapes for municipal celebrations and other public 

events. 

For the 1979 publication of Chamba Notes, a quarterly 5,000 

film newsletter reporting on Third World film activities. 

For the 1980 publication of Chamba Notes. 7,500 

For the 1979 publication of Camera Obscura, a journal of 5,000 

film theory. 

For the 1980 publication of Camera Obscura. 5,000 

To gather and disseminate information on films and video- 10,000 

tapes addressing social issues. 

Fora conference to study problems faced by film and vídeo 10,000 

makers whose works address social issues. 

For local outreach programs of the Center Screen film ex- 8,000 

hibition program. 

To enable the Community Audience Development Project 7,500 

to make 30 filmg from the Neighborhood Film Project’s 

public exhibition series available at no charge to interested 

community groups. 

To assist ten Colorado towns to ol~er film series to their 10,000 

communities. 

For the Independent American Filmmaker’s Southern 12,000 

Circuir, which circulates filmmakers and film art to six institutions in South Carolina, Georgia, and Mississippi. 

For provision of ~" and 1/2" video viewing and post-pro- 12,000 

duction facilities to artists. 

For Filmsouth, a film conference including screenings, 6,000 

seminars, and workshops. 

To amend a previous grant expanding participation by in- 5,000 

dependent radio artists in a conference on the art of radio. 

For artists-in-residence at Cabin Creek Center for Work 10,000 

and Environmental Studies to perform holographic 

search. 

To enable the Independent Cinema Artists and Producers 15,000 

to distribute independent film and vídeo over pay cable 

systems. 

To develop new video images through a new technique 5,000 

combining animated ~-D vídeo images with computed-generated 3-D images. 

To enable Directors Guild members to conduct workshops 5,000 

at schools throughout the country. 

For the Film as Art component of the American Film Fes- 12,000 

rival, and for Sightlines magazine. 

For video services including workshops, access by arti~ts 10,000 

to post-production equipment, and production of vídeo programming. 

For the Everson Video Revue, a survey exhibition of vídeo- 4,000 

tapes. 
Media Arts 135 

Experimental Intermedia For a conference on works combining dance and film/vídeo. 7,000 

Foundation 

New York, New York 

Feminist Radio Network For a conference to improve the quality of programming 5,000 

Washington, D.C. by, for, and about women. 

Film Fund To enable the Black Filmmakers Distribution Co-op to dis­ 10,000 

New York, New York tribute films about the Black experience. 

Film Fund To bring together people involved in the creation and dis­ 10,000 

New York, New York tribution of independent theatrical films for the Con/erence and Exposition on the American Independent Feature. 

Film Fund For services to film and video makers, foundations, and 15,000 

New York, New York film and tape users. Services relate to ]und-raising, legal, 

accounting, management, distribution, and legal matters. 

Film Society of Lincoln Center For writers’ lees for the bimonthly Film Comment. 5,000 

New York, New York 

Film Society of Lincoln Center 

New York, New York 

For the inclusion of works by independent filmmakers in 

the 17th annual New York Film Festival. 

5,000 

Film Society of Lincoln Center 

New York, New York 

For the Film Society and the Museum of Modern Art’s 

New Directors/New Films series. 

10,000 

Foundation for Independent 

Vídeo and Film 

For a national conference of regional media arts organizations to study management assistance, investigate new 

15,000 

New York, New York funding sources, and evolve national policy. 

Foundation for Independent 

Vídeo and Film 

To amend a previous grant to help cover increased costs

of printing and distributi~g the report of the first ConÍer1,000 

New York, New York ence of Media Arts Centers’ directors. 

Foundation for Independent 

Vídeo and Film 

For services including a newsletter, a festivals bureau, and 

a telephone information service. 

10,000 

New York, New York 

Foundation for Independent 

Vídeo and Film 

New York, New York 

For a report on the role of the independent film and vídeo 

maker in the public television system, information services, 

and a library on media policy issues. 

15,000 

Foundation for Open Company For the Film Programmer’s Guide to 16mm Rentals. 10,000 

Emeryville, California 

Gallery Association of To distribute films related to the visual arts. 5,000 

New York State 

Hamilton, New York 

Galloway, Kitand Sherrie 

Rabinowitz 

To contínue exploration of the artistie applications of 

satellite technology. 

8,000 

Berkeley, California 

Great Lakes Film Festival To circulate work from the Great Lakes Film Festival. 3,000 

Corporation 

Milwaukee, Wisconsin 

Hawaii Film Board For workshops, a visiting artist program, anda newsletter. 5,000 

Honolulu, Hawaii 

Haymarket Peoples Fund 

Cambridge, Massachusetts 

For the Star Film Library to provide services and develop 

new audiences in the Ne~v England area. 

5,000 

Hocking, Ralph 

Newark Valley, New York 

To develop videotapes on the technological origins of eleetronic image processing. 

2,500 

Inter-Media ArtCenter 

Bayville, New York 

To provide artists with access to ~" vídeo editing facilities for the production of broadcast quality videotapes. 

10,000 

International House of Philadelphia For the film sharing program, to facilitate screenings of 8,000 

Philadelphia, Pennsylvania 30 ,film programs at local community-based organizations. 

Lipton, Lenny To develop low-cost procedures for stereoscopic filmmak­ 5,000 

Point Richmond, California ing, and fora book, Three Dimensional Filmmaking. 
136 Media Arts 

Maryland, University of 

(Baltimore)

Baltimore, Maryland 

Media Bus 

Woodstock, NewYork 

Media Center for Children 

New York, New York 

Millenium Film Workshop 

New York, New York 

National Congress of 

American Indian Funds 

Washington, D.C. 

National Federation of 

Community Broadcasters 

Washington, D.C. 

National Film Preserve 

Telluride, Colorado 

New York Public Library 

New York, New York 

New York, Research Foundation 

of the State University of 

Albany, New York 

New York, Research Foundation 

of the State University of 

Albany, Niw York 

New York State Council on the Arts 

New York, New York 

Oblate Col!ege of the Southwest 

San Antonio, Texas 

OhioUniversity 

Athens, Ohio 

Seattle Association of Media Artists 

Seattle, Washington 

Sinking Creek Film Celebration 

Greeneville, Tennessee 

University Film Study Center 

Cambridge, Massachusetts 

Vasulka Corporation 

Buffalo, New York 

Visual Studies Workshop 

Rochester, New York 

Washington (Booker T.)Foundation 

Washington, D.C. 

Washington Community Video 

Center 

Washington, D.C. 

Wisconsin, Board of Regents 

of the University of 

Milwaukee, Wisconsin 

Young Filmmakers Foundation 

New York, New York 

ZBS Foundation 

Fort Edward, New York 

For a conference on the development of new ~nedia tech- 8,000 

nologies. 

For provision of access to video production and post-pro- 10,000 

duction facilities; library and distribution services for 

vídeo artists; and information and consulting services. 

Fora coníerence on films and vídeo tapes produced for 8,000 

children. 

For workshops, access to equipment, and publication of the 15,000 

Millenium Film Journal. 

For screenings of films by and about American Indians. 5,000 

For national distribution of outstanding local radio pro- 4,000 

gramming. 

To bring together artists, archivists, e~hibitors, program- 5,000 

mers, and distributors for film screenings, lectures, and 

seminars at the Telluride Film Festival. 

For a media assistant to serve in the Vídeo/Film Study 10,000 

Center. 

To enable Filmdex to provide film information services to 10,000 

artists and scholars. 

For the eighth annual summer institute on film and vídeo. 10,000 

For bilingual instruction in media technology to Spanish- 8,000 

speaking media artists. 

For the fourth annual San Antonio Chicano Film Festival 10,000 

by Centro Vídeo. 

For screenings, workshops, circulating e~chibitions, and 9,000 

publication of the film quarterly Wide Angle. 

To study the feasibility of starting a media arts center in 2,500 

the Seattle community. 

For a conference on independent film and video. 15,000 

For the ninth annual summer institute on the media arts. 15,000 

To develop a video "image emulsifier" which will e~pand 10,000 

the resources available to vídeo artists. 

For interpretation and discussion of independent film and 10,000 

video in the publication Afterimage. 

To distribute film, vídeo, and radio programs over cable 10,000 

channels. 

For Televisions magazine. 12,000 

For a conference on cinema and language, with seminars, 9,500
 

lectures, screenings, and workshops.
 

To help the Film Bureau assist nonprofit community orga- 5,000
 

nizations in presenting films and filmmakers.
 

For provision of 8-track audio production and post-produc- 11,000
 

tion facilitie# to independent radio producers, audio artists,
 

vídeo and film makers.
 
 

Media Arts 137 

Facilities and Working Spaces	 Electronic Arts Intermix 25,000 

New York, New York 

The "Facilities and Working Spaces" program Experimental TelevisionCenter 15,000 

helps organizations provide independent film and Binghamton, New York 

video makers and radio produces with the means 

to complete their projects. Facilities ate defined Film Arts Foundation (Berkeley Film 8,000 

as "places with equipment not normally within the Institute) 

reach of independent artists’ resources where film San Francisco, California 

and video makers may shoot, and/or edit tape or Fondo del Sol	 10,000 film." While students and the public may benefit, Washington, D.C. the emphasis of this category is on the work of 

independent film, video, and radio artists. Independent Media Artists of Georgia, Etc. 6,000 Since all the project descriptions in this category Atlanta, Georgia ate very similar, individual descriptions are not 

given. Institute of New Cinema Artists 8,000 

New York, New York 

Inter-Media Art Center 13,000 

Bayville, New York 

Alabama Film-Makers Co-op 8,000 

Huntsville, Alabama Long Beach Museum of Art 5,000 

Long Beach, California 

American Foundation on Automation and 

Employment 

New York, New York 

5,000 

Media Bus 

Woodstock, New York 

10,000 

and/or service 

Seattle, Washington 

15,000 Mills College (Center for Contemporary 

Music) 

Oakland, California 

6,000 

Chicago Filmmakers 

Chicago, Illinois 

6,000 New Orleans Video Aecess Center 

New Orleans, Louisiana 

5,000 

Communications for Change 12,000 Portable Channel 7,500 

Chicago, Illinois Rochester, New York 

Community Film Workshop of Chicago 

Chicago, Illinois 

8,000 Syracuse University 

(Synapse Video Center) 

10,000 

New York, New York 

Community Video Center 

San Diego, California 

5,000 University Student Telecommunications 

Corporation 

10,000 

Double Helix Corporation 9,000 Minneapolis, Minnesota 

St. Louis, Missouri Video Action Center 3,000 

Downtown Community Television Center 20,000 Columbus, Indiana 

New York, New York Young Filmmakers Foundation 18,000 

New York, New York 

Electron Movers, Research in the Electronic 10,000 

Arts ZBS Foundation 11,000 

Frovidence, Rhode Island Ft. Howard, New York 

General Programs To assist projects not included in other grant categories. 

Program funds: $280,000 

Anger, Kenneth	 To complete a feature-length film entitled Lucifer Rising, $10,000 

New York, New York e~ploring ¿he legend of the Fallen Angel.

For the second pare of a film trilogy baeed on the works 10,000 Bank, Mirra and Ellen Hovde
 

New York, New York of Grace Paley.
 

Belle, Anne C. For a film about the Russian-American ballerina Alezan- 10,000 

Remsenburg, New York dra Danilova. 

Camacho, Joseph R. For a film aboue the Pachuco Zootsuieers (a group of 10,000 

Oakland, California Chicano youths in the 1950’s) as seen through the art oí 

Jose Montoya. 
138 Media Arts 

Chopra, Joyce A. 

Cambridge, Massachusetts 

Community Film Workshop 

Chicago, Illinois 

Cruikshank, Sally 

Berkeley, California 

Downtown Community 

Television Center 

New York, New York
 

Durst, Eric J.
 

New York, New York
 

Educational Broadcasting 

Corporation 

New York, New York 

Fleming, Louise V. 

New York, New York 

Gechlik, Michele B. 

Springfield, New Jersey 

Gerson, Barry 

Brooklyn, New York 

Guzzetti, Alfred F. 

Cambridge, Massachusetts 

Kaplan, Alan 

Venice, California 

Kobland, Ken A. 

New York, New York 

Kopple, Barbara 

New York, New York
 

Laffey, Sheila A.
 

New York, New York
 

Lake Placid Olympic


Organizing Committee
 

Lake Placid, New York
 

Lee, Franeis P.
 

New York, New York
 

Lewis, Brian
 

Columbus, Ohio
 

Lowenberg, Richard 

San Francisco, California 

Lye, Len 

New York, New York 

Maine State Commission on the 

Arts and Humanities 

Augusta, Maine 

McIver, James 

Washington, D.C. 

Oblate College of the Southwest 

San Antonio, Texas 

Rubio, Arielzaire C. 

Douglas, Arizona 

Schmidt, Richard R. 

Oakland, California 

To complete a film with choreographer/performer Martha 10,000 

Clarke exploring t~he sources of ¿he dancer’s work. 

To assist promising film and videomakers with grants from 10,000 

$500 to $1,000. 

To develop ah animated feature film entitled Quasi’s Cab- 10,000 

aret. 

To assist film and videomakers with grants from $500 to 10,000 

$1,000. 

For an animated film about flying. 10,000 

To enable vídeo artist Bill Viola to explore sound, image, 10,000 

and perception, in two programs for national broadcast. 

For a film about the mutual support between two Black 10,000 

women during their social and economic difficulties. 

To complete a film entitled The Screen on Fifty-Seventh 3,500 

Street, based on a short story by Hortense Calisher. 

For ah experimental film using split screen techniques. 10,000 

To complete a 60-minute documentary film entitled Scenes 9,000 

from Childhood. 

For a video portrait of director and critic Harold Clurman. 10,000 

For a film exploring time, space, and surface. 6,500 

For a 90-minute film based on the life of a textile worker 9,600 

in North Carolina. 

Fora film on Thoreau’s Walden Pond. 2,000 

To enable vídeo artists Skip Blumberg and Nam June Paik 16,900 

to create video works for the 1980 Olympic Games. 

For a film entitled World War II and Me. 10,000 

For an experimental film entitled Whalewatch. 10,000 

For a video composition based on dancers performing in 10,000 

simulated weightless environments. 

To complete an experimental film entitled Particles, a vis- 10,000 

ualization of energy. 

For individual production grants to media artists in the 5,000 

state of Maine. 

To complete a vídeo documentary on four members of the 10,000 

touring company of For Colored Girls Who Have Considered Suicide When the Rainbow is Enough. 

To enable Centro Vídeo to award grants from $500 to 10,000 

$1,000 to promising film and videomakers. 

For a film about an individual’s investigation o] jobs inla 10,000 

number of artistic disciplines. 

For the third film of a trilogy featuring three characters 7,500 

whose ]antasies come true. 
Media Arts 139 

Engineer Barry Radman and producer Yuri Rosovsky during a
 

taping for National Radio Theatre of Chicago’s regular season.
 

Photo: Paddock Publications
 

Sharits, Paul J. For a film extending the f!lmmaker’s concern with frame- 10,000 

Buffalo, New York by-framc articulation of color. 

VanDerBeek, E. Stanley For film and video works exploring the edge between wake- 10,000 

Relay, Maryland fzdness and sleep. 

" contraer; TF--Treasury funds ; PG---private gifts 

141 

Museum
 

The latest heady successes of some American cal paintings, commissioned in the 19th century 

museums--the crowd-pleasing shows and con- by the East India Company, at the Hunt Instisequent assertions about increased membership tute of Carnegie-Mellon University in Pittsand box-office receipts--have triggered a good burgh. These grants, like many others, were 

deal of self-congratulation, if not actual eu- made in the belief that each proposal was 

phoria, among some museum leaders. At last, worth doing on its own merits. 

we are told, museums are drawing as many The Endowment must also help build pride 

people as major sporting events. For some in American museums. To say that there seems 

reason, these statistics are meant to assure us to be a crisis of confidence among museum perthat the American museum has come of age. sonnel may be overstating the matter. Yet they 

But while a few are euphoric, many are do seem preoccupied with the daily grind of 

edgily aware that unless museums find broad keeping large institutions running smoothly 

new support, many of them, squeezed between and financially solvent, while perhaps paying 

fixed incomes and escalating expenditures, will less attention to the reason for museums’ existcome upon hard times. Is ir thus presumptuous ence. In their eagerness to import from abroad, 

of the Endowment, with its funding concerns, are our great museums forgetting their own 

to question some of the priorities of the museum incomparable treasures? If a museum’s staff 

community? We also ask these questions be- do not value their own collections, who will? 

cause the Museum Program staff does not in- People who staff museums must continue to 

believe that art can move human beings, and tend to tell applicants what they should do, but 

rather wants to learn what they need and that everything else is, or should be, in second 

respond to those needs, place. 

Yet we do believe that we should help de- This argues once again in favor of the 

Endowment’s individualized approach to mu- fine museums’ needs and shape their goals. The 

museum in our culture has traditionally been seum grants: a review process in which colthe object of private, and only lately public, leagues discuss the projects and problems of 

philan’thropy. Museums, ir was implicitly recog- their colleagues. We are often a catalytic part 

of a process which makes possible significant nized, are not organized to win popularity contests. They symbolize disinterested excellence; programs of all kinds. The ideal result is that 

somewhere someone has been deeply touched by they are places where scholarship can be conducted for its o~: sake, where quality matters contact with something in a museum that can 

more than anything else. never be seen as well in a book, or on slides, or 

This is not to say that exhibitions with	 television, or film. Lives can be changed by 

wide appeal do not merit evaluation on other such moments ; but we ate not aiming to change

lives~nly to enhance them. There is no real grounds as well. Popularity does not necessarily 

guarantee superficiality. But the box-office star measure for success in this field, but if you 

is more likely to attract a sponsor. The project spend time in museums, watch people’s reactions, and can react that way yourself, you can of artistic significance but limited popular appeal may not, unless ir can find public funds, learn much of what a museum can teach. 

For this reason, we have given grants this year 

for ah exhibition at the Allentown (Pennsylvania) Art Museum on secular art in Italy during the early Renaissance. We also have funded 

exhibitions of contemporary British ceramics 

at the Ames (Iowa) Society for the Arts; of 

Greek vases from Midwest collections at the Toro L. Freudenheim 

Chicago Art Institute; and of Indian botani. Director, Museum Program 

Silver gilt ewer from "Treasures frorn Chatsworth: The Devonshire 

Inheritance." Photo: International Exhibitions Foundation 
142 Museum 

Museum Advisory Panel
 

Policy Panel 

Richard OIdenburg, Chairman 

Director, The Museum of Modern Art 

New York, New York 

Jack Agueros 

Director
 

Amigos del Museo del Barrio
 

New York, New York
 

Peter Bermingham 

Director 

University of Arizona 

Museum of Art 

Tucson, Arizona 

Jean Sutherland Boggs 

Director 

Philadelphia Museum of Art 

Philadelphia, Pennsylvania 

Ralph T. Coe 

Director 

William Rockhill Nelson Gallery 

and Atkins Museum of Fine Arts 

Kansas City, Missouri 

Ann Sutherland Harris 

Chairman of Academic Affairs 

The Metropolitan Museum of Art 

New York, New York 

Anne Hawley 

Executive Director 

Massachusetts Council 

on the Arts and Humanities 

Boston, Massachusetts 

Henry Hopkins 

Director 

San Francisco Museum of Modern Art 

San Francisco, California 

Jane Livingston 

Associate Director 

Corcoran Gallery of Art 

Washington, D.C. 

Dewey F. Mosby 

Curator 

Detroit Institute of Arts 

Detroit, Michigan 

Harry S. Parker, III 

Director 

Dallas Museum of Fine Arts 

Dallas, Texas 

E. Leland Webber 

Director 

Field Museum of Natural History 

Chicago, Illinois 

Museum Purchase Plan Panel 

Jane Livingston 

Associate Director 

Cororan Gallery of Art 

Washington, D.C. 

Robert Murdock 

Director, Grand Rapids Art Museum 

Grand Rapids, Michigan 

Dianne Perry Vanderlip 

Curator, Denver Art Museum 

Denver, Colorado 

Conservation 

Ann S. Harris 

Metropolitan Museum of Art 

New York, New York 

Perry Huston 

Conservator, Kimbell Art Museum 

Ft. Worth, Texas 

Lawrence Majewski 

Wider Availability of Museums/ Conservator and Professor 

Cooperative Programs 

Ja¢k Agueros 

Director 

El Museo del Barrio 

New York, New York 

Bonnie Baskin 

Advisor, Lawrence Hall of Science 

Berkeley, California 

Rose Mary Glennon 

Education, Toledo Mdseum oí Art 

Toledo, Ohio 

Cindy Sherrell 

Texas State Museums 

Austin, Texas 

Special Exhibitions 

Graham W. Beal 

Curator, Walker Art Center 

Minneapolis, Minnesota 

Linda Cathcart 

Curator, Albright-Knox Art Gallery 

Buffalo, New York 

Cathleen Gallander 

Director 

Art Museum of South Texas 

Corpus Christi, Texas 

Constance W. Glenn 

Director, University Galleries 

Long Beach State University

Long Beach, California 

Peter Mooz 

Director 

Virginia Museum of Fine Arts 

Richmond, Virginia 

Harry S. Parker, III 

Director 

Dallas Museum of Fine Arts 

Dallas, Texas 

Lowry Sims 

Metropolitan Museum of Art 

New York, New York 

Institute of Fine Arts 

New York University 

New York, New York 

Elizabeth Packard 

Conservator, Walters Art Gallery 

Baltimore, Maryland 

Sue Sack 

Conservator, Brooklyn Museum 

New York, New York 

Renovation 

Ann Harper 

Assistant Director 

Baltimore Museum of Art 

Baltimore, Maryland 

Henry Hopkins 

Director 

San Francisco Museum of Modern Art 

San Francisco, California 

Laurence Miller 

Director 

Laguna Gloria Art Museum 

Austin, Texas 

James Wood 

Director, St. Louis Art Museum 

St. Louis, Missouri 

Utilization of Museum 

Collections/Catalogue 

Jean Boggs 

Director 

Philadelphia Museum of Art 

Philadelphia, Pennsylvania 

Bruce Evans 

Director, Dayton Art Institute 

Dayton, Ohio 

Sue Foley 

Curator 

San Francisco Museum of Modern Art 

San Francisco, California 
Museum 143 

Lee Malone 

Director 

St. Petersburg Museum of Art

St. Petersburg, Florida 

Museum Training/Fellowships 

Linda Nyvai 

Coordinator of Education 

Allen Wardwell 

Director 

Asia House Gallery 

New York, New York 

Walker Art Center 

Dewey Mosby Minneapolis, Minnesota 

Curator 

Detroit Institute of Arts 

Detroit, Michigan 

Museum Grants	 Program funds: $10,973,582

Treasury funds: $274,000 

Private gifts: $274,000 

Museum Education	 To assist museums in providing general educational opportunities 

that complement the goals of the institution. 

Program funds: $1,034,290 

Amarillo Art Center Association To produce two series of introductory brochures, Looking $6,550 

Amarillo, Texas at Art, tha$ will be distributed to children and adults. 

Antique Auto Museum of Massachusetts For the "Neighborhood History Pro]ect" a~d the exhibi- 30,000 

Boston, Massachusetts tion "Boston/A City in Transit." 

4,500 Art Institute of Chicago To develop materials for leeture tour8 to public schools. 

Chicago, Illinois 

5,000 Art Institute of Chicago To implement two 12-week programs for the handicapped. 

Chicago, Illinois 

Baltimore Museum of Art For monthly seminars and publication of newsletters 10,000 

Baltimore, Maryland designed for teachers’ use as resource material. 

Bishop Museum To renovate existing space to establish a young people’s 18,700 

Honolulu, Hawaii rnuseum. 

45,000 Bro~klyn Institute of Arts and For the Brooklyn Museum’s senior citizen program. 

Sciences 

Brooklyn, New York 

Buffalo Fine Arts Academy For Albright-Knox Art Gallery to produce, in cooperation 9,000 

Buffalo, New York with WNED of Buffalo, a half-hour television special íor 

young people. 

9,860 California Academy of Sciences	 For the "Living Arts Program," which provides cultural 

presentation8 and demonstrations designed to enhance the San Francisco, California museum’s ethnographic display#. 

15,000 Carnegie Institute To extend the Museum of Art’s prograrns to include innerPittsburgh, Pennsylvania city and handicapped children and their teaehers from 

Pittsburgh and other cities. 

15,000 Carnegie Institute For the Museum of Art’s "Imaginarium," a program ofPittsburgh, Pennsylvania fering arts-in-education proje¢ts to #ix schools. 

Cedar Rapids Art Center For increased interpretive efforts focusing on a doeent- 9,900 

Cedar Rapids, Iowa education program and activities related to the work of 

Grant Wood. 

36,100 To establish eight district learning arcas in the museum’s 

new headquarters as part of its Resource Center program. Children’s Museum 

Boston, Massachusetts 

Contemporary Arts Association	 To extend the "Art Af¿er School" project to include addi- 6,000 

Houston, Texas tional locations in low-income neighborhoods.

11,630 Cornell University	 For the "Museum in the Sehools" program which o~ers 

in-service tcacher training workshops at the Herbert F. Ithaca, New York John#on Museum. 
144 Museum 

Dartmouth College, Trustees of
 

Hanover, New Hampshire
 

Dartmouth College, Trustees of
 

Hanover, New Hampshire
 

Davenport Public Museum
 

Davenport, Iowa
 

Dayton Art Institute
 

Dayton, Ohio
 

Dayton Art Institute
 

Dayton, Ohio
 

Denver Art Museum
 

Denver, Colorado
 

de Young Museum Art School
 

San Francisco, California
 

de Young Museum Art School
 

San Francisco, California
 

de Young Museum Art School
 

San Francisco, California
 

Fairbanks Museum of Natural Science 

St. Johnsbury, Vermont 

Franklin Institute
 

Philadelphia, Pennsylvania
 

Fuller Memorial, Trustees of the
 

Brockton, Massachusetts
 

FullerMemorial, Trustees of the 

Brockton, Massachusetts 

Hofstra University 

Hempstead, New York 

Hudson River Museum at Yonkers 

Yonkers, New York 

Huntington Galleries 

Huntington, West Virginia 

Huntington Galleries 

Huntington, West Virginia. 

Impression Five 

Lansing, Michigan 

International Center of Photography 

New York, New York 

International Museum of Photography 

at George Eastman House 

Rochester, New York 

,lacksonville Museum of Arts and 

Sciences 

Jacksonville, Florida 

To ezpand the Hopkins Center’s "Museum and the Schools" 27,050 program to rural areas. 

For ten schools to participate in ah education lyrogram 20,000 designed to involve school children in museum and gallery
 

exhibitions.
 

Fora program in which the Putnam Museum’s general 10,500 history resources are integrated with classroom instruction in eastern lowa school districts.
 

To increase outreach programs emphasizing Japanese/ 25,000 Asian culture.
 

For the institute’s arts awareness programs involving
 30,000 special participatory exhibitions for students and production of exhibition material for classroom use.
 

To support a pilot program )~or "Artrek," the ~nuseum’s 30,000 ~O-foot traveling art van.
 

To expand outreach programs, such as ¿he ’~Trip-Out
 20,050 Trucks," through retaining services of guest artists to
 

supplement the skills o] the regular staff.
 

For the school’s education progra~ns planned in con]une­ 22,500 tion with a series of e~hibits presented in ¿he muscum’s
 

Downtown Art Center.
 

For the mobile outreach program into atea schools. 20,400 

For ah education program eonsisting of three components: 16,730 Education for Visual Perception--Photographing Nature;
 

Technology Sensing Aesthetics; and the Child’s View of
 

Nature.
 

Fora travelling exhibition organized around the use of 27,840 mirrors in science, and in the visual and performing arts.
 

Fora program which unites the teaching of language
 16,580 skills in the public schools with museum visits. 

For the Brockton Art Center’s program coordinating 12,000 museum visits with the language arts curriculum of local
 

school~.
 

For ah education specialist to consolidar­ all of the Emily 12,670 Lowe Gallery’s education programs.
 

To implement "School Resources Projeet," an education
 10,000 outreach program which includes teacher training workshops for Westchester County.
 

To expand programs with public sehools in several counties 15,000 in a three-state region.
 

For edueation progra~ns with schools in several counties
 10,000 in a three-state region, and the inauguration o~ outreach 

progrants to sehools in rural areas. 

For a pilot education program in puppetry. 10,000 

To develop audio-visual presentations of seleeted e~hibi­ 26,740 tions with special historical, social, and cultural relevanee 

]of school and community groups; and to train si~ interns 

to conduet pre-visit sessions in classrooms and ¢ommunity 

centers. 

Fora program designed to increase access to the ntuseum 5,000 for persons w~th hearing impairments. 

Second-year support for the Jacksonville Children’s Mu­ 5,000 seum to implement and evaluar­ outreach pro]ect "Muse," 

which consists of portable Classroom units. 
Museum 145 

Jefferson County Historical Society 

Watertown, New York 

To make information regarding local history more available to Jefferson County and Watertown City schools. 

9,570 

Minnesota, University of To expand the University Gallery’s travelling exhibits 7,600 

Minneapolis, Minnesota program. 

Mississippi Art Association For the Mississippi Museum of Art’s exhibition of artist/ 19,900 

Jackson, Mississippi student works produced in the "Open Gallery" education 

program. 

Mississippi Art Association 

Jackson, Mississippi 

For the Mississippi Museum of Art’s "Open GalIery" 

program which presents works related to the museum’s 

artists’ residencies. 

10,000 

Monterey Península Museum of Art 

Monterey, California 

For "Museum on Wheels," a cross-cultural art education 

program consisting of visits to elementary schools in ¿hree 

surrounding counties. 

10,000 

Museum of Contemporary Art 

Chicago, Illinois 

To creato "Projects Space," an activity center which 

orients visitors to exhibitions, installations, and per10,000 

foTTR~~¿ce~. 

Museum of Fine Arts 

Boston, Massachu-~etts 

To develop information materials de,igned especially for 

parent/ child visits. 

23,470 

Museum of Fine Arts To develop printed interpretive materials to make the 4,870 

Roston, Massachusetts paintings collection more accessible to persons with hearing impairments. 

Museum of Holography 

New York, New York 

To strengthen and e~pand the museum’s education programs, including national distribution of audio-visual and 

related printed material, and the establishment of a na10,000 

tional edueational clearinghouse. 

Museum of Modern Art For a part time coordinator to assess, plan, implement and 5,000 

New York, New York evaluate a program for the handicapped. 

Museum of Modern Art To establish a program of discussion/lecture tours to be 9,600 

New York, New York conducted by graduate students on a regular basis in the 

museum’ s galleries. 

Neuberger Museum, Friends of the 

Purchase, New York 

For the museum’s education program in which three 

museum exhibitions will be integrated into the curricula 

of three area school8. 

23,310 

New Hampshire, University of 

Durham, New Hampshire 

For the University Art Galleries’ education programs, 

including the training o/ docents and school teachers, student tours, and ah annual exhibition of students’ art 

13,130 

works. 

New York Botanical Garden 

Bronx, New York 

For the garden’s "Sensory Trail Program," designed to 

heighten awareness of our environment. 

28,620 

New York Historical Society 

New York, New York 

For ah interdisciplinary education program using permanent museum installations on American birds at four 

New York institutions. 

8,300 

Newport Harbor Art Museum 

Newport Beach, California 

For a program of docent education and museum education through collaboration with public schools. 

14,000 

Newport Harbor Art Museum 

Newport Beach, California 

First-year support for a two-year program of docent 

education. 

14,000 

North Carolina Museum of Art To coordinate tire one-week elementary classroom teacher 5,990 

Raleigh, North Carolina 8eminars to be conducted at five of the museum’z a~liate 

galleries. 

Old Salero To design education programs to be condueted at the Edu­ 5,000 

Winston-Salem, North Carolina cation Center, and to train 1~ guides to work with publie 

8ehool group tours. 

Palace of Arts and Science Foundat|on 

San Francisco, Caliíornia 

For the programs of the Exploratorium and its expansion 

into arts-related currieula. 

30,000 
146 Museum 

Palace of Arts and Science Foundation 

San Francisco, California 

Penobscot Marine Museum 

Searsport, Maine 

Penobscot Marine Museum 

Searsport, Maine 

Rensselaer County Junior Museum 

Troy, New York 

Rutgers, the State University of 

New Jersey 

New Brunswick, New Jersey 

Saginaw Museum 

Saginaw, Michigan 

St. Louis Art Museum 

St. Louis, Missouri 

San Antonio Museum Association 

San Antonio, Texas 

San Antonio Museum Association 

San Antonio, Texas 

Santa Barbara Museum of Art 

Santa Barbara, California 

Sons of the Revolution in the State 

of New York 

New York, New York 

Southeastern Center for Contemporary 

Art 

Winston-Salem, North Carolina 

Springfield Library and Museum 

Association 

Springfield, Massachusetts 

Staten Island Children’s Museum 

Staten Island, New York 

University Circle 

Cleveland, Ohio 

Valentine Museum 

Richmond, Virginia 

Virginia Museum of Fine Arts 

Richmond, Virginia 

Walker Art Center 

Minneapolis, Minnesota 

Wave Hill 

Bronx, New York 

Western Association of Art Museums 

Oakland, Caliíornia 

Worcester Art Museum 

Worcester, Massachusetts 

To continue "Speaking of Music," a series of participatory lecture/demonstrations about the Exploratorium. 

7,500 

Fora cooperative program with school systems within a 

70-mile radius of Searsport. 5,350 

To hire a permanent supervisor/teacher for the museum’s 

education program. 5,700 

For mobile exhibits of artifacts, reproductions, graphics, 

and slides from tire atea museums. 12,020 

To implement a nine-month "Museum Art lnvolvement 

Program," which offers small groups of students the opportunity of working with arts obie¢ts. 

6,400 

To develop teacher training programs in collaboration 

with the City of Saginaw and its school districts. 1,600 

For "Arts in the Basic Curriculum," a program offering 

fifth graders enhanced learning opportunities in language 

arts and social studies. 

11,500 

For the production of 50 copies of audiovisual mater~tls 

on nine topics on the museum’s permanent collections. 13,000 

For the museum’s teacher-in-service training program. 11,000 

To assist elementary school teachers in using the exhibitions of the museum as teaching resources. 4,080 

For programs to make the Fraunces Tavern Museum 

more accessible to the handicapped. 

10,000 

For the center’s third year summer session of a child/youth 

education program. 5,000 

To sponsor a seminar on Japanese culture for experienced 

docents, enabling them to conduct the museum’s Japanese 

culture program fora wider audienee. 

5,000 

For participatory exhibitions created /or children. 7,120 

Fora program extending the cultural and educational 

resources of six museums to a wider population in the 

Cleveland area. 

20,000 

For the research and development of individual collection 

study units used [or museum visits, participatory exhibits, 

loan boxes, travelIing exhibits, and presentations to schools. 

5,450 

To produce a new presentation on specific aspects of the 

collection for each of the museum’s orientation theaters. 

3,000 

For the art center’s slide and vídeo programs, and to 

develop "Monitor," a documentary video program. 45,000 

For "Sculpture for the Wave Hill Landscape : The Artists’ 

View," the sculpture garden’s pilot arts education 

component. 

3,500 

To provide assistancs to all members of ¿he association in 

making their facilities and programs fully accessible to 

the handicapped. 

5,000 

To launch a teacher-training program for high school 

teachers in Worcester. 

9,410 
Museum 147 

Cooperative Programs	 To promote cooperative endeavors--such as sharing of museum staff 

or permanent collections--between museums, groups of museums, 

museums and state or regional arts agencies of similar organizations. 

Program funds: $756,720 

Alabama State Council on the Arts For a museum coordinator and related costs. $11,460 

and Humanities 

Montgomery, Alabama 

Alaska State Council on the Arts For a museum coordinator and related costs. 27,240 

Anchorage, Alaska 

Arizona Commission on the Arts For a program of workshops and consultant visits in 6,370 

and Humanities order to upgrade Arizona museums. 

Phoenix, Arizona 

Baltimore Museum of Art 

Baltimore, Maryland 

For the ~nuseum’s statewide travelling exhibition program organized in cooperation with the Maryland Arts 

Couneil. 

19,500 

Baltimore Museum of Art 

Baltimore, Maryland 

For the travelling exhibition program in cooperation with 

the Maryland Arts Council. 

18,000 

Children’s Museum of Denver 

Denver, Colorado 

For costs of sharing two exhibits developed by the museuín 

with the Omaha Museum and the El Paso Children’s 

Museum. 

7,000 

Delaware State Arts Council For a museum coordinator and related eosts. 12,100 

Wilmington, Delaware 

Fine Arts Council of Florida For a museum coordinator and related costs. 17,350 

Tallahassee, Florida 

Fuller Memorial, Trustees of the 

Brockton, Massachusetts 

To develop the next cooperative loan show between the 

Brockton Ar$ Center and the Museum of Fine Arts in 

Boston. 

15,000 

Fuller Memorial, Trusteesofthe 

Brockton, Massachusetts 

For cooperative programs between the Brockton Art 

Center and Boston’s Museum of Fine Arts, including the 

loan of medieval materials from the Museum of Fine Arts. 

23,680 

Gallery Association of New York State 

Hamilton, New York 

For the Art Transport Service which facilitates the exchange oÍ works of art among some 250 p~~blic exhibi~ing 

museums and galleries in New York. 

45,000 

Indianapolis Museum of Art For the museum’s statewide traveling exhibition program. 38,770 

Indianapolis, Indiana 

Maine State Commission on the Arts 

and Humanities 

Augusta, Maine 

Continued support for the commission’s statewide touring 

exhibition program, which is coordinated by Bowdoin

College Museum oÍ Art. 

20,000 

Maine State Commission on the Arts For a touring program of exhibitions organized by Maine’s 33,920 

and Humanities museums. 

Augusta, Maine 

Michigan Museums Association Fora museum eoordinator and related costs. 22,010 

Detroit, Michigan 

Mid-America Arts Alliance For a muse~~m coordinator and related costs. 24,530 

Kansas City, Missouri 

Mid-America Arts Alliance 

Kansas City, Missouri 

For workshops a~d seminars to improve the technical expertise of museum stal~ members in the Mid-America 

region. 

10,300 

Museum of New Mexico Fora museum coordinator and related cost~. 23,820 

Santa Fe, New Mexico 

Nelson Gallery Foundation 

Kansas City, Missouri 

For ah exhibition of Chinese paintings /rom the collections 

of the Nelson Gallery and the Cleveland Museum of Art. 

77,400 

Nevada, University of 

Reno, Nevada 

For a consortium on costume history to plan ways to 

share collection resources and implement edueational 

$5,270 

programs. 
148 l~Iuseum 

New York State Coun¢il on the Arts 

New York, New York 

Ohio Foundation on the Arts 

Columbus, Ohio 

Ohio Museums Association 

Cleveland, Ohio 

Oregon Arts Commission 

Salero, Oregon 

Puerto Rican Culture, Institute of 

San Juan, Puerto Rico 

Rhode Island Historical Society 

Providence, Rhode Island 

Rhode Island Historical Society 

Providence, Rhode Island 

South Carolina Museum Commission 

Columbia, South Carolina 

Southern Arts Federation 

Atlanta, Georgia 

Southern Federation of State Arts 

Agencies 

Atlanta, Georgia 

Southern Federation of State Arts 

Agencies 

Atlanta, Georgia 

Tennessee Arts Commission 

Nashville, Tennessee 

Texas Commission on the Arts 

and Humanities 

Austin, Texas 

Toledo Museum of Art 

Toledo, Ohio 

Virginia Museum of Fine Arts 

Richmond, Virginia 

Museum 

Purchase Plan 

Akron Art Institute 

Akron, Ohio 

Amigos del Museo del Barrio 

New York, New York 

Arkansas Arts Center Foundation 

Little Rock, Arkansas 

Atlanta Arts Alliance 

Atlanta, Georgia 

Fora museum coordinator and related costs. 30,000 

For un ~xhibition touring-transportation service for Ohio’s 30,000 museums, galleries, student eenter~, and libraries. 

Fora ~nuseum coordinator and related costs. 13,000 

For the visual arts resources program, which off ers travel­ 17,500 ling exhibitions, artists workshops, and technical services
 

and information ]or artists and arts organizations in the
 

Northwest.
 

For ah e~:hibition by the Fundacion Arqueologica ~ 20,000 Historia de Puerto Rico of approximately 50 Egyptian
 

sculptures drawn from the collections of the Brooklyn
 

Museum.
 

Fora museum coordinator and related costs. 15,060 

For a museum coordinator and related costs. 10,830 

For a museum coordinator and related costs. 23,050 

For a visual arts touring program comprised oÍ e~hibi- 25,000 tions organized by regional museums. 

Fora museum coordinator and related costs for the South- 24,640 

era Arts Federation. 

For un e~hibition touring service among the Southern 30,000 

Arts Federation’s ten member #tates. 

For a museum coordinator and related costs. 21,150 

Fora museum coordinator and related costs. 24,650 

To share ¿nterpretations of American historical literatur~ 3,120 with the Edison Institute (Greenfield Village and the 

Henry Ford Museum). 

For the ~nuseum’s statewide arts system, which provides 10,000 circulating arts programs to 31 chapter and a~liate 

organizations. 

To encourage museums to purchase works in all media by living

American artists. The category is designed to encourage museums to 

add to their collections of contemporary American art, expand public 

interest in current artistic expressions, and assist artists. 

Program funds: $830,000 

Birmingham, City of 

Birmingham, Alabama 

10,000 

California, University of

Berkeley, California 20,000 

Columbus Museum of Arts and Crafts 

Columbus, Ohio 

20,000 

Corcoran Gallery of Art

Washington, D.C. 20,000 

20,000 

10,000 

10,000 

20,000 
Museum 149 

Corning Museum of Glass 

Corning, New York 

20,000 Mint Museum of Art 

Charlotte, North Carolina 

5,000 

Dayton Art Institute 

Dayton, Ohio 

20,000 Missouri, University of 

Columbia, Missouri 

5,000 

DeCordova and Dana Museum and Park 

Lincoln, Massachusetts 

20,000 Museum of African American Art 

Los Angeles, California 

5,000 

Denver Art Museum 

Denver, Colorado 

20,000 Museum Associates 

Los Angeles, California 

10,000 

Everson Museum of Syracuse and 

Onondaga County 

Syracuse, New York 

10,000 

Museum of Contemporary Art 

Chicago, Illinois 

Museum of Fine Arts 

20,000 

20,000 

Fort Worth Art Association 

Fort Worth, Texas 

Founders Society, Detroit Institute of Arts 

Detroit, Michigan 

Grand Rapids Art Museum 

Grand Rapids, Michigan 

Guggenheim (Solomon R.) Foundation 

New York, New York 

Huntington Galleries 

Huntington, West Virginia 

Huntsville Museum Board 

Huntsville, Alabama 

Illinois State Museum Society 

Springfield, Illinois 

Indiana University 

Bloomington, Indiana 

Indianapolis Museum of Art 

Indianapolis, Indiana 

International Museum of Photography at 

George Eastman House 

Rochester, New York 

Iowa, University of 

Iowa City, Iowa 

Kalamazoo Institute of Arts 

Kalamazoo, Michigan 

Kansas, University of 

Lawrence, Kansas 

20,000 

20,000 

10,000 

20,000 

20,000 

15,000 

5,000 

20,000 

20,000 

10,000 

10,000 

10,000 

20,000 

Houston, Texas 

Nebraska Art Association 

Lincoln, Nebraska 

New Mekico State University, Regents of 

Las Cruces, New Mexico 

North Carolina Central University 

Durham, North Carolina 

Oakland Museum Association 

Oakland, California 

Ohio State University Research Foundation 

Columbus, Ohio 

Oklahoma Art Center 

Oklahoma City, Oklahoma 

Pennsylvania Academy of Fine Arts 

Philadelphia, Pennsylvania 

Plains Art Museum 

Moorhead, Minnesota 

St. Louis Art Museum 

St. Louis, Missouri 

St. Louis County Department of Parks and 

Recreation 

St. Louis, Missouri 

San Antonio Museum 

San Antonio, Texas 

San Francisco Museum of Art, Trustees of 

San Francisco, California 

10,000 

5,000 

15,000 

20,000 

20,000 

5,000 

10,000 

5,000 

20,000 

10,000 

20,000 

20,000 

Kearney State College 

Kearney, Nebraska 

10,000 Santa Barbara Museum of Art 

Santa Barbara, California 

20,000 

Kentucky, University of 

Lexington, Kentucky 

5,000 Smith College 

Northampton, Massachusetts 

10,000 

Long Beach Museum of Art 

Long Beach, California 

5,000 Storm King Art Center 

Mountainville, New York 

20,000 

Metropolitan Museum of Art 

New York, New York 

20,000 Walker Art Center 

Minneapolis, Minnesota 

20,000 

Miami, University of 

Coral Gables, Florida 

10,000 Western Washington State College 

Bellingham, Washington 

25,000 

Minneapolis Society of Fine Arts 

Minneapolis, Minnesota 

20,000 Whitney Museum of American Art 

New York, New York 

20,000 
150 Museum 

Special Exhibitions	 To enable museums to organize special exhibitions and to borrow 

exhibitions organized by other museums. 

Akron Art Institute 

Akron, Ohio 

Akron Art Institute 

Akron, Ohio 

Alabama, University of 

University, Alabama 

Allentown Art Museum 

Allentown, Pennsylvania 

American Academy in Rome 

New York, New York 

American Federation of Arts 

New York, New York 

American Federation of Arts 

New York, New York 

American Federation of Arts 

New York, New York 

American Federation of Arts 

New York, New York 

American Federation of Arts 

New York, New York 

Ames Society of the Arts 

Ames, Louisiana 

Amigos del Museo del Barrio 

New York, New York 

and/or service 

Seattle, Washington 

Arizona Commission on the Arts 

and Humanities 

Phoenix, Arizona 

Art Institute of Chicago 

Chicago, Illinois 

Art Institute of Chicago 

Chicago, Illinois 

Asia Society 

New York, New York 

Asia Society 

New York, New York 

Asia Soiiety 

New York, New York 

Athenaeum of Philadelphia 

Philadelphia, Pennsylvania 

Atlanta Arts Alliance 

Atlanta, Georgia 

Atlanta Arts A]liance

Atlanta, Georgia 

Program funds: $3,024,352 

For "Dialogues," a series of small exhibitions of con- $30,000 

temporary art. 

For "Dialogues." 20,000 

For an ezhibition documenting 19th-century architect, 7,360 William Nichols.
 

For "Beyond Nobility," an exhiibtion of secular art pro­ 25,000 duced in Italy during the early Renaissance. 

For an exhibition of works by winners of the academy’s 15,000 Rome Prize. 

For an exhibition o] 75 works showing the most recent de­ 20,000 velopments in art fabric.
 

For ah exhibition of photographs taken in Japan fvom
 25,000 1855-1905, jointly organized by the American Federa$ion 

of Arts and the Japan House Gallery. 

For ah exhibition of 100 to 150 examples of American 38,260 Southwes¿ pottery spanning 1,300 years. 

For ah exhibition of Italian 19th-century drawings and 28,220 

watercolors. 

For ah exhibition of silver selected from the Garvan and 45,940 related collections in the Yale University Art Gallery. 

For an exhibition of contemporary British ceramics. 4,440 

For an exhibition of the work of painter/graphic artist 13,700 Lorenzo Homar. This exhibition will be organized in 

operation with El Museo de Arte de Ponce in Puerto Rico. 

For a series of exhibitions, including an installation by 7,460 Alice Aycock and several solo shows.
 

For a two-phase exhibition combining site-specific art
 15,300 works with Arizona’s mining towns and open landscape. 

For ah exhibition of Greek vases from ~nidwestern collec­ 30,000 tions, including works from the Geometric through Classical periods.
 

For the museum’s biennial exhibition of contemporary 9,000 American painting and sculpture. 

For "The Ideal Image: The Gupta Sculptural Tradi~ion 30,000 and its Influence," ah exhibition at Asia House Gallery of
 

90 objects in stone, bronze, and terracotta documenting the
 

Gupta period (3~0-657 A. D.) in Indian history.
 

For "Treasures from the Rietberg Museum," ah exhibition 35,000 at the Asia House Gallery of Asian art from Europe. 

For the exhibition "Ir Is Written : Calligraphy in the Arts 25,000 of the Muslim World" at Asia House Gallery. 

For an exhibition of drawings by Thomas U. Walter, a 29,550 noted American architect of the 19th century. 

For an exhibition of work by Alan Sonfist at the High 3,640 

Museum of Art. 

For "James Herbert, A Retrospective Exhibition," con- 4,630 

sisting of 30 large-scale works by this contemporary 

Georgian artist at the High Museum of Art. 
Museum 151 

Baltimore Museum of Art For an exhibition of prints by the French artist Theodore 10,000 

Baltimore, Maryland Chasseriau (1819-1856), with emphasis on his 16 etched 

illustrations f or Shakespeare’ s Othello. 

Baltimore Museum of Art For the exhibition, "Barnett Newman: The Complete 26,000 

Baltimore, Maryland Drawings, 1944-1969." 

Birmingham, City of 

Birmingham, Alabama 

For "Man Ray : 1920-1950," an exhibition and film festival 

at the Birmingham Museum of Art documenting the influence of the Ameriean Surrealist, Man Ray, on photog18,050 

raphy. 

Brooklyn Institute of Arts and 

Sciences 

To bring the Ben Nicholson retrospective, organized by 

the Albright-Knox Art Gallery in Buffalo, to the Brooklyn 

11,250 

Brooklyn, New York Museum. 

Brooklyn Institute of Arts and 

Sciences 

To support the 21st National Print Exhibition, a national

print survey consisting oÍ two works each by 75 artists 

25,000 

Brooklyn, New York at the Brooklyn Museum. 

Brooklyn Institute of Arts and 

Sciences 

To bring "The Victorian High Renaissance," organized by 

the Minneapolis Institute of Arts, to the Brooklyn Museum. 

20,000 

Brooklyn, New York 

Buffalo Fine Arts Academy 

Buffalo, New York 

For ah exhibition at the Albright-Knox Art Gallery of 

paintings, drawings, and sculptures produced by contemporary American artist Richard Artshwager. 

20,000 

Buffalo Fine Arts Academy 

Buffalo, New York 

For an exhibition at the Albright-Knox Art Gallery oÍ 

Sonia Delaunay’s work, including paintings from 1906­

1970 as well as her designs for decorative arts and 

6,750 

fashions. 

California State University 

Long Beach, California 

For "Jim Dine: New Drawings--The California Suite," 

a series of large drawings begun in 1975, representing a 

dramatic change in this American artist’s work. 

13,190 

California State University 

Long Beach, California 

For the "Nathan Oliveira Print Retrospective: 1949­

1978," ah exhibition of approximately 70 works selected 

from the artist’s personal collection, to be accompanied by 

11,120 

a catalogue. 

California, University of 

Berkeley, California 

For a sequential exhibition at the University Art Museum 

focusing on the works of Andre, Buren, and lrwin, known 

for their environmental installations. 

17,580 

California, University of 

Berkeley, California 

For "Matrix," the University Art Museum’s series of 

moderately scaled, one-person exhibitions of contemporary 

20,000 

a~’~. 

Carolina Art Association For an exhibition of works by black artists living and 11,920 

Charleston, South Carolina working in the southeastern United States. 

Center for Inter-American Relations 

New York, New York 

For a selection of prints and drawings from the coIlection 

of artist Rufino Tamayo, to run concurrently with the Guggenheim’s retrospective of Tamayo’s paintings. 

15,000 

Center for Inter-American Relations For an exhibition of Northwest Coast lndian art drawn 42,850 

New York, New York from the collection oí the American Museum of Natural 

H~story. 

Chicago Historical Society 

Chicago, Illinois 

For an exhibition to reveal the ~ariety and high quality 

of ceramics and glass produced in Chicago between 1885 

and 1930. 

28,870 

Chinese Cultural Foundation of For ah exhibition of Chinese graphic art from 1930 to the 17,500 

San Francisco present. 

San Francisco, California 

Chrysler Museum at Norfolk 

Norfolk, Virginia 

For ah ezploration of the initial experiences of exile and 

isolation of such artists as Piet Mondrian, Max Ernst, 

Yves Tanguy, Marcel Duchamp and others; and their 

14,860 

adaptation or resistance to Americanization. 

Chrysler Museum at Norfolk 

Norfolk, Virginia 

For a retrospective on about $5 of the works by Tom 

Wesselman, ah American "Pop" artist. 

14,260 
152 Museum 

Columbus Gailery of Fine Arts 

Columbus, Ohio 

Corcoran Gallery of Art, 

Trustees of the 

Washington, D.C. 

Corcoran Gallery of Art, 

Trustees of the 

Washington, D.C. 

Cornell University 

Ithaca, New York 

Cornell University 

Ithaca, New York 

Creative Time 

New York, New York 

Cummer (DeEtte Holden)Museum 

Foundation 

Jackson, Florida 

Dayton Art Institute 

Dayton, Ohio 

Delaware Art Museum 

Wilmington, Delaware 

Denver Art Museum 

Denver, Colorado 

Denver Art Museum 

Denver, Colorado 

Denver Art Museum 

Denver, Colorado 

Drawing Center 

New York, New York 

Dunlap Society 

Essex, New York 

Edmundson Art Foundation 

Des Moines, Iowa 

Everson Museum of Art of Syracuse 

and Onondaga County 

Syracuse, New York 

Farnsworth (Lucy C.) Trust 

Rockland, Maine 

Fort Worth Art Association 

Fort Worth, Texas 

Franklin Institute 

Philadelphia, Pennsylvania 

Gailery Association of New York 

Hamilton, New York 

For "The Admiring Spectator; George Bellows’ V’ision of 21,140 

America," an exhibition focusing on ¿he artist’s response to 

his environment. 

To bring "Adolphe Monticelli," an exhibition organized by 21,480 the Museum of Art, Carnegie Institute in Pittsburgh, to
 

the Corcoran Gallery.
 

For an exhibition of 200 photographs of Manuel Alvarez 30,000
 

Bravo.
 

To bring to the H.F. Johnson Museum of Art, the e~hibi- 16,000
 tion, "Beyond the Taj: Diversity in Indian Architecture,"
 

an overview of Indian architecture.
 

To bring the "Marguerite Wildenhain Retrospective," a 10,000
 

comprehensive exhibition of 75 to 100 works by thi# Bauhaus-trained potter to the H.F. Johnson Museum of Art.
 

To present the work of 15 contemporary artists at the U.S. 20,000
 

Customs House on Bowling Green in Lower Mánhattan.
 

For the George lnness Florida Exhibition, 28 canvases 11,680
 

painted in Florida during the three years this 19th-century
 A~nerican landscape artist lived in Tarpon Springs.
 

For "Robert Murray: Marquette to Monument," a retro- 25,000
 spective exhibition of the work of this contemporary
 

sculptor.
 

For "John Sloan and His Circle of American Illustrators," 18,160
 

ah e~hibition of appro~imately 100 works from 1895 to
 

1930 by such artists as Sloan, George Luks, Maurice Prendergast, Stuart Davis, and George Bellows.
 

To bring "The Art of Tibet," ah exhibit~on organized by 11,010
 

the American Federation of Arts, to Denver.
 

To bring "Noguchi’s Interior Landscapes," ah e~hibition 15,060
 

organized by the Walker Art Center, to Denver.
 

To bring "Northwest Coast Indian Art," organized by the 11,250
 

Center for Inter-American Relations, to Denver.
 

For "Musical Manuscripts," an exhibition illustrating the 14,000
 

variety of musical notation systems used by ~Oth-eentury
 

composers.
 

For the planning of "Buildings for the Republi¢," ah ex- 17,500
 

hibition documenting the history of federal design and its
 

impact on American architecture.
 

To bring "Drawings by Adolf Wolfli," ah exhibition of
 3,020 

123 drawings by this self-taught Swiss artist, to the Des
 

Moines Art Center.
 

For the exhibition, "Ancient Roots, New Visions." 6,400
 

Fora presentation of Louise Nevelson’s sculpture in her 23,290
 

hometown.
 

In cooperation with three museums, Maria Nordman will 11,970
 

be commissioned to design and install three separate works,
 

each developed for ah individual site in a different city in
 

Texas.
 

For "Mathematics and the Arts," a survey exploring re- 43,000
 

ciprocal interconnections.
 

For "’The Classical Tradition of Rajput Painting," an 11,350
 

exhibition organized by the Pierpont Morgan Library.
 
Museum 153 

Georgia, University of For "Michaelangelo Pistoletto: On Site Works" consist­ 18,400 

Athens, Georgia ing of three separate installations at Rice University in 

Houston; the Commission for Cultural Affairs in Atlanta; and the University of Georgia. 

Grand Rapids Art Museum To organize "Five Artists/Five Technologies," ah e~hibi­ 20,000 

Grand Rapids, Michigan tion of works based on recent teehnology. Artista who will 

install their work in the museum will be: Peter Campus, 

video ; Harriet Casdin-Silver, hologram; Paul Earls, laser; 

Otro Piene, light; Ale]andro Sina, neon. 

Guggenheim (Solomon R.) Foundation Fora comprehensive survey of the work of Mark Rothko. 100,000 

New York, New York 

Hammarsk]old Plaza Sculpture Garden For four exhibitions by Anthony Caro, Ned Smyth, lsamu 10,000 

New York, New York Noguchi, and Alice Aycock. 

Harvard University For an exhibir on the contributions to contemporary art 18,000 

Cambridge, Massachusetts by Spanish architect Jose Luis Sertat the Carpenter 

Center for Visual Arts. 

Harvard University For "Wonders of the Age: Masterpieces of Early Safavi 50,000 

Cambridge, Massachusetts Painting," an exhibition of Iranian miniatures by ma]or 

Safavi Court artista of the 16th century, to be ahown at 

the Fogg A~’t Museum. 

Howard University For "Something To Keep You Warm," an exhibition of 11,560 

Washington, D.C. 35 quilts made by blacks from Mississippi. 

Hudson River Museum at Yonkers Contemporary American artist Robert Whitman will be 20,000 

Yonkers, New York commissioned to create works in the museum’s galleries 

and in the ad]acent planetarium. 

HudsonRiverMuseum at Yonkers For "19th-Century American Landscape Painting," a 28,150 

Yonkers, NewYork scholarly exhibition examining the polarities in 19theentury American landscape painting. 

Indiana University 

Bloomington, Indiana 

For "Giovanni Domenico Tiepolo (1727-1804): Punchinello 

Drawings," ah exhibition from private and public American colleetions. 

19,750 

Institute for Architecture and Urban For "The Work of Wallace K. Harrison," the first evalua­ 10,000 

Studies tion of the work of this influential ~Oth-century arehitect. 

New York, New York 

Institute of Contemporary Art 

Boston, Massachusetts 

For "Christo: The Urban Pro]eets," a survey of this contemporary artist’s urban projeets. 

"/,950 

Institute of Contemporary Art 

Boston, Massachusetts 

For "Sam Francia: A Watercolor Retrospeetive," a survey 

of watercolors by this Ameriean artist produced during 

the past ~0 years. 

9,580 

Institute of Contemporary Art 

Boston, Massachusetts 

For "Boston Expressionism," foeusing on the works of 

such artista as Hyman Bloom, Jaek Levine, and Karl 

Zerbe. 

12,040 

Institute of Contemporary Art For environmental installations by Rafael Ferrer. 7,830 

Boston, Massachusetts 

International Center of Photography 

New York, New York 

For "An Eye for Eleganee~George Huyingen-Hueme," ah 

exhibition of ~00 photographs by this Russian-born íashion 

pho¿ographer. 

20,000 

International Center of Photography 

New York, New York 

For "Lives in Photography," a review of the work and 

lives of 11 American photographers. 

20,000 

International :Exhibitions Foundation For an exhibition of 150 Japanese drawings from the 18th 30,000 

Washington, D.C. and 19th centuries. 

International Exhibitions Foundation For "Chatsworth: The Devonshire Inheritance," an ex­ 50,000 

Washington, D.C. hibition of works of art from the colleetion of tñ~ Duke 

of Devonshire. 

International Exhibitions Foundation For "Old Master Drawings from the Ashmolean: The 5,000 

Washington, D.C. Eighteenth Century in England, France, Italy, and the 

lVetherlands," a seleetion of 87 drawings from the Ashmolean Museum, O~ford. 
154 Museum 

International Museum of Photography 

at George Eastman House 

Rochester, New York 

Kansas, University of 

Lawrence, Kansas 

La Jolla Museum of Contemporary Art 

La Jolla, California 

La Jolla Museum of Contemporary Art 

La Jolla, California 

La Jolla Museum of Contemporary Art 

La Jolla, California 

Lake George Art Pro]ect 

Lake George, New York 

Los Angeles Institute of 

Contemporary Art 

Los Angeles, Caliíornia 

Lower Manhattan Cultural Council 

New York, New York 

Mariner’s Museum 

Newport News, Virginia 

Memphis, City of 

Memphis, Tennessee 

Miami, University of 

Coral Gables, Florida 

Mid-America Arts Alliance 

Kansas City, Missouri 

Milwaukee Art Center 

Milwaukee, Wisconsin 

Minnesota Landmarks 

St. Paul, Minnesota 

Minnesota Landmarks 

St. Paul, Minnesota 

Mississippi Art Association 

Jackson, Mississippi 

Museum of Contemporary Art 

Chicago, Illinois 

Mus¢um of Contemporary Art 

Chicago, Illinois 

Museum of Contemporary Art 

Chicago, Illinois 

Museum of Contemporary Art 

Chicago, Illinois 

Museum of Contemporary Art 

Chicago, Illinois 

Museum of Fine Arts 

Boston, Massachusetts 

For "The Photography of Feliz Bonfils," an exhibition of 20,000 

200 prints by one of the best known photographers in the 

Middle East in the 19th century. 

For "The Graphic Art of Anders Zorn," an exhibition of 11,090 

approximately 75 prints. 

For an exhibition of the works of Sol Lewitt. 12,700 

For a long-term loan of 20 paintings and sculptures from 20,000 the Sidney a~d Harriet Janis collection at the Museum of 

Modern Art augmented by 20 paintings from the Janis 

personal collection. 

For an exhibition of paintings, drawings, and 8culpture 20,000 

by Richard Artshwager. 

For an exhibition of monumental sculpture in honor of 17,500 

David Smith. 

For "New Acoustic Art and Music," an investigation of 21,660 

current acoustic research, nonelectronic instruments, and 

sculpture representing a merging o] musical and art disciplines. 

To install four art works at the historic monument, Castle 12,000 

Clinton, in New York City. 

For "The Work of Edward Moran," the first retrospective 5,000 

exhibition.
 

To support "The Contemporary Black Craftsperson: Con- 6,000
 

tributions and Directions," ah exhibition of works in clay,
 

fiber, metal, and wood at the Brooks Memorial Art Gallery.
 

To bring "Contemporary American Photographic Works,"
 4,568 organized by the Fine Arts Museum, Houston, to the Lowe 

Art Museum. 

For "Things Seen," ah exploration of ob]ective realista in 22,900 

the work of 20th-century American artists. 

To plan ah exhibition examining the lure of the circus us 2,000 

subject matter for art during the last 200 years. 

For "Academic Architecture in Minnesota: 1880-1920." 16,500 

Fora comprehensive exhibition of the photographs of John 11,500 

Vachon. 

To bring "Stella Since 1970," ah exhibition organized by 12,500 the Fort Worth Art Museum, to the Mississippi Museum 

of Art in Jackson. 

For an exhibition of 123 colored drawings by Swi~s artist 5,000 

Adolf Wolfli (1864-1930). 

For the first comprehensive exhibition of the works of 10,000 

Viro Acconci. 

For the exhibition, "Ancient Roots, New Visions." 7,090 

To bring the Sol Lewitt exhibition, organized by the 12,670 

Museum of Modern Art, to Chicago. 

For "Installations," a three-year series of tire exhibitions 15,000 

exploring the recent phenomena of artist’s installations. 

A planning grant for "The Golden Age of Dutch Print- 29,300 

making: 1588-1701," a proposed exhibition to consist of 

225 prints by 110 artists documenting ¿he development of 

Dutch printmaking. 
Museum 155 

Museum of Fine Arts of Houston For "Patrick Henry Bruce (1881-1936)," the first retro­ 48,770 

ttouston, Texas spectivc of a major American artist of early modernism. 

Museum of Fine Arts of For an exhibition of 30 to 35 works by contemporary 3,974 

St. Petersburg silversmiths working in hollowware. 

St. Petersburg, Florida 

Museum of Modern Art For an exhibition of 150 Ansel Adams photographs. 30,000 

New York, New York 

Museum of New Mexico For a planning grant for ah overview of Mayan art. 5,000 

Santa Fe, New Mexico 

Museum of the National Center of For ah exhibition of prints and drawings by Afro-Ameri­ 20,690 

Afro-American Artists can artists. 

Boston, Massachusetts 

New Museum For an exhibition which will focus on the work of approxi­ 15,000 

New York, New York mately ten artists whose primary intent is to provide a 

"sensation, alteration of perceptual processes, or visual 

situation" rather than an object for vicwing. 

New Museum For ah exhibition of the work of four artists who have 10,000 

New York, New York developed outside the mainstream of contemporary American art. 

New York University To plan ah exhibition of ¿he work of American expatriate 3,000 

New York, New York Walter Gay (1856-1937) for the Grey Art Gallery and 

Study Centcr. 

New York University 

New York, New York 

For an exhibition of the work of British painters Edward 

Burra, Paul Nash, and Stanley Spencer at Grey Art 

Gallery. 

3,100 

Newport Harbor Art Museum 

Newport Beach, California 

To bring "American Painti~g of the Seventies," organized 

by the Albright-Knox Art Gallery, to Newport Beach. 

6,350 

Newport Harbor Art Museum For seven zmall-scale exhibitions. 9,000 

Newport ]3each, California 

Newport Harbor Art Museum 

Newport Beach, California 

For "Rooms: Moments Remembered," ah exhibition of 

four separate installations. 

6,800 

Oakland Museum Association For ah exhibition of works by Thomas Hill, one of the 17,700 

Oakland, California leading California landscape painters of the latter hall of 

the 19th century. 

Otis Art Institute 

Los Angeles, California 

For the "Wallace Berman Retrospective," which will include ~0 to 50 large collages, verifaz and assemblage 

pieces, prints, posters, and two films. 

9,030 

Pennsylvania State University 

University Park, Pennsylvania 

For "Bernard Leach, His Influence on ~Oth-Century Eng­ lish Artist Potters," an exhibition that will include approximately 100 works by this craftsman. 2,000 

Pennsylvania, Trustees of the 

University of 

Philadelphia, Pennsylvania 

For ah exhibition of the worlc of Riihard Artshwager, 

contemporary American artist, at the Institute of Contemporary Art. 

20,000 

Philadelphia Museum of Art 

Philadelphia, Pennsylvania 

For approximately 160 works from the collection of the 

late Anthony M. Clark, a scholar ¿n 18th-century Roman 

painting. 

30,000 

Phoenix Art Museum For "The Cubist Works of Diego Rivera," an exhibition 26,500 

Phoenix, Arizona of approximately 60 works by this Mexican artist. 

Pierpont Morgan Library 

New York, New York 

For an exhibition of Michelangelo’s drawings from the 

British Museum. 

25,000 

Piains Art Museum For "S~ulpture: Luis Jimeniz," a selection of 15 to ~0 6,500 

Moorhead, Minnesota sculptural works by this southwestern artist. 

Princeton University, Trustees of For "Van Dyck as Religious Artist," ah exhibition tracing 27,750 

Princeton, New Jersey Anthony Van Dyck’s (1599-1651) activities asa painter 

of sacred history, a sub]ect largely neglected due to bis 

reputation as a portraitist. 
156 Museum 

New York, Research Foundation of the 

State University of 

Albany, New York 

New York, Research Foundation of the 

State University of 

Purchase, New York 

Ringling (John and Mable) 

Museum of Art Foundation 

Sarasota, Florida 

Ringling (John and Mable) 

Museum of Art Foundation 

Sarasota, Florida 

Rochester, University of 

Rochester, New York 

Rochester, University of 

Rochester, New York 

Rutgers, the State University of

New Jersey 

New Brunswick, New Jersey 

St. Louis Art Museum 

St. Louis, Missouri 

St. Louis Art Museum 

St. Louis, Missouri 

St. Louis Art Museum 

St. Louis, Missouri 

St. Louis Art Museum 

St. Louis, Missouri 

San Antonio Museum Association 

San Antonio, Texas 

San Antonio Museum Association 

San Antonio, Texas 

San Francisco Museum of Art, 

Trustees of 

San Francisco, California 

San Francisco Museum of Art, 

Trustees of 

San Francisco, California 

Seattle Art Museum 

Seattle, Washington 

Sheboygan Arts Foundation 

Sheboygan, Wisconsin 

Southern California, University of 

Los Angeles, California 

Toledo Museum of Art 

Toledo, Ohio 

Virginia Musium of Fine Arts 

Richmond, Virginia 

For "Richard Stankiewicz: Sculpture 1953-1978," ah exhibition of this sculptor’s most important pieces. 

28,880 

For an exhibition at the Neuberger Museum surveying the 

use of music, language and acoustical phenomena in the 

visual arts. 

40,000 

For "Dutch Portraiture in the 17th Century," a survey of 

17th-century Dutch portraiture through a variety of media 

including painting, sculpture, graphics, medals, glass, and 

tiles. 

15,000 

For "James Rosenquist: 1969-1979," a seleetion of works 

produced during the last decade by this "Pop" artist. 7,000 

For "Golden Day and Silver Night: The Experience of 

Light in American Painting, 1865-1915." 20,080 

For planning "At the Foot o] the Garden: British Fairy 

Painting 1780-191~," ah exhibition documen~ing the use of 

fairy imagery as a persistent theme in British painting. 

2,000 

For "Vanguard American Sculpture : 1913-1939," consisting of approximately 90 sculptures and 20 drawings representing ~0 artists. 

30,030 

For "Currents," a series of continuing, flexible exhibitions 

of contemporary art with no preconceived restrictions of 

media, location, of ¿iming. 

15,000 

For "Roy Lichtenstein 1969-1979," a reappraisal of this artist’s recent work. 2,000 

For "Forro and Freedom: Northwest Coast Indian Art," 

a selection of 100 Northwest Coast Indian sculptures and 

weavings selected from the de Menil ¢ollection in Hous¿on. 

7,000 

To bring "Ii Is Written : Calligraphy and the Arts of the Muslim World," an exhibition organized by the Asia House 

Gallery, to St. Louis. 

15,000 

For an exhibition examining realista in American painting 

and sculpture created during the past 15 year#. 

25,000 

For the exhibition, "Ancient Roots, New Visions" at the 

Witte Memorial Museum, with a supplement entitled "Visions Nuevas en Telas." 

5,500 

For "Edward Ruscha: A Retrospective," approximately 

150 works in all media documenting this California artist’s 

position in contemporary art. 

20,350 

For an exhibition of work by George Segal, organized by 

the Walker Art Center. 

18,700 

For "Japanese Painting from the 15th to the 19th Century 

in the Sanso Foundation Collection," a comprehensive 

cross-section of extensive private collections oí Japanese 

painting. 

22,810 

For "Reverse Painting on a Transparent Support," a surrey of historical and contemporary reverse painting on 

transparent materials, ah un familiar and sparsely documented technique. 

19,600 

For "The Persistence of Illusion," an exhibition examining 

contemporary illusionistic painting, sculpture, and film. 

20,000 

For "Masterpieces of Dutch Silver: 1580-1825," an international loan ehibition. 

75,000 

For "Chatsworth : The Devonshire Inheritance," organized 

by the International Exhibitions Foundation. 10,000 
Museum 157 

Wadsworth Antheneum	 For "Matrix," a program consisting of approximately 20,000 

Hartford, Connecticut	 16 exhibitions and installations, each designed to respond
 

to current trends, styles, themes, and attitudes in contemporary art.
 

Walker Art Center For "Viewpoints," a one-year program of small-scale, one- 30,000 Minneapolis, Minnesota artist exhibitions. 

Walker Art Center	 For "William T. Wiley : Twelve Years," an exhibition of 47,000 Minneapolis, Minnesota	 the paintings, drawings, and constructions by this California artist.
 

Wave Hill	 For "Sculpture for the Wave Hill Landscape," an exhibí­ 20,000 Bronx, New York	 tion of the work of a group of contemporary sculptors
 

concerned with the expression of the environment.
 

Wellesley College For "Salvator Rosa in America," an exhibition tracing 22,000 Wellesley, Massachusetts the influence of Rosa’s work on American painting. 

Wesleyan University	 For three exhibitions: "Prints and Drawings by Joseph 15,000 Middletown, Connectícut	 Pennel"; "Philip Pearlstein: Drawing to Print to Painting"; "Prints by Armand Seguin and the Sehool of Pont-


A ven."
 

Western Association of Art Museums For "Prints: New Points of View," a touring exhibition 6,890 Oakland, Caliíornia of 60 prints by 30 artists. 

Western Association of Art Museums For "California Landscape Painting," 30 paintings seleeted 7,580 Oakland, California from the eollections of the Oakland and Pioneer Museums 

and a San Francisco collector. 

Whitney Museum of American Art For "Marsden Hartlen," a retrospective exhibition ex- 75,000 New York, New York amining all aspects of this American artist’s work. 

Whitney Museum of American Art For ah exhibition of 82 works by the American painter 65,000 

New York, New York Cy Twombly. 

Whitney Museum of American Art	 For "New Representational Painting," ah exhibition ex- 40,000 New York, New York	 ploring ways in which a number of contemporary artists
 

use reFresentational imagery in a non-realist style of
 

painting.
 

Wilmington Society of Fine Arts	 For "The Work of Edward Moran," the first retrospeetive 9,700 Wilmington, Delaware	 exhibition of works by this 19th-century American painter. 

Worcester Art Museum For "Fifty 17th-Century Dutch Paintings from Private 17,840 

Worcester, Massachusetts Collections in New England." 

Wright State University	 For "Three Artists," ah exhibition of outdoor sculpture by 12,000 Dayton, Ohio	 Peter Gourfain, Toro Doyle, and Andrew Leicester in 

operation with the University Gallery, Oñio State University. 

Utilization To install collections formerly in storage or recently acquired or to

more effectively display artifacts already on view. of Museum Collections 

Program funds: $1,006,380 

Treasury funds: $75,000 Private gifts: $75,000 

American Crafts Council	 To install 130 ceramic pieces in the permanent collection. $2,500 

New York, New York 

American Museum of Natural History To install the permanent colleetion of Tibetan religious 56,000 

New York, New York art, ritual objeets, and ethnological ~naterial. 

Arizona, University of	 For an exhibition of works by artists from California, 25,060 Arizona and New Mexieo who were supported by the WPA Tucson, Arizona 

Federal Arts Project. 
158 Museum 

Bowdoin College, President and 

Trustees of 

Brunswick, Maine 

Brooklyn Institute of Arts and 

Sciences 

Brooklyn, New York 

Buffaio State College Foundation 

Buffalo, New York 

California, University of 

Los Angeles, California 

Chester County Historical Society 

West Chester, Pennsylvania 

Cincinnati Museum Association 

Cincinnati, Ohio 

Corcoran Gallery of Art 

Washington, D.C. 

Corcoran Gallery of Art 

Washington, D.C. 

Esm~x Institute 

Salero, Massachusetts 

Fine Arts Museums Foundation 

San Francisco, California 

Franklin Institute 

Philadelphia, Pennsylvania 

Guggenheim (Solomon R.) Foundation 

New York, New York 

Huntington (Henry E.) Library and
 

Art Gallery
 

San Marino, California
 

Litchfield Historical Society 

Litchfield, Connecticut 

Metropolitan Museum of Art 

New York, New York 

Michigan, University of 

Ann Arbor, Michigan 

Mississippi Art Association 

Jackson, Mississippi 

Museum of Fine Arts 

Boston, Massachusetts 

Museum of Fine Arts 

Boston, Massachusetts 

Museum of Modern Art 

New York, New York 

Peabody Museum of Salero 

Salem, Massachusetts 

Philadelphia Museum of Art 

Philadelphia, Pennsylvania 

Pierpont Morgan Library 

New York, New York 

For a conservation e~hibition a~ the Museum of Art to 

dramatize the need for climate control. 

To reinstall in the Brooklyn Museum $he 18$h-century 

period rooms. 

For an ezhibition of works by Charles Burchfield to ¿ravel 

to schools and other facilities. 

To exhibir examples from the recently acquired collection 

of dowry materials from Kutch, a remote region in northwes$ India. 

For the reinstallation of collections in the renovated ~nuseum building. 

For the reinstallation of the Cincinnati Art Museum’s Near 

and Far Eastern Collection. 

For an exhibition of the graphic work of George Biddle 

(1885-1973) ; a painter, printmaker, muralist, and writer. 

For an exhibition entitled "Contemporary Figure Drawing and the Academic Tradition." 

To move collections from the portrait gallery to the main 

museum, Plummer Hall. 

To integrate the decorative arts collections of the de 

Young Memorial Museum and the Cali[ornia Palace of 

the Legion of Honor. 

To prepare the Wright Brothers’ collection for study and 

for exhibition. 

To prepare a circulating exhibition of 60 to 70 Kandinsky 

watercolors and gouaches from the museum’s collection and 

the Hilda Rebay Foundation Collection. 

For the installation of the Green collection of European 

ar$. 

To build permanent security display ca#es. 

For the installation of 13 period rooms, ranging ]rom 1700 

to the early ~Oth-century, in ¿he American wing o] the 

To remodel the Museum of Art’s exhibition and study/ 

storage areas. 

To install a Graphics Study Center. 

For an exhibition of 70 Freneh paintings of the 19th 

and early ~Oth centuries to travel to the High Museu~n 

of Art and the Denver Art Museum. 

To install changing collections of art objects in a Faneuil 

Hall Marketplace building while successive museum galleries will be closed for the installation of climate control 

systems. 

For an exhibition from the eolleetion focusing on the 

decade 1919-1929. 

To install a temporary exhibir of Japanese netsuke from the museum’s collection of 7~~ pieces. 

For development of the museum’s textile, tapestry, and 

costume collection into a study/storage area. 

For an ezhibition of Dutch and FIemish drawings of the 

17th century. 

6,160 

75~000 

10,000 

18,450 

10,000 

75,000 

9,140 

10,010 

7,920 

13,000 

18,000 

41,630 

17,500 

100,000 

24,500 

12,000 

80,000 

200,000 

75,000 

12,700 

TF 75,000 

PG 75,000 

15,000 

3.250 
Museum 159 

Religious Communities for the Arts To prepare for circulation a collection of paintings by 15,000 

New York, New York ~othocentury Black artists. 

Rochester, University of To rcinstall the Memorial Art Gallery’s collection of 3,000 

Rochester, New York classical antiquities. 

Utah, University of For a travelling exhibition, "A French Balloonist Visits 6,500 

Salt Lake City, Utah America: 1886-1893," a series of pencil drawings by 

Albert Tissandiew (1839-1906), artist, writer, scientist, 

and diplomat. 

Vermont, University of To hire a design consultant to divise a ~nodular exhibir 7,240 

Burlington, Vermont system Íor the Robert Hull Fleming Museum. 

Virginia Museum of Fine Arts To install two late Phrygian architectural Íriezes. 6,000 

Richmond, Virginia 

Ward Foundation For the installation of the college’s collection oÍ North 10,000 

Salisbury, Maryland American decoys and decorative bird carvings. 

Wesleyan University To consfruet exhibition cases in the main corridor oÍ the 6,250

Middleton, Connecticut Davison Art Center for the installation of prints and

drawings. 

Western Association of Art Museums For a travelling exhibit~on of 55 photographs from the 7,200 

Oakland, California San Francisco Museum of Modern Art. 

Western Association of Art Museums For a travelling exhibition entitled "Artists’ Portraits and 7,210 

Oakland, California Self Portraits," a condensed version of a 1977 exhibition 

at the California Palace of the Legion o] Honor. 

Whitney Museum of American Art For ah exhibition oÍ Edward Hopper’s prints and illustra- 15,000 

New York, New York tions emphasizing ¿he artist’s early career. 

Wilmington Society of Fine Arts For a traveling exhibition ent~tled "Thirty Ob]ects from 5,160 

Wilmington, Delaware the Permanent Collection of Crafts," of the Delaware Art 

Museum. 

Catalogue To document permanent collections or to publish catalogues or 

handbooks on collections. 

Program funds: $1,197,670 

Arizona, University of To catalog the Center for Creative Photography’s Ameri- $15,000 

Tucson, Arizona can collection dating from 18~0 to the present. 

Art Institute of Chicago To document the textile collection of 7,000 items. 30,500 

Chicago, Illinois 

Baltimore Museum of Art For a catalogue of ItaIian paintings from the 14th to the 15,000 

Baltimore, Maryland late 18th century. 

Boston Athenaeum, Proprieters To catalog the print and photography collection. 10,440 

of the 

Boston, Massachusetts 

California, University of For a catalog~¿e of the architectural colleetion. 20,660 

Santa Barbara, California 

California, University of For a catalogue of the Muse~~m of Cultural History’s 15,000 

Los Angeles, California dowry materials from Kutch, a remote region in northwest India. 

Carnegie Institute For computerizing catalogue inÍormation on the ethnology 24,720 

Pittsburgh, Pennsylvania collections. 

Carolina Art Association For a catalogue oÍ the Gibbes Art Gallery’s miniature 13,000 

Charleston, South Carolina portrait collection. 

Children’s Museum For a pilot computerization project cataloguing 40,000 6,000 

Boston, Massachusetts cultural artiÍacts. 
160 Museum 

Chrysler Museum at Norfolk 

Norfolk, Virginia 

Colonial Williamsburg Foundation 

Williamsburg, Virginia 

Colorado Springs Fine Arts Center 

Colorado Springs, Colorado 

Corcoran Gallery of Art

Washington, D.C. 

Currier Gallery of Art 

Manchester, New Hampshire 

Dartmouth College, Trustees of 

Hanover, New Hampshire 

Denver Art Museum 

Denver, Colorado 

Field Museum of Natural History 

Chicago, Illinois 

Field Museum of Natural History 

Chicago, Illinois 

Fine Arts Society of San Diego 

San Diego, California 

Founders Society, Detroit Institute 

of Arts 

Detroit, Michigan 

Founders Society, Detroit Institute
 

of Arts
 

Detroit, Michigan
 

Founders Society, Detroit Institute
 

of Arts
 

Detroit, Michigan
 

Guggenheim (Solomon R.) Foundation 

New York, New York 

Harvard University 

Cambridge, Massachusetts 

Harvard University 

Cambridge, Massachusetts 

Hebrew Union College 

Los Angeles, California 

Hillsborough County Department of
 

Museums
 

Tampa, Florida
 

Huntington Galleries 

Huntington, West Virginia 

Indiana University 

Bloomington, Indiana 

Iowa State Historical Society 

Iowa City, Iowa 

Kansas, University of 

Lawrence, Kansas 

La Jolla Museum of Contemporary
 

Art
 

La Jolla, Caliíornia
 

Fora catalogue of the 10,O00-piece glass collection. 9,110 

For the first volume of catalogues on various folk arts. 35,000 

For a catalogue of the Guatemalan textile colleetion. 20,000 

For two catalogues to accompany exhibitions, "Contero- 7,010
 

porary Figure Drawing and the Academic Tradition"
 

and "The Graphic Work of George Biddle."
 

Fora guide to the gallery’s collections. 10,050
 

Fora catalogue to accompany an exhibition of selected 6,000
 

works acquired since 1975.
 

Fora handbook of the museum’s permanent collection. 30,000
 

For computerized catalogue data retrieval, known as 15,610
 

"linked vocabulary."
 

For a catalogue of appro~imately 1,500 specimens of land 9,190
 

and sea mammal hunting equipment collected from the
 

Kotzabue Sound region in Alaska.
 

For an updated catalogue of the permanent colleetion. 15,000
 

For a catalogue of 148 early Italian paintings. (13th to 14,800
 

16th centuries).
 

Fora pilot computerized cataloguing operation which will 75,720
 

improve management of the collection at the institute.
 

For a catalogue of 70 works in the German Ezpressionist 10,000
 

collection.
 

Fora catalogue of the Peggy Guggenheim Collection. 21,910
 

To computerize the museum’s existing records, currently 20,000
 

278,000 entrie#.
 

For the second volume in a series of handbooks on the 10,850
 

Fogg Art Museum’s permanent collection, featuring the
 

drawing collection.
 

For the documentation of 4,000 prints and drawings from 8,610
 

the Skirball Museum’s collection.
 

For a visiting specialist to catalogue, photograph, and 2,810
 

íurther document the Newell Ethnological Collection.
 

Fora catalogue o] the Herman P. Dean Collection o] 12,000
 

Arras.
 

For a catalogue of the most important works in the 20,000
 

permanent colleetion.
 

To catalog the Keyes Collection of Native American arti- 20,000
 

íacts.
 

For a catalogue oÍ European and A~nerican sculpture. 7,230
 

To catalogue the ~nuseum’s collection oí 150 obiects Írom 5,400
 

various Fluxus artists, including Ben Vautier, Christo,
 

Robert Watts, and George Brecht.
 
Museum 161 

La Salle College To continue cataloguing and photographing the collec­ 7,660 

Philadelphia, Pennsylvania tion of paintings, drawings, prints, watercolors, rare 

Bibles, and books. 

Madison Art Center For a handbook of the permanent collection. 7,000 

Madison, Wisconsin 

Madison Historical Society To catalog the undocumented portion of the decorative arts 2,700 

Madison, Wisconsin collection. 

Maryland Historical Society 

Baltimore, Maryland 

For a catalogue of the Íurniture collection of over 700 

pieces. 

14,000 

Massachusetts Historical Society For a catalogue of the portrait collection. 15,000 

Boston, Massachusetts 

McNay Art Institute For a catalogue of the entire collection. 14,000 

San Antonio, Texas 

Mexican Museum For a catalogue oÍ the permanent colleetion. 4,850 

San Francisco, California 

Minneapolis Society of Fine Arts 

Minneapolis, Minnesota 

For a catalogue of the Minneapolis Institute of A~’ts’ 

photography collection. 

29,270 

Minnesota, University of For a catalogue of the University Gallery’s American 29,990 

Minneapolis, Minnesota paintings and sculpture collection. 

Mint Museum of Art To complete the catalogue ]or porcelain and the English 15,800 

Charlotte, North Carolina pottery-ware segment of the Delhom Collection. 

Missouri, University of For a handbook of 150 selections from the 7,000 objects 16,520 

Columbia, Missouri in the Museum of Art and Archaeology’s collection. 

Missouri, University of 

Columbia, Missouri 

For a catalogue of Indian sculpture of the Gandrahan 

school using 20 decorative objects and nine heads from 

the Museum of Art and Archaeology’s collection. 

7,800 

Museum Associates For a catalogue of 2,000 works of art in the Los Angeles 41,720 

Los Angeles, California County Museum of Art entitled, Ancient Art of the Asian 

Steppes and Highlands: The Nasli M. Heeramaneck Collection, Gift of the Ahmanson Foundation. 

Museum of Contemporary Art For a catalogue of the permanent collection. 7,320 

Chicago, Illinois 

Museum of Fine Arts For a catalogue of the American sculpture ¢ollection. 30,000 

Boston, Massachusetts 

Museum of Modern Art For a catalogue o~ the A~nerican drawing collec~ion. 25,000 

New York, New York 

Museum of New Mexico To catalog by computer the Girard Collection o~ folk art at 25,000 

Santa Fe, New Mexico the Museum of lnternational Folk Art. 

Museums at Stony Brook 

Stony Brook, New York 

For a catalogue of the decoy collection of 278 shorebird 

and duck decoys. 

15,000 

Native American Center for the To complete cataloguing of the archaeological, historic, 20,000 

Living Arts and contemporary arts and crafts of the Native American 

Niagara Falls, New York cultures. 

New York University To videotape interviews with ten artists, whose works 6,150 

New York, New York are in the colleetion. 

Oregon Historical Society To catalogue and prepare /or publie use ¿0,000 historic 28,150 

Portland, Oregon photographs. 

Oswego County Historical Society To catalogue the society’s colleetion. 8,500 

0swego, New York 

Peabody Museum of Salero Fora catalogue of the collection of 752 Japanese Netsuke. 13,510 

Salem, Massachusetts 

Pennsylvania, University of 

Philadelphia, Pennsylvania 

To inventory and computerize information on approxio 

mately four million specimens in the collection. 

30,000 
162 Museum 

Philadelphia Museum of Art 

Philadelphia, Pennsylvania 

Pierpont Morgan Library 

New York, New York 

San Francisco Museum of Modern 

Art 

San Francisco, California 

Santa Barbara Museum of Art 

Santa Barbara, California 

Seattle Art Museum 

Seattle, Washington 

Southern California, University of 

Los Angeles, California 

Virginia Museum of Fins Arts 

Richmond, Virginia 

Walters Art Gallery 

Baltimore, Maryland 

Walters Art Gallery 

Baltimore, Maryland 

Wilmington Society of Fine Arts 

Wilmington, Delaware 

Wisconsin, University of 

Madison, Wisconsin 

Wooster, College of 

Wooster, Ohio 

Yale University 

New Haven, Connecticut 

Visiting Specialists 

Allentown Art Museum 

Allentown, Pennsylvania 

Amigos del Museo del Barrio 

New York, New York 

Arizona Historical Society 

Tucson, Arizona 

Bishop Museum 

Honolulu, Hawaii 

Buffalo Fine Arts Academy 

Buffalo, New York 

Buffalo Society of Natural Sciences 

Buffalo, New York 

Carnegie Institute 

Pittsburgh, Pennsylvania 

Fora catalogue of the collection of Englieh paintings 10,500 

dating before 1900. 

Fora catalogue of the ~nost significant of the 1~8 seven­ 14,100 

teenth*century Dutch and Flemish drawings in ¿he collection to accompany a touring e~hibition. 

To inventory and document the ~nuseum’s entire painting 22,000 

and sculpture collection. 

To publish a catalogue of the Preeton Morton Collection 18,250 

of American Art. 

For documentation of the Egyptian art collection in ¿he 15,000 

formar approved by the First International Congress oí 

Egyptology. 

To re-catalog the collec¿ion of 1~00 objects into a stand- 4,260 

ardized data system. 

Fora catalogue of the Sydney and Frances Lewis Con- 10,000 

ternporary Art Fund Collection, ¿ncluding $6 works by 

young American painters and sculptors. 

Fora catalogue oÍ the jewelry collection, consis¿ing of 35,000 

1,500 ob~ects dating from 3000 B.C. to 19£0. 

For a catalogue of the 19th-century paintings. 35,000 

For a catalogue to aceompany a ¿ouring show entitled 1,260 

"Thirty Ob]ects /roto the Permanent Collection of Crafts." 

To photograph the Elvehiem Art Center’s collection of 10,750 

approximately ~,700 objects. 

To do~ument the collection of claesical pottery. 10,000 

Fora catalogue of the art gallery’# collection of the 60,000 

Societe Anonyme. 

To enable museums to engage outside consultants for such projects 

as fundraising, collection research, and public relations activities. 

Program funds: $181,600 

For a visiting scholar ¿o conduct research for ah ezhibi- $3,250 

tion on dornestic art in Italy during the early Renaissance. 

To engage a speciali~t to conduct memberehip and co*po- 10,000 

tate fund-raising drives. 

Fora specialist to catalogue the ceramic ­ollection. 6,000 

For a development ¢onsuttant to plan a fund-raising 10,000 

campaign. 

For two mueeum educators to study the tole of the 5,390 

Albright-Kno~ Art Gallery’s education department. 

To hire a graphic designer to develop ah overall ¿heme 2,000 

Íor all the printed materials a$ the Buffalo Museum oí 

Science. 

To hire four visiting specialists ~o ezamine the Mueeum 5,000 

of Art’s two education programa for children: the "Imaginarium" and "ARTezpress." 
Museum 163 

Corcoran Gallery of Art 

Washington, D.C. Fora fund-raising program direeted toward the estimated 

50,000 alu~nni of the Corcoran School of Art. 

7,500 

Gallery Association of New York For a development campaign to diversify sour¢es of 7,500 

State income. 

Hamilton, New York 

Gardner (Isabella S.) Museum 

Boston, Massachusetts 

To hire a visit~ng specialist to study and catalogue the 

museum’s eolleetion of European textiles. 

8,070 

Harvard University For a visiting specialist to research for an exhibition 9,240 

Cambridge, Massachusetts of the work of Gabriele Munter. 

Independent Curators To hire a ~nanagement and fundraising specialist for one 12,00~ 

Washington, D.C. year. 

Indiana University Fora visiting specialist to evaluate seven pieees of 460 

Bloomington, Indiana Medieval and Renaissance furniture. 

International Museum of Photography For computer programmer to simplify the procedures for 1,000 

at George Eastman House computer eataloguing. 

Rochester, New York 

Kansas, University of For a visiting specialist to catalogue the nearly ~,000 2,500 

Lawrence, Kansas Japanese woodblock prints in the Spen¢er Museum 

Art’s holding#. 

Michigan, University of To prepare a publieation on the Kelsey Museum of 4,000 

Ann Arbor, Michigan Arehaeology’s collection of pottery from Karanis, Egypt. 

Mint Museum of Art Fora guest curator to establish preservation and restora­ 4,680 

Charlotte, North Carolina tion methods, and outline a course for future acquisitions 

]or the eostume collection. 

Mint Museum of Art To engage an architectural firm to recommend conversion 1,500 

Charlotte, North Carolina plans for aecessibility /or the handicapped. 

Municipal Museum of the City of To hire a visiting specialist to conduct research for an 2,190 

Baltimore exhibition at the Peale Museum, of Robert Mills and 

Baltimore, Maryland Baltimore contemporaries. 

New York State Historical Association Support for a development o~ícer, fundraising consultant, 10,000 

Cooperstown, New York and advertising costs. 

Pennsylvania, University of For a visiting specialist to continue research of Mayan 12,000 

Philadelphia, Pennsylvania Hieroglyphic writing. 

Pennsylvania, University of For a specialist to research the University Museum’s 14,910 

Philadelphia, Pennsylvania collection of Mayan art. 

San Antonio Museum Association Fora specialist to evaluate the Witte Memorial Museum’s 4,000 

San Antonio, Texas collection of textiles. 

Santa Barbara Museum of Art To engage a graphic designer for exhibition and permanent 8,370 

Santa Barbara, California s~gnage. 

Vermont Council on the Arts For a speeiaIist to study the program and development 8,250 

Montpelier, Vermont potential of the Bundy Art Gallery. 

Vermont Council on the Arts 

Montpelier, Vermont 

For a plan assessing the best use of the collection in the 

Vermont State House building. 

8,870 

Virginia Museum of Fine Arts For an expert to upgrade exhibition lighting. 1,420 

Richmond, Virginia 

Wilmington Society of the Fine Arts 

Wilmington, Delaware 

For a specialist to catalogue the Delaware Art Museum’s 

collection of John Sloan ~naterial. 

6,000 

Winterthur (Henry Francis du Pont) For a study of traffic flow at the museum and its sur­ 5,500 

Museum rounding 960 acres. 

Winterthur, Delaware 
164 Museum 

Fellowships 

for Museum 

Professionals 

Beebe, Mary L. 

Portland, Oregon 

Brady, Jeremiah D. 

New York, New York 

Gealt, Adelheid M. 

Bloomington, Indiana 

Hartwell, Date Myers 

Minneapolis, Minnesota 

Herrmann, John J. 

Boston, Massachusetts 

Heyman, Therese Thau 

Oakland, California 

Sones, Mary K. 

Tallahassee, Florida 

Museum Training 

Art Institute of Chicago 

Chicago, Illinois 

Boston University 

Boston, Massachusetts 

California State University 

Long Beach, California 

Carnegie Institute 

Pittsburgh, Pennsylvania 

Delaware Art Museum 

Wilmington, Delaware 

Field Museum of Natural History 

Chicago, Illinois 

Friends of the Neuberger Museum 

Purchase, New York 

George Washington University 

Washington, D.C. 

Guggenheim (Solomon R.) Foundation 

New York, New York 

Guggenheim (Solomon R.) Foundation 

New York, New York 

To enable museum staff members to take leaves of absence of up to 

one year for independent study, research, travel, or other activi¿ies 

that contribute to their professional development. 

Program funds: $75,440 

$10,000 Ka]itani, Nobuko $6,000 

New York, New York 

3,440 Kozloff, Arielle P. 5,800 

Cleveland, Ohio 

4,130 Lakwete, Angela 6,000 

New York, New York 

9,620 Moore, Russell .l. 1,010 

Long Beach, California 

4,160 Sparks, Esther 6,510 

Chicago, Illinois 

4,380 Watson, Wendy M.

South Hadley, Massachusetts 

2,930 

1,460 Wheelock, Arthur K. 10,000 

Washington, D.C. 

To assist museums and universities in training museum professionals 

and technicians through college-level programs, internships, and

apprenticeships. 

Program funds: $588,070 

For an intern position in the A~nerican art department. $ 6,680 

To enable five students to internat four area museums: 42,120

Boston Museum of Fine Arts, the Essex Institute, the 

Merrimack Valley Textile Museum, and the Society for 

the Preservation of New England Antiquities. 

For one student in the Museum Studies Certificate 3,000 

Program. 

For two one-year internships ¿n collection ~nanagement, 20,000 

exhibir design and preparation, and museum edueation. 

For one intern to work in exhibitions, permanent collec- 6,740 

tions, interpretation, administration, and research. 

To support the museum’s internship program in its De- 13,760 

partment of Anthropology for tire college and beginning 

graduate students. 

For two internships in museum education at the Neuberger 23,310 

Museum, in cooperation with New York University and 

Bank Street College of Education. 

For museum practitioner seminars in connection with the 5,000 

university’s master of arts in_teaching-museum education 

program. 

For the museum’s intern program. 8,000 

11,000 For the museum’s cura~arial fellowship program, in which 

one fellow participates in the organization and preparation 

of exhibitions. 
Museum 165 

Illinois, University of For the four-semester graduate program in museum 20,100 

Urbana, llIinois studies, including stipends for four interns. 

Maine Maritime Museum For training museum technicians in the collection, preser- 16,530 

Bath, Maine vation, and presentation of maritime skills. 

Michigan, University of To support the graduate program in museum practice 65,350 

Ann Arbor, Michigan which includes three or four academic terms at the 

university and an eight-to-ten month internship. 

Museum Associates For the internship programat the Los Angeles County 14,330 

Los Angeles, California Museum of Art, in which two interns receive special training in their respective fields o] interest. 

For tire one-year internships. 58,800 Museum of Fine Arts 

Boston, Massachusetts 

For the technical apprenticeship program, which provides 24,250 

New York, New York 

Museum of Modern Art 

training in exhibition preparation and production. 

55,000 Museum of Modern Art For two euratorial interns in the Department of Prints 

New York, New York and Photography, and two interns to work in the publie 

information o]fiee and the library. 

10,000 New York University	 For the training programat the lnstitute of Fine Arts. 

New York, New York 

New York University For the Institute of Fine Arts’ museum training program. 60,000 

New York, New York 

Philadelphia Museum of Art For two intern positions for the second year of training 18,500 

Philadelphia, Pennsylvania in the department of prints, drawings and photographs. 

7,960 Siouxland Heritage Museums For a one-year internship. 

Sioux Falls, South Dakota 

Smith College For the Museum of Art’s intern ¿raining program for 13,200 

Northampton, lYlassachusetts candidates for the master’s degree in art history. 

22,000 

Minneapolis, Minnesota 

Walker Art Center	 For two intern positions in the training program. 

Western Association of Art MuseumsFor a four-week training program under the auspices of 56,250 

Oakland, California the Museum Management lnstitute providing management 

training for 30 supervisory staff members ]roto American 

institutions. 

4,500 Yale University	 For field trips to neighboring museums for students enrolled in the museum training course. New Haven, Conneeticut 

Conservation	 Includes three sub-categories: Conservation oÍ Collections assists 

museums in the implementation of conservation treatment for permanent collections. ~.onservation Training assists workshops, training centers, and internship programs to train conservation professionals. Regional ~onservation ~enters receive assistance for their 

íormation of expansion. 

Program funds: $1,277,190 

Conservation of Collections 

$7,200 Anniston Museum of Natural History	 To repair and strengthen two mummies írom the Ptolemaie Period that have been displayed at the museum for 50 Anniston, Alabama 

years. 

To treat seven Italian paintings on wood panels dating 5,000

Baltimore, Maryland from the l$th to the late 18th century. 

Baltimore Museum of Art 

Blanden Art Gallery To restore paintings and art avorks on paper. 10,000 

Fort Dodge, Iowa 
166 Museum 

Bowdoin College, President and For the first phase of a three-year effort to conserve the 6,430 

Trustees of collection of American and European paintings. 

Brunswick, Maine 

Brooklyn Institute of Arts and Sciences To purchase equipment for the conservation of 12 rare 20,000 

Brooklyn, New York 

Buffalo Fine Arts Academy 

Buffalo, New York 

Butler Institute of American Art 

Youngstown, Ohio 

California Historical Society 

San Francisco, California 

Carolina Art Association 

Charleston, South Carolina 

Colorado Springs Fine Arts Center 

Colorado Springs, Colorado 

Corcoran Gallery of Art 

Washington, D.C. 

Cornell University 

Ithaca, New York 

Cornell University 

Ithaca, New York 

Denver Art Museum 

Denver, Colorado 

Department of Cultural Resources 

Raleigh, North Carolina 

El Pueblo de Los Angeles State 

Historic Park 

Los Angeles, California 

Field Museum of Natural History 

Chicago, Illinois 

Fine Arts Society of San Diego 

San Diego, California 

Founders Society, Detroit Institute 

of Arts 

Detroit, l~Iichigan 

Founders Society, Detroit Institute 

of Arts 

Detroit, Michigan 

Hammond Museum 

Gloucester, Massachusetts 

Historical Society of Delaware Wilmington, Delaware 

Honolulu Academy of Arts 

Honolulu, Hawaii 

Indiana University 

Bloomington, Indiana 

costumes and textile panels, and to initiate a textile conservation programat the Brooklyn Museum. 

To restore 14 prints and drawings, including works by 3,040 

Renoir, Maillol, Dufy, and Toulouse-Lautrec. 

To preserve four paintings by Robert W. Vonnoh, Ralph 5,000 

Earl, Moses Billings, and Paul Weber. 

To restore approximately 200 nineteenth-century Cali- 10,000 

fornia lithographs, and to stabilize and re-mar other prints 

in the permanent collection. 

To restore the Gibbes Art Gallery’s Ameriean Colonial 9,600 

and Federal paintings. 

To conserve an altar screen andat least 12 paintings and 5,000 

sculptures in the collection of Southwestern santos. 

To conserve 15 paintings in the American and European 10,000 

collections. 

To conserve a Japanese screen, a landscape scroll and 4,500 

vase /rom China, and works by Stuart Davis, Howard 

Pyle, Ben Shahn, Thomas H. Benton, and others from the 

H. F. Johnson Museum of Art. 

To survey the conservation needs o/ the metalwork in
 

the H. F. Johnson Museum of Art’s Asian Department,
 

and the sculpture and decorative arts holdings in the
 

European and American collections.
 

To conserve 39 works in seven curatorial departments. 10,000
 

For a consultant to determine conservation needs of the 2,070
 

Tryon Palace collections, particularly in the field o/
 

textiles.
 

To support conservation treatment of "Tropical America," 7,000
 

a mural executed in 1932 by David Alfaro Siqueiros.
 

To purchase equipment fora program of textile conserva- 22,800
 

tion, in which 12,000 textile specimens will be cleaned,
 

wrapped, and stored prior to more intensive treatment.
 

To treat 19 paintings and sculptures. 9,000
 

To acquire eight items of conservation equipment for the 17,090
 

paper laboratory.
 

To restore a Louis XV Bureau de Dame, a small Louis XVI 10,000
 

writing table, anda German Baroque table.
 

To conserve six panel paintings and one painting on 4,690
 

canvas.
 

For conservation treatment of two pianofortes. 1,020
 

To conserve four paintings by Milton Avery, Stuart Davis, 2,510
 

Diego Rivera, and an unknown 19th-century artist, and
 

two panels of scenic wallpaper by J. C. Charvet.
 

To conserve two pairs of late 17th- to 18th-century 3,000
 

Japanese screens.
 

650 
Museum 167 

International Museum of Photography To treat 100 nineteenth-century French calotypes and 11,050 

at George Eastman House albumen prints. 

Rochester, New York 

Johns Hopkins University 

Baltimore, Maryland 

To purchase equipment to conserve the Hopkins archaeological collection. 

8,390 

Kansas, University of 

Lawrence, Kansas 

To restore selected paintings, sculpture, and graphics at 

the Helen Foresmen Spencer Museum. 

9,830 

Marquette University 

Milwaukee, Wisconsin 

To survey the condition of the university’s art colleetion 

and to clean and restore six paintings. 

5,000 

Maryland Historical Society To conserve 35 paintings and 102 drawings. 19,830 

Baltimore, Maryland 

Mexican Museum To clean and fumigate the tex~ile collection, and to puf­ 1,650 

San Francisco, California chase airtight storage cabinets. 

Montana Historical Society To conserve paintings and watercolors by Montana artist 5,000 

Helena, Montana Charles Marion Russell. 

Montclair Art Museum To trea$ 15 pain~ings. 7,600 

Montclair, New Jersey 

Mount Holyoke College 

South Hadley, Massachusetts 

To conserve six American paintings, four 15th- and 16thcentury sculptures, and 11 ltalian paintings from the 

13th to the 15th century. 

9,440 

Museum of Contemporary Art 

Chicago, Illinois 

To purchase storage racks and photography and e~amination equipment fora conservation survey o/ the museum’s 

holdings. 

7,640 

Museum of Fine Arts To re-mar the Spa~dding Collection, consisting of 6,000 16,020 

Boston, Massachusetts traditional Japanese woodblock prints. 

Museums at Stony Brook 

Stony Brook, New York 

To conserve lZ nineteenth-century paintings, to mar and 

store 350 Shepard Alonzo Mount Drawings and 75 other 

prints and drawings. 

7,590 

National Academy of Design To provide conservation treatment for the oil painting 2,000 

New York, New York "Mural Design for the Minnesota State Capitol." 

Native American Center for the For a conservator to survey the collection to determine 2,450 

Living Arts treatment priorities. 

Niagara Falls, New York 

New Jersey Historical Society For a three-year program to conserve 77 oil paintings. 5,000 

Newark, New Jersey 

New York Historical Society To conserve 37 paintings. 18,000 

New York, New York 

New York Public Library 

New York, New York 

To restore and re-frame 18 oil paintings by N. C. Wyeth 

depicting scenes írom novels. 

7,750 

Newark Museum To conserve ten American oil paintings. 9,860 

Newark, New Jersey 

Peale Museum To conserve nine American paintings. 8,750 

Baltimore, Maryland 

Pennsylvania Academy 

of the Fine Arts 

To engage three conservators to treat 39 marble, bronze, 

plaster, terra corta, and wood sculptures. 

10,000 

Philadelphia, Pennsylvania 

Pennsylvania, University of 

Philadelphia, Pennsylvania 

To add personnel and purchase equipment for conservation of the archaeology collection. 

5,240 

Philadelphia Museum of Art To purchase equipment for the conservation laboratories. 17,500 

Philadelphia, Pennsylvania 

Port Huron Museum of For two conservators to survey the museum’s holdings. 1,940 

Art and History 

Port Huron, Michigan 
168 Museum 

Princeton University 

Princeton, New Jersey 

Religious Communities, the Arts 

and the American Revolution 

New York, New York 

Ringling (John and Mable) 

Museum of Art Foundation 

Sarasota, Florida 

Rochester, University of 

Rochester, New York 

Santa Barbara Museum of Art 

Santa Barbara, California 

Sheldon Art Museum 

Middlebury, Vermont 

Smith College 

Northampton, Massachusetts 

Southern California, University of 

Los Angeles, California 

Telfair Academy of Arts and Sciences 

Savannah, Georgia 

Virginia Museum of Fine Arts 

Richmond, Virginia 

Virginia Museum of Fine Arts 

Richmond Virginia 

Williams College 

Williamstown, Massachusetts 

Worcester Art Museum 

Worcester, Massachusetts 

Conservation Training 

Delaware, University of 

Newark, Delaware 

Delaware, University of 

Newark, Delaware 

Harvard University 

Cambridge, Massachusetts 

Harvard University 

Cambridge, Massachusetts 

New York State Historical Association 

Cooperstown, New York 

New York University 

New York, New York 

New York University 

New York, New York 

Regional Conservation Centers 

Ballma Art Conservation Center 

San Diego, California 

For treatment oÍ 21 large outdoor seulptures on the university campus. 

To ¿reat the Aaron Douglas Colleetion, including 178 

works by black American artista. 

12,000 

5,000 

To treat 15 paintings. 12,500 

For conservation treatment for works of all media in the 

Memorial Art Gallery’s colleetion. 

To treat Ab painting#. 

10,000 

11,260 

To treat 15 oil paint¿ngs. 3,000 

To treat $3 pieces of sculpture in the Museum of Art. 6,500 

To conserve four paintings in the University Galleries. 5,510 

To survey the collections to determine immediate and longrange eonservation needs. 

For laboratory equipment to treat the Indian miniature 

eollection. 

2,120 

1,680 

For a conservator to propose treatment for 95 art works 

of Indian, Tibetan, and Nepalese origin. 

To conserve six paintings by Avery, Diebenkorn, Hartley, 

Hooper, Maursr, and Park. 

To acquire a new X-ray unir anda vacuum hot table. 

2,100 

3,180 

11,460 

For the master of science program in art conservation, a 

cooperative program between the Winterthur Museum and 

the university. 

For an apprenticeship enbling a Winterthur/Delaware 

graduate to pursue further studies in photographic ezamination, conservation, and history. 

$240,000 

10,000 

For the training programat the Center for Conservation 

and Teehnical Studies. 

55,000 

For a three-day conference with international conservation 

training personnel. 

7,500 

For the three-year graduate program in conservation of 

historie and artistie works. 

89,500 

For a four-year program tha$ award8 a master of art8 

in art history anda diploma in ¢on8ervation. 

To equip the laboratories a$ the Conservation Center’s new 

íacility. 

180,000 

25,000 

To acquire new equipment and to relocate to ezpanded 

faeilities. 

$23,750 
Museum 169 

Carnegie-Mellon University For the Institute of Research to explore the aging of 27,000 

Pittsburgh, Pennsylvania materials containing cellulose and organic colorants in 

order to estimate rates o~ de~erioration under ~nuseum 

condiíions. 

Denver, University of 

Denver, Colorado 

For the Rocky Mountain Regional Conservation Center to 

provide conservation services to the Rocky Mountain-High 

Plains region. 

40,000 

Upper Midwest Conservation 

Association 

Minneapolis, Minnesota 

For the activities of the association’s regional ¢onservation 

laboratory. 

80,000 

Williamstown Regional Art 

Conservation Laboratory 

Williamstown, Massachusetts 

To hire additional staff. 30,000 

t{enovation	 Includes two sub-categories: Survey grants are for consultation services to identify problems and recommend solutions concerning security, storage and climate control, lnstallation grants assist with 

renovation projects where surveys have been completed. 

Program funds: $538,400 

Treasury funds: $199,000 

Private gifts: $199,000 

Survey 

DeCordova and Dana Museum For ah architectural study to improve climate control, $6,000 

and Park security, storage, and accessibility for the handicapped. 

Lincoln, Massachusetts 

Grand Rapids Art Museum To survey the clirnate control, security, and storage needs 8,000 

Grand Rapids, Michigan of a newly acquired historic federal building which will 

open as a new ~nuseum. 

Litchfield Historical Society To prepare reports for the implementation of sy$tems to 1,350 

Litchfield, Connecticut provide security and climate control systems and access 

for the handicapped. 

New York Historical Society To study improvements and extension of storage space. 5,000 

New York, New York 

For a climate control consuItant. 2,000 

Southampton, New York 

Parrish Art Museum 

13,310 

in the State of New York ces Tavern Museum. 

New York, New York 

Sons of the Revolution	 For an evaluation of climate control needs for the FraunWesleyan University For a clirnate control survey of the gallery and two storage 

Middletown, Connecticut areas of the Davison Art Center. 

Installation 

American Precision Museum To install smoke and heat detector8 anda burglary alarm $1,300 

Association system on the first floor. 

Windsor, Vermont 

Children’s Museum	 For heating, ventilating, and air conditioning work; 40,000 

Boston, Massachusetts	 tire control and security sys~ems; and storage equipment 

in the newly renovated waterfron$ building housing the 

Children’s Museum and the Museum of Transportation. 

Cleveland Museum of Natural ttistory To ezpand the archeological ~torage 8tudy center. 20,000 

Cleveland, Ohio 

370 
170 Museum 

Dayton Art Institute 

Dayton, Ohio 

Dayton Art Institute 

Dayton, Ohio 

Essex Institute 

Salero, Massachusetts 

Fine Arts Museums of San Francisco 

San Francisco, California 

Harvard University 

Cambridge, Massachusetts 

I~ng Beach Museum of Art 

Long Beach, California 

Miami, University of 

Coral Gables, Florida 

Michigan, University of 

Ann Arbor, Michigan 

Milwaukee Public Museum 

Milwaukee, Wisconsin 

Milwaukee Public Museum 

Mliwaukee, Wisconsin 

Museum of Fine Arts 

Boston, Massachusetts 

Museum of the City of New York 

New York, New York 

Paine Art Center and Arlmretum 

Oshkosh, Wisconsin 

Philadelphia Museum of Art 

Philadelphia, Pennsylvania 

Roberson Center for the Arts and 

Sciences 

Binghamton, New York 

Scripps College 

Claremont, Caliíornia 

Valentine Museum 

Richmond, Virginia 

Yellowstone Art Center Foundation 

Billings, Montana 

To install security and tire detection systems. 

To install a climate control system in the study-storage 

facilities. 

To convert the atrio of Plummer Hall into storage space. 

For heating, ventilating and air conditioning gallery

spaces in the de Young Museum and the Legion oÍ 

Honor. 

To modify the skylights in the Fogg Art Museum as recommended in a climate control and energy conservation 

study. 

To renovate the storage area by installing painting screens, 

proper shelving, and dehumidifiers. 

To replace a security/fire system in the Lowe Art Museum. 

To install new lighting and ventilating systems fora 

study-storage area in the basemen$ of the Kelsey Museum 

of Archaeology. 

Fora textile washing table, drying rack, and storage 

cabinets for the costume and textile collection. 

For additional security controls on 20 individual exhibits; anda "card-access control" to tire major storage 

areas. 

For the fourth phase in the installation of a climate 

control system. 

To transport the theatrical costume collection to a new 

location and to purchase steel cabinets and trays for 

proper storage of the garments. 

To install a climate control system. 

To construct a new study-storage facility for the museunt’s painting and sculpture collection. 

To improve security for the ~nuseum’s 23 galleries and 

storage areas. 

To establish a ceramics study center. 

To extend climate control and security from a proposed 

new wing into the museum’s five contiguous nineteenthcentury buildings. 

To install a climate control system. 

40,000 

30,000 

4,650 

250,000 

9,350 

2,500 

9,500 

10,000 

10,000 

5,210 

TF 74,000
 

PG 74,000
 

14,060 

15,000 

TF 75,000 

PG 75,000 

7,210 

8,590 

TF 50,000 

PG 50,000 

25,000 

Services 

to the Field 

To support services to the field such as research, publications (other

than periodicals), workshops, and seminars provided by museums or 

other organizations such as state of regional arts agencies and national or regional museum associations. 

Program funds: $194,470 

American Asso¢iation of Museums 

Washington, D.C. 

For several publications, including Museum News, AVISO, 

and AAM/COM Newsletters. 

$25,000 
 

Museum 171 

7,500 American Federation of Arts To cover the costs of a special meeting to discuss the U.S.’s 

New York, New York international exhibition program. 

24,800 American Law Institute To provide stipend support for 82 museum professionals 

Philadelphia, Pennsylvania to attend a three-day course on legal aspects of museum adminis~ra~ion at ~he Fort Worth Museum of Art. 

7,200 

Chicago, Illinois analysis using tatuan spectroscopy. 

Art Institute of Chicago	 To support a conservation research project ]or pigment 

19,780 Association of Art Museum Directors For ten museum directors to assess the business courses 

Savannah, Georgia given at Michigan, Stanford, University of Virginia, 

Cornell, and Berkeley. 

7,000 Association of Science Technology To conduct ah orientation workshop for museum proCenters fessionals concerning the experiences of the handicapped. 

Washington, D.C. 

20,000 Media Center for Children For the "Children’s Museum Media Project," a pilot proNew York, New York gram involving 12 children’s museums to help develop successful media programs. 

Mississippi Art Association To assist with the Mississippi Museum of Art’s recovery 17,500 

Jackson, Mississippi from the 1979 spring flood. 

Opportunity Resources for the Arts To provide management and professional personnel to 17,000 

New York, New York museum and visual arts organizations across the country. 

12,220 Virginia Museum of Fine Arts	 For a visiting specialist to conducta statewide survey of 

Richmond, Virginia	 climate control needs of art museums and exhibition galleries, and make subsequent recommendations of necessary 

modifications. 

Washington University	 12,200 For the Center for Archaemetry’s research program on the 

conservation of outdoor bronze monuments. St. l~uis, Missouri 

14,270 To sponsor 20 specialists’ visits to small and mediumsized art galleries and ~áuseums in the West. Western Association of Art Museums 

Oakland, California 

Wichita Falls Museum and Art Center 10,000 To enable the museum, damaged by a tornado, to continue 

Wichita Falls, Texas its programs in temporary facilities. 

General Programs To assist projects that are not included in other grant categories. 

Program funds: $269,000 

$19,000 New York University To publish the semi-annual Art and Archaeological TechN’ew York, New York nical Abstracts. 

Telfair Academy	 For programs to increase public understanding of the 5,000 

academy’s collections. of Arts and Sciences 

Savannah, Georgia 

200,000 Greenville County Museum To establish a studio/classroom space. 

Commission 

Greenville, South Carolina 

Native American Center To support a Native American museum seminar. 20,000
 

for the Living Arts
 

Niagara Falls, New York
 

25,000 WGBH Educational Foundation For a half-hour television program based on the exhibítion "Japan Day by Day" at the Peabody Museum in 

Salero, Massachusetts. Boston, Massachusetts 

173 

Music
 

Many different styles and esthetic frameworks the first magnitude. We also have a number of

fine quasi-professional groups. The Music Pro- enrich American music today, each contributing gram, setting exacting standards, hopes to to the richness and excitement of our musical 

life. The Music Program seeks to respond to create a climate in which these choruses can 

continue to flourish and to achieve their highest this diversity by adapting its programs in ways 

that encourage excellence in all musical forms, potential. 

One of our major initiatives was to create Another recently developed program, New 

Music Performance, has already demonstrated a program recognizing the growing importance 

of chamber music. No longer an art form for its effectiveness. This program grew out of the 

the few by the few, chamber music is now per- composer-librettist program, in which the Enformed by more than 1,000 ensembles across dowment was funding the composition of about 

the country. Traditionally the young musician 100 new works each year. The question quickly 

leaving a conservatory aimed for an orchestra arose: What are we going to do about these 

chair or for the hectic life of a commercial works that are being created? One answer was 

recording musician. Today many of our fine to arrange with the American Music Center to 

young instrumentalists choose instead the life be a library for the compositions and to see 

of the chamber musician. They like the sense that they were brought to the attention of 

of a few performers interacting, of intense musicians, conductors, and musical organizamusic-making asa group. They’re less inter- tions. We then turned to the problems of getting 

ested than the previous generation in becoming the works performed. We felt that whatever we 

musical superstars. Wherever you go in the did had to encourage the performance of all 

summer--Maine, or the Grand Tetons, or Palo new works, not just those composed under 

Alto~you find concerts by this new breed of Endowment grants. 

wonderful young performer. These groups also Our commitment to new music grew and communicate so well with young audiences, eventually became the New Music Performance 

The movement toward chamber music, of program. For so many years new, serious 

course, takes nothing away from the continued music has struggled with limited opportunities. 

glory of playing in a full orchestra. Whenever Ir has rarely been a glamorous part of our 

there is an opening in a major orchestra, hun- musical heritage. Now we find that the number 

dreds of talented musicians come to audition, of groups performing new music is growing 

It’s not that chamber music is taking over, but steadily. And they are locating new areas and 

that the entire .country is discovering the joy spaces in which to perform--sometimes within 

of making music, the academic area and sometimes in small concert halls. So, increasingly the music is being Choral Music also has come into its own 

performed. We can now recognize that the per- this year, moving from a pilot program to a formance of new music is a vital part of what regular category of support. The change was 

long due. America has been singing for a long is happening to music in this country. That we 

have a remarkable number of groups perform- time. For many, choral singing is a way of life. 

We have in this country a few exclusively pro- ing primarily today’s music is a testament to

its vitality. fessional choruses that achieve performance of 

Peabody Conservatory of Muslo, Baltimore, MaryIand.
 

Photo: Ed Thor~ett
 
 

174 Music 

Christopher Kendall. director--Twentieth Century Consort. 

Washington, D.C. Photo: Chad Evans Wyatt 

We are concerned also about jazz. Endowment support of this art has grown in five 

years from $500,000 to $1.3 million. But the art 

form itself always seems an endangered species, 

For one thing, ir is an improvisational art; the 

best is often lost--neither written down nor 

recorded. And jazz musicians are individuals 

who, for the most part, join together only in 

small groups. There are no major service organizations, no boards of directors, and few 

groups with nonprofit status, 

We have worked this year to structure organizations that can support and present jazz 

artists. I think jazz might benefit greatly from 

such organizations. Jazz, however, is a difficult 

art form to make coalesce ; it’s very fragmented, 

But that’s the form. I don’t think the Endowment should try to change what is native to the 

art. We have to support the form, not try to 

change ir; to find ways of supporting artists 

who are composing and performing within the 

structure, not try to manipulate them into new, 

artificial structures imposed by outsiders, 

An overriding need for the Music Program, 

always, is to remain aware of the needs of 

the supremely talented individual musician-­

whether jazz artist, composer, student, or 

emerging professional. Our concern is evident, 

career levels. So Zar, everyt~lng ln~l~cates that 

the soloist’s situation is becoming increasingly 

desperate. Today, there are fewer than hall as 

many debuts as there were ten years ago. The 

feeling among musicians is that you can’t live 

as a soloist these days. We are becoming dependent on European countries for our soloists. 

To reverse the trend, we need a substantial 

program for soloists--one that will help the 

performer tour, make cassettes to send to presenters, or prepare for a debut. 

The Endowment must soon address other 

problems: recording and distributing new 

American music, supporting excellent schools 

of music, developing a better balance between 

those who make music and those who listen to 

ir. Of these, the last may be the most important. 

As the number of professionals increases, they 

must ñnd outlets íor their talents. The Endowment must see to ir that an increasingly responsive, aware, and demanding audience keeps 

pace with the growth of musical excellence so 

evident in this country today. 

~ ~ (~ 

íor example, in a study (to be completed by Ezra Laderman 

January 1980) oí 100 solo performers at all Director, Music Program 
Music 175 

Music Advisory Panel 

Chamber Ensembles 

Judith Raskin, Chairman 

Soprano, Teacher 

New York, New York 

Samuel Baron
 

Flutist, Composer, Conductor
 

Great Neck, New York
 

Jerome Bunke 

Director, Concert Artists Guild
 

New York, New York
 

Richard Clark
 

President, Affiliate Artists
 

New York, New York
 

Robert Jones 

Secretary
 

Portland Musicians Union
 

Portland, Oregon
 

Robert Mann 

Juilliard String Quartet
 

Composer, Conductor, Teacher
 

New York, New York
 

Peter Marsh
 

Lenox String Quartet
 

Director, Artists Development, Inc.
 

Binghamton, New York
 

Yoko Matsuda
 

Sequoia String Quartet
 

Newhall, California
 

Carman Moore
 

Composer, Critic
 

Music Director, Lenox Arts Center
 

New York, New York
 

Joanne Rile
 

Director, Joanne Rile Management
 

Philadelphia, Pennsylvania
 

Lucy Shelton
 

Soprano, Jubal Trio
 

New York, New York
 

Thomas Wolf 

Executive Director 

New England Foundation for the Arts

Cambridge, Massachusetts 

Contemporary Music 

Ensembles 

Roger Ruggeri, Chairman 

Composer
 

Principal Bass
 

Milwaukee Symphony 0rchestra
 

Shorewood, Wisconsin
 

Carman Moore
 

Composer, Critic
 

Music Director, Lenox Arts Center
 

New York, New York
 

Ursula Oppens 

Pianist 

Member, Speculum Musicae 

New York, New York 

Juan Orrego-Salas 

Chairman, Composition Department 

Director, Latin-American Music 

Center 

Indiana University 

Bloomington, Indiana 

Neva Pilgrim 

Soprano 

Syracuse, New York 

Ross Powell 

Founder/Director 

Voices of Change 

Dallas, Texas 

Dorrance Stalvey 

Composer 

Executive and Artistic Director 

Monday Evening Concerts 

Los Angeles, California 

Joel Thome 

Composer 

Music Director and Conductor 

Orchestra of Our Time 

Bronx, New York 

Joan Tower 

Composer 

Pianist, Da Capo Chamber Players 

New York, New York 

Bertram Turetzky 

Performer, Author, Composer 

Del Mar, California 

Jazz 

James Jordan, Chairman 

Program Analyst 

New York State Council on the Arts 

New York, New York 

Richard Abrams
 

Pianist, Composer, Arranger
 

New York, New York
 

S. David Bailey
 

Jazz Artist
 

Executive Director
 

Jazzmobile, Inc.
 

White Plains, New York
 

Benny Carter
 

Composer, Instrumentalist,
 

Conductor 

Los Angeles, California 

Tom Ferguson 

President
 

National Association of Jazz
 

Educators
 

Director of Jazz Studies
 

Arizona State University
 

Tempe, Arizona
 

Phyllis Garland

Contributing Editor, Ebony 

Assistant Professor of Journalism 

Graduate School of Journalism 

Columbia University 

New York, New York 

Ken A. McIntyre 

Composer, Multi-Instrumentalist 

Educator 

Wheatley Heights, New York 

Monk Montgomery 

Jazz Artist 

President, Las Vegas Jazz Society 

Las Vegas, Nevada 

Gil Noble 

Producer and Host 

"Like Ir Is"--WABC-TV 

Member, New York State Council 

on the Arts 

New York, New York 

Coleridge-Taylor Perkinson 

Composer, Pianist 

New York, New York 

Benny Poweli 

Musician, Lecturer 

Los Angeles, California 

Vi Redd 

Musician, Educator 

Inglewood, California 

Vishnu Wood 

Bassist 

HampshireASSistant ProfesSOrcollege of Music 

New York, New York 

Planning 

James M. Boyle, Chairman 

Wyoming Council on the Arts 

Laramie, Wyoming 

Jacob Avsholomov, Co-Chairman 

Composer, Conductor 

Portland Junior Symphony 

Portland, Oregon 

Albert K. Webster, Co-Chairman
 

Managing Director
 

New York Philharmonic 0rchestra
 

Ne~v York, New York 

James B. Andrews 

Director, Arts and Humanities 

Division West Virginia Department of Culture 

and History 

Hurricane, West Virginia 

James E. Barnett
 

Arts Patron
 

Atlanta, Georgia
 
 

 

176 Music 

Joan Briccetti 

General Manager
 

The Richmond Symphony
 

Richmond, Virginia
 

Jess Casey 

Dean
 

School of Music, Winthrop College
 

Rock Hill, South Carolina
 

Rafael Druian 

Violinist 

Proíessor of Music 

University of California at San Diego 

La Jolla, California 

Donald Erb 

Composer
 

Faculty Member
 

Cleveland Institute of Music
 

Cleveland Heights, Ohio
 

Bill Fertik
 

Motion Picture Director and
 

Producer
 

New York, New York
 

Eugene Frey
 

President Local 1
 

American Federation of Musicians
 

Hamilton, Ohio
 

Elliott Galkin 

Director
 

Peabody Institute of
 

The Johns Hopkins University
 

Timonium, Maryland
 

Gordon Hardy 

President and Dean 

Aspen Music Festival and School 

Aspen, Colorado 

Natalie Hinderas 

Pianist 

Professor of Music, Temple 

University 

Elkins Park, Pennsylvania 

William Ivey 

Director 

Country Music Foundation 

Nashville, Tennessee 

James .lordan 

Program Analyst 

New York State Council on the Arts 

New York, New York 

Vera Brodsky Lawrence 

Music Historian 

New York, New York 

Ezra Laderman 

Composer 

Composer-in-Residence 

SUNY/Binghamton 

Teaneck, New Jersey 

Leonard Nelson 

Attorney 

Portland, Maine 

Robert Page 

Director of Choruses 

The Clevela~d Orchestra 

Chairman, Music Department 

Carnegie-Mellon University 

Pittsburgh, Pennsylvania 

Roger Ruggeri
 

Composer
 

Principal Bass
 

Milwaukee Symphony Orchestra
 

Shorewood, Wisconsin
 Jan DeGaetani 

Milton Salkind 

President 

San Francisco Conservatory of Music 

San Francisco, California 

Choral 

Margaret Hillis, Co-Chairman 

Director 

Chicago Symphony Orchestra Chorus 

Wilmette, Illinois 

Robert Page, Co-Chairman
 

Director of Choruses
 

The Cleveland Orchestra
 

Chairman, Music Department
 

Carnegie-Mellon University
 

Pittsburgh, Pennsylvania
 

Elaine Brown
 

Director, Singing City 


Philadelphia, Pennsylvania
 

Thomas Dunn 

Artistic Director, Handel and 

Haydn Society 

Boston, Massachusetts 

Robert Fountain 

Professor of Music 

Director of Choral Organizations 

University of Wisconsin 

Madison, Wisconsin 

Morris Hayes 

Past President 

American Choral Directors 

Association 

Eau Claire, Wisconsin 

Joseph Liebling 

Director, Oakland Symphony Chorus 

Oakland, California 

Roger Wagner 

Director 

Los Angeles Master Chorale 

Los Angeles, California 

Evelyn White 

Professor of Choral Music and Theory

Howard University 

Washington, D.C. 

Composer-Librettist 

Donald Erb, Chairman 

Composer 

Faculty Member 

Cleveland Institute of Music 

Cleveland Heights, Ohio 

Dominick Argento 

Composer
 

Minneapolis, Minnesota
 

Mezzo-Soprano
 

Professor of Voice
 

Eastman School of Music
 

Rochester, New York
 

Vivian Fine 

Composer 

Professor of Music 

Bennington College 

North Bennington, Vermont 

Sheldon Harnick 

Lyricist, Librettist 

New York, New York 

.lohn Hollander 

Poet, Librettist 

Professor of English 

Yale University 

New Haven, Connecticut 

Karel Husa 

Composer, Conductor 

Kappa Alpha Professor of Music Cornell University 

Ithaca, New York 

Pauline Oliveros
 

Composer
 

Faculty Member
 

University of California at

San Diego 

Leucadia, California 

Vincent Persichetti 

Composer 

Philadelphia, Pennsylvania 

Matthew Raimondi 

Violinist, Composers String Quartet New York, New York 

Loren Rush 

Co-Director 

Center for Computer Research in 

Music and Acoustics 

Stanford University 

Richmond, California 

Hale Smith 

Composer 

Professor of Music 

University of Connecticut 

Freeport, New York 

Robert Suderburg 

Composer 

Chancellor 

North Carolina School of the Arts 

Winston-Salem, North Carolina 

Joel Thome 

Music Director and Conductor 

Orchestra of Our Time 

Bronx, New York 

Hugo Weisgall 

Composer 

Professor of Music, Queens College 

Great Neck, New York 
Music 177 

Dan Morgenstern Orchestra Eve Queler

Music Director Free-lance Writer 

Opera Orchestra of New York Jazz Consultant Joan Briccetti, Chairman New York, New York	 New York, New York General Manager 

The Richmond Symphony 

Richmond, Virginia	 John Nelson Irving J. Segall Music Director Chairman Ben Barkin	 Indianapolis Symphony Orchestra International Conference of President and Chief Executive Officer	 Indianapolis, Indiana Symphony and Opera Musicians Barkin, Herman, Solochek Violist, Philadelphia Orchestra and Paulsen, Inc. Philadelphia, Pennsylvania Jimmy Owens 

Milwaukee, Wisconsin	 Jazz Artist 

New York, New York Dennis Russell Davies 

Music Director 

St. Paul Chamber Orchestra Judith Raskin 

St. Paul, Minnesota Music Consultants Soprano 

New York, New York 

Lanham Deal Samuel Baron 

General Manager Flutist, Bach Aria Group Seymour Rosen 

Seattle Symphony Orchestra Faculty Member, State University of Executive Director Seattle, Washington New York at Stony Brook Philadelphia Orchestra Great Neck, New York Philadelphia, Pennsylvania 

E. Atwill Gilman 

Chairman of the Board Phyllis Bryn-Julson	 Mike Seeger American Symphony Orchestra	 Musician, Singer Soprano League Potomac, Maryland	 Garret Park, Maryland President and Chairman of 

the Board William Thomson Denver Symphony Orchestra Richard C. Clark 

President	 Chairman, Music Department Denver, Colorado State University of New York Affiliate Artists, Inc. 

New York, New York at Buffalo

Oleg Lobanov	 Buffalo, New York Managing Director 

National Symphony Orchestra Henry Lewis 

of Washington, D.C. Conductor 

Washington, D.C. New York, New York 

Martha Ellen Maxwell Robert Mann 

President First Violinist 

Memphis Orchestral Society Juilliard String Quartet 

Memphis, Tennessee New York, New York 

Music Grants Program funds: $9,226,408

Treasury funds: $3,573,000 

Private gifts: $3,573,000 

Solo Artist	 To assist a limited number of solo artists through a pilot grant to a 

musical organization 

Program funds: $10,000 

Pro Musicis Foundation For co~certs featuring yo~~ng American soloists. $10,000 

New York, New York 

Ensemble	 To provide support to professional ensembles in order to improve 

the quality of chamber music performances and to make the art 

form widely available. 

Program funds: $239,715 

Treasury funds: $ 40,000 

Private gifts: $ 40,000 

Annapolis Fine Arts Foundation For concertz by the Aeolian Woodwind Quintet. $4,600
 

Annapolis, Maryland
 
178 Music 

Boulder Assembly on the Arts and 

Humanities For concerts and workshops by the Pablo Casals Trio. 11,075 

Boulder, Colorado 

California Institute of the Arts 

Valencia, California 

For residencies at colleges and universities by the Sequoia 

String Quartet. 16,320 

California, University of 

Irvine, California 

For a residency by the New York String Quartet at the 

University of California. 15,000 

Center for Chamber Music at 

Apple Hill Farm 

For concerts in New Hampshire and Massachusetts. 10,000 

East Sullivan, New Hampshire 

Center for Chamber Music at 

Apple Hill Farm 

For the New Hampshire Chamber Musie Festival. 10,000 

East Sullivan, New Hampshire 

Chamber Music America 

New York, New York 

To support, in con]unction with the Paul Foundation, a 

subgranting program for performing resideneies by pro- TF 40,000 

PG 40,000 

]essional chamber music ensembles. 

Chamber Music America For administrative costs of the national office. 10,000 

New York, New York 

CSQ Society for Chamber Music For participation by the Composers String Quartet in the 7,000 

New York, New York Mt. Desert Festival of Chamber Music. 

Da Capo Chamber Players 

New York, New York 

For a series oí’mini-residencies by the Da Capo Chamber 

Players. 8,635 

Dartmounth College, Trustees of 

Hanover, New Hampshire 

For reside~~cies by the Concord String Quartet. 11,250 

Group for Contemporary Music 

New York, New York 

For residencies by the Columbia String Quartet. 14,305 

Monadnock Music 

Peterborough, New Hampshire To support a series of concerts in summer 1979. 7,300 

Music in the Mountains 

Burnsville, North Carolina 

To support a series of concerts in summer 1979. 3,000 

Naumberg (Walter W.) Foundation 

New York, New York 

For a residency-touring program by the Primavera String 

Quartet. 15,750 

Naumburg (Walter W.) Foundation 

New York, New York 

For the Chamber Music Group Awards for the 1978-79 

season. 8,500 

Naumburg (Walter W.) Foundation 

New York, New York 

For the Chamber Music Group Awards for the 1979-80 

season. 8,500 

New York Philomusica Chamber 

Ensemble To support a series of concerts and workshops. 17,000 

New York, New York 

North Carolina School of the Arts 

Winston-Salem, North Carolina 

For residencies by the Clarion Wind Q~dntet. 8,850 

Renaissance Band Calliope 

New York, New York 

To support a series of residencies. 8,075 

Santa Fe Chamber Music Festival 

Santa Fe, New Mexico 

For the American Composer Program in summer 1979. 7,500 

Si-Yo Music Society Foundation 

New York, New York 

For the 1978-79 chamber ~nusic concert series. 5,000 

Telluride Council for the Arts 

and Humanities 

To support activities of the Telluride Chamber Players, including a to~~r to rural Colorado towns. ° 

6,055 

Telluride, Colorado 

Twentieth Century Consort For concerts and residencies by the Emerson Quartet. 17,000 Washington, D. C. 
Washington, University of 

Seattle, Washington 

Orchestra 

Basic and Development Grants 

Akron Musical Association 

Akron, Ohio 

Albany Symphony Orchestra 

Albany, New York 

Amarillo Symphony 

Amarillo, Texas 

American Symphony Orchestra 

New York, New York 

Arkansas Orchestra Sociity 

Little Rock, Arkansas 

Atlanta Arts Alliance 

Atlanta, Georgia 

Austin Symphony Orchestra 

Austin, Texas 

Baltimore Symphony Orchestra 

Association 

Baltimore, Maryland 

Birmingham Symphony Association 

Birmingham, Alabama 

Boston Symphony Orchestra 

Boston, Massachusetts 

Brooklyn Philharmonia 

Brooklyn, New York 

Buffalo Philharmonic Orchestra 

Society 

Buffalo, New York 

California, Chamber Symphony 

Society of 

Los Angeles, California 

Canton Symphony Orchestra 

Association 

Canton, Ohio 

Music 179 

9,000 For residencies by Soni Ventorum. 

Includes four subcategories: Basic and Development Grants are 

limited to professional orchestras which have maintained annual 

cash incomes exceeding $200,000 (Basic) or $100,000 (Development) 

for at least three seasons. Music Resources Grants support innovative 

projects t~at may be used as models for future development in the 

orchestra field. Related Orchestra Activities Grants assist organizations with projects not included in other Orchestra grant categories. 

Program funds: $6,295,680
 

Treasury funds: $2,8S5,500
 

Private gifts: $2,885,500
 

For the engagement of additional string players and additional rehearsal time. 

For concerts, the engagement of two young American 

guest artists, and the continued engagement of a publicity 

coordinator. 

For in-school concerts. 

For concerts in Carnegie Hall. 

To engage eight string players to perform with the orchestra. 

To support a rozar in the Southeast anda low-admission 

summer season by the Atlanta Symphony Orchestra. 

To support the development program and, in con~unction 

with the Laguna Gloria Art Museum, works by American 

Impressionists. 

To support concerts in Maryland, a pops series, and engagement of a development consztltant. 

To support mall conccrts and the Sumí~zer Fest performances. 

To support a morning concert series, a chamber music 

series, free summer concerts, a New England tour, concerts at Tanglewood, and pre-concert discussions. 

For expansion of the in-school performance and instruction program to inchtde concerts for the handicapped, continuation of the community concert series, and engagement 

of a development director. 

To sztpport concerts in neighborbzg counties, a children’s 

series, in-school concerts, and a tour of the Southwest. 

To support the engagement of young American artists and 

free of low admission concerts for senior citizens and 

handicapped persons. 

To support’the continued engagement oÍ the string quartet, 

the Kinder Koncert series, and the engagement of a brass 

quintet. 

$6,000 

TF 10,000 PG 10,000 

15,000 

TF 10,000 

PG 10,000 

8,000 

TF 50,000 

PG 50,000 

30,000 

120,000 

TF 65,000 

PG 65,000 

17,000 

125,000 

TF 65,000 

PG 65,000 

40,000 

195,000 

TF 55,000 

PG 55,000 

25,000 

110,000 

TF 55,000 

PG 55,000 

20,000 

15,000 
180 Music 

Cedar Rapids Symphony Orchestra 

Association 

Cedar Rapids, Iowa 

Chamber Symphony Society 

Los Angeles, California 

Charlotte Symphony Orchestra 

Society 

Charlotte, North Carolina 

Chattanooga Symphony Association 

Chattanooga, Tennessee 

Chautauqua Institution 

Chautauqua, New York 

Cincinnati Symphony Orchestra 

Cincinnati, Ohio 

Colorado Springs Symphony 

Orchestra Association 

Colorado Springs, Colorado 

Columbus Symphony Orchestra 

Columbus, Ohio 

Concerto Soloists of Philadelphia 

Philadelphia, Pennsylvania 

Corpus Christi Symphony Society 

Corpus Christi, Texas 

Dallas Symphony Association 

Dallas, Texas 

Dayton Philharmonic Orchestra 

Association 

Dayton, Ohio 

Denver Symphony Orchestra 

Denver, Colorado 

Des Moines Symphony Association 

Des Moines, Iowa 

Detroit Symphony Orchestra 

Detroit, Michigan 

Duluth-Superior Symphony 

Association 

Duluth, Minnesota 

Erie Philharmonic 

Erie, Pennsylvania 

Evansville Philharmonic Orchestral 

Corporation 

Evansville, Indiana 

Festival Casals 

San Juan, Puerto Rico 

Flint Institute of Music 

Flint, Michigan 

To support the continued engagement of four principal 16,000 string players to perform with the orchestra and to provide ensemble services.
 

To support the collaboration of the Los Angeles Chamber 20,000 Orchestra with several choral groups in the atea. 

To support small ensemble performances in schools and 40,000 community. 

For concerts in neighboring communities. 11,500 

For guest conductors and soloists, a youth/family concert 10,000 series, anda chamber music series for the Chautauqua
 

Symphony Orchestra.
 

For the area artist series and the mini festival program. 75,000 

TF 135,000 

PG 135,000 

For engagement of a woodwind quintet, artist ~’esidencies, 16,000 and in-school concerts. 

To support in-school concerts for junior and senior high 30,000 school students, and the continued engagement of a string TF 35,000 quartet, a woodwind quintet, and three part-time ensem- PG 35,000 bles to perform with the orchestra. 

To support the engagement of young artists and senior 16,000 

citizens to perform as soloists with the orchestra; the performances of young composers’ works; and low-cost tickets 

to students, senior citizens, and the disadvantaged. 

For free public performances of Handel’s Messiah in Eng- 16,000 lish and Spanish. 

To support performances in neighboring communities, the 100,000 "Summertop" and "American Salute" summer series, and TF 85,000 a summer series called "Mostly Mozart." PG 85,000 

To support young people’s concerts, and an ensemble pro- 22,000
 gram to provide educational services.
 

To support concerts in neighboring communities, young 110,000 people’s concerts, anda new holiday series. TF 65,000 

PG 65,000 

For the matinee series and the chamber series. 16,000 

To support concerts at Ford Auditorium and in inner-city 145,000 

schools, and a collaboration with the Joffrey Ballet. TF 65,000 

PG 65,000 

For in-school concerts, small ensemble performances in an 15,780 area art center, and the engagement of five musicians. 

For concerts in rural areas, and free summer parks con- 22,000 

certs. 

For young people’s concerts and concerts by the chamber 2,500 orchestra, woodwind quintet, and string quartet. 

To support programs of the Puerto Rico Symphony Or- 40,000 

chestra such as island touring, engagement of two associate conductors, a children’s series, presentation of young 

Puerto Rican soloists, and pops concerts in public places. 

For youth concerts given by the Flint Symphony Orches- 18,000 

tra. 
Music 181 

Florida Gulf Coast Symphony For youth co~zcerts. 32,500 

St. Petersburg, Florida 

Florida Philharmonic For f amily / youn g people’ s concerts. 35,000 

Miami, Florida 

Florida Symphony For concerts, a contemporary music festival at the Flor­ 35,000 

Orlando, Florida ida Technological University, and collaboration with local 

ballet and choral groups. 

Fort Lauderdale Symphony To support free family/youth concerts for the purpose of 15,000 

Orchestra Association encouraging new audiences to subscribe. 

Fort Lauderdale, Florida 

Fort Wayne Philharmonic Orchestra 

Fort Wayne, Indiana 

To support the continued engagement of professional musicia~s to perform with the orchestra and to provide chamber music services. 

25,000 

Fort Worth Symphony Orchestra 

Association 

To support ensemble and chamber orchestra concerts in 

schools and in the community. 

12,000 

Fort Worth, Texas 

Fresno Philharmonic Assoeiation To support concerts, continued engagement of a funds 35,000 

Fresno~ California drive coordinator, and the continued engagement of a 

string trío. 

Glendale Symphony Orchestra 

Glendale, California 

For the engagement of a guest conductor and additional 

rehearsal time. 

2,000 

Grand Rapids Symphony Society 

Grand Rapids, Michigan 

For the continued engagement of professional musicians to 

perform with the orchestra and to provide ensemble serv35,000 

iees. 

Hartford, Sympbony Society of 

Hartford, Connecticut 

To support the orchestra’s educational program and engagement of a development coordinator. 

27,500 

Honolulu Symphony Society 

Honolulu, Hawaii 

To support concerts on neighboring islands, expansion of 

the "Summer Starlight" series, a training program which 

allows gifted students to work with orchestra musicians, 

100,000 

TF 30,000 

PG 30,000 

and collaboration with a newly formed symphony chorus. 

Houston Symphony Society 

Houston, Texas 

To support outdoor concerts, student concerts, anda chatober music series for the 1978-79 season. 

TF 141,000 

PG 141,000 

Houston Symphony Society 

Houston, Texas 

To support summer outdoor concerts, student concerts, a 

chamber music series, and collaboration with the Houston 

Ballet for the 1979-80 season. 

49,100 

TF 111,500 

PG 111,500 

Hudson Valley Philharmonic Society 

Poughkeepsie, New York 

To engage 25 full-time professional musicians to perform 

with the orchestra and to provide educational services to 

the community. 

15,000 

Indiana State Symphony Society 

Indianapolis, Indiana 

To support youth concerts and concerts in Indiana communities. 

120,000 

TF 65,000 

PG 65,000 

Jackson Symphony Orchestra 

Jackson, Mississippi 

To support chamber orchestra performances in junior high 

schools and the continued engagement of professional 

string musicians to perform with the orchestra. 

40,000 

Jacksonville Symphony Association 

Jacksonville, Florida 

To support youth concerts, expansion of pops concerts, and 

engagement of additional musicians to perform with the 

orchestra. 

45,000 

Kalamazoo Symphony Society 

Kalamazoo, Michigan 

For young people’s concerts, including production of an 

opera in collaboration with Michigan Opera Theater, 

chamber orchestra concerts, anda brass quinte~ to provide 

18,600 

educational services. 

Kansas City Philharmonic Association 

Kansas City, Missouri 

To support campus workshops, chamber orchestra concerts, performances with the opera company, and park 

concerts. 

TF 

PG 

100,000 

50,000 

50,000 

Knoxville Symphony Society For free family outdoor concerts, young people’s concerts, 15,000 

Knoxville, Tennessee and expansion of the string quartet program. 

Lansing Symphony Association For engagement of huest artists. 2,000 

Lansing, Michigan 
182 Music 

Long Beach Symphony Association 

Long Beach, California 

For additional rehearsal time, engagement of a development director and two consultants to improve earned and 

10,000 

contributed incomes, and summer park concerts. 

Los Angeles Philharmonic Association To support "Open House at the Bowl," 20 "Symphony for TF 65,000 

Los Angeles, Californ~a Youth" concerts, in-school and campus concerts, anda PG 65~000 

wee]c of open rehearsals for the 1978-79 season. 

Los Angeles Philharmonic Association For concerts in cities outside Los Angeles, a week of open 195,000 

Los Angeles, California rehearsals with Maestro Giulini, "Open House at the TF 55,000 

Bowl," and a computerized box office system for the 1979­ PG 55,000 

80 season. 

Louisville Philharmonic Society 

Louisville, Kentucky 

For ensemble and chamber orchestra performances and 

f~ll orchestra tours to surrounding cities and states. 55,000 

TF 10,000 

PG 10,000 

Memphis Orchestral Society For chamber orchestra concerts, in-school concerts by the 40,000 

Memphis, Tennessee Memphis Little Symphony, and promotional activities. 

Midland-Odessa Symphony To engage additional musicians. 4,000 

Midland, Texas 

Milwaukee Symphony Orchestra To support young people’s concerts and open rehearsals for TF 65,000 

Milwaukee, Wisconsin the 1978-79 season. PG 65,000 

Milwaukee Symphony Orchestra To support young people’s concerts, orchestra and ensem­ 120,000 

Milwaukee, Wisconsin ble performances, promotional activities, collaboration with TF 65,000 

a choral group, and summer parks concerts for the 1979-80 PG 65,000 

season. 

Minnesota Orchestral Association To support a summer series, regional touring, educational 175,000 

Minneapolis, Minnesota services, and fund-raising activities. TF 55,000 

PG 55,000 

Monterey County Symphony For the continued engagement of professional musicians to 10,500 

Association per forro with the orchestra and to provide in-school ensemCarmel, California ble programs. 

Music for Long Island To support the educational program of the Orchestra da 25,000 

North Massapequa, New York Camera. TF 10,000 

PG 10,000 

Musical Arts Association--The 

Cleveland Orchestra 

Cleveland, Ohio 

To support concerts in neighboring communities and in 

schools and universities. 

180,000 

TF 70,000 

PG 70,000 

Nashviile Symphony Association To sz~pport expansion of the orchestra’s subscription sea­ 50,000 

Nashville, Tennessee so~~ to include ah opera production in collaboration with TF 5,000 

Opera Memphis. PG 5,000 

National Symphony Orchestra 

Association 

For the 1978 summer concert series at Wolf Trap Farm 

Park. 

TF 80,000 

PG 80,000 

Washington, D. C. 

National Symphony Orchestra For ¿he 1979 summer concert series at Wolf Trap Farm 237,000 

Association Park. TF 63,000 

Washington, D.C. PG 63,000 

New Haven Symphony Orchestra 

New Haven, Connecticut 

For adidtional rehearsal time, engagement of American 

artists, and continued engagement of a public relations 

35,000 

sta] person. 

New Jersey Symphony Orchestra 

Newark, New Jersey 

To s~~pport "Kaleidoscope" concerts, promotional activities, 

and in-school concerts. 

30,000 

TF 100,000 

PG 100,000 

New Mexico Philharmonic Symphony To support educational programs, performances at Indian 32,500 

Society reservations and other communities, and additional adAlbuquerque, New Mexico mi~istrative personnel to organize the tour program. 

New Orleans Philharmonic Symphony 

Society 

To sz~pport regional concerts, collaborative programming 

with local ballet and choral groups, engagement of adminTF 65,000 

PG 65,000 

New Orleans, Louisiana istrative staff, and additional rehearsal time for the .1978­

79 season. 
Music 183 

New Orleans Philharmonic Symphony 

Society 

New Orleans, Louisiana 

To support expansion of subscription concerts to include a 

pops series, neighborhood concerts, ensemble services, collaboration with local ballet and choral groups, expansion 

of the regional concert series, additional rehearsal time, 

95,600 

TF 65,000 

PG 65,000 

and engagement of additional administrative personnel for 

the 1979-80 season. 

New York, Philharmonic-Symphony 

Society of 

New York, New York 

For free outdoor concerts and continuation of the regular 

subscription series. 

185,000 

TF 65,000 

PG 65,000 

Norfolk Symphony Association For concerts and promotional activities. 27,500 

Norfolk, Virginia 

North Carolina Symphony Society 

Raleigh, North Carolina 

For the educational program involving orchestra, chamber, 

and ensemble performances. 

65,000 

TF 35,000 

PG 35,000 

Northeastern Pennsylvania, 

Philharmonic Society of 

Avoca, Pennsylvania 

To support the performance of an opera in concert form, 

engagement of guest conductors, artists, and administrative personnel. 

17,000 

Oakland Symphony Orchestra 

Association 

For concerts in schools and throughout the community. 30,000 

TF 10,000 

Oakland, California PG 10,000 

Oklahoma Symphony Orchestra 

Oklahoma City, Oklahoma 

To support educational and audience development programs, concerts and tours across the state, and engagement 

TF 30,000 

PG 30,000 

of an assistant conduch, r for the 1978-79 season. 

Oklahoma Symphony Orchestra 

Oklahoma City, Oklahoma 

For educational programs, the audience development prograto, concerts and tours for the 1979-80 season. 

30,000 

TF 30,000 

PG 30,000 

Omaha Symphony Association To support the continued engagement of a string quartet. 35,000 

Omaha, Nebraska 

Opera Orchestra of New York 

New York, New York 

To support performances of opera in concert form, and 

special preview concerts for students and senior citizens 

which employ young American vocalists. 

TF 20,000 

PG 20,000 

Orchestral Association 

Chicago, Illinois 

To support the Chicago Symphony Orchestra in concerts 

for school children, "University Night" concerts, and lectm’e/ensemble programs for schools and homes for the 

195,000 

TF 55,000 

PG 55,000 

aged. 

Oregon Symphony Society 

Portland, Oregon 

To support regional, educational, and family concerts; a 

chamber orchestra series; anda television series featuring 

interviews with the orchestra’s director, musicians, and 

TF 20,000 

PG 20,000 

guest artists for the 1978-79 season. 

Oregon Symphony Society 

Portland, Oregon 

To support additional rehearsal time, engagement of tire 

additional string players, full-time wind players, and an 

additional person to the management staff for the 1979-80 

65,000 

TF 30,000 

PG 30,000 

season. 

Pasadena Symphony Association For additional rehearsal time and the continued engage­ 15,000 

Pasadena, California ment of orchestra musicians to coach students. 

Peoría Symphony Orchestra To engage ah administrative assistant. 2,000 

Peoría, Illinois 

Philadelphia Orchestra Association 

Philadelphia, Pennsylvania 

For students’ and children’s concerts and the Robin Hood 

Dell Concerts. TF 

PG 

185,000 

65,000 

65,000 

Phoenix Symphony Association 

Phoenix, Arizona 

For in-school educational programs, continued collaboration with ballet companies, concerts to small communities, 

and concerts by the chamber orchestra. 

43,700 

TF 20,000 

PG 20,000 

Pittsburgh Symphony Society 

Pittsburgh, Pennsylvania 

For residencies at the Temple University Muslo Festival 

and other college campuses, and the collaboration with the 

Pittsburgh Opera and Ballet. 

TF 

PG 

165,000 

65,000 

65,000 

Portland Symphony Orchestra 

Portland, Maine 

For youth concerts, expansion of the chamber orchestra 

series, and engagement of a string quartet to perform 

32,500 

with the orehestra. 
184 Music 

Queens Symphony Orchestra 

Forest Hills, New York 

Rhode Island Philharmonic Orchestra 

Providence, Rhode Island 

Richmond Symphony 

Richmond, Virginia 

Rochester Philharmonic Orchestra 

Rochester, New York 

Sacramento Symphony Association 

Sacramento, California 

Saginaw Symphony Orchestra 

Saginaw, Michigan 

St. Louis Symphony Society 

St. Louis, Missouri 

St. Paul Chamber Orchestra 

St. Paul, Minnesota 

San Antonio, Symphony Society of 

San Antonio, Texas 

San Diego Symphony Orchestra 

Association 

San Diego, California 

San Francisco Symphony Association 

San Francisco, California 

San Jose Symphony Association 

San Jose, California 

Santa Barbara Symphony Orchestra 

Association 

Santa Barbara, California 

Savannah Symphony Society 

Savannah, Georgia 

Seattle Symphony Orehestra 

Seattle, Washington 

Seattle Symphony Orchestra 

Seattle, Washington 

Shreveport Symphony Society 

Shreveport, Louisana 

Sioux City Symphony Orchestra 

Association 

Sioux City, Iowa 

Spokane Symphony Society 

Spokane, Washington 

For additional Íull-time musicians, additional rehearsal 8,000 

time, and promotional activities. 

For ensemble and full orchestra concerts in schools and the 25,000 

engagement of additional string players. 

To support statewide touring by the Richmond SinÍonia, 40,000 

the orchestra’s chamber ensemble, and the engagement of TF 15,000 

additional musicians. PG 15,000 

For free public concerts, mini-tours, college residencies, a 110,000 

Mozart series, and matinee concerts for senior citizens. TF 65,000 

PG 65,000 

For the continued engagement of professional string play­ 30,000 

ers and two additional musicians to perform with the 

orchestra and provide ensemble services. 

For engagement of guest conductors. 2,000 

For a chamber music series, engagement of public tela­ 155,000 

tions and marketing sta~, and collaboration with Opera TF 55,000 

Theater of St. Louis. PG 55,000 

For the Perspectives Series, the Open House Series, and 65,000 

expansion of the Baroque Series. TF 30,000 

PG 30,000 

For the extension of the season, the continued engagement 105,600 

of five full-time string players, the engagement of American-guest artists and conductors, and the orchestra’s parTF 30,000 

PG 30,000 

ticipation in the Rio Grande Valley International Music 

Festival. 

For summer concerts, concerts at the University of California in San Diego, and young people’s concerts. 

50,000 

TF 25,000 

PG 25,000 

For the Symphony Forum, an educational program for 125,000 

university students, an audience developmcnt program to TF 85,000 

increase season ticket sales, and youth concerts. PG 85,000 

For young people’s and tiny tots’ concerts, and engagement 40,000 

of a director of development and public relations. 

For the Sunday matinee concert series. 10,000 

For ensemble and chamber orchestra programs in the 25,000 

schools. 

For continuation of the regular subscription series, the TF 65,000 

Sunday matinee series, and the maintenance of the assist- PG 65,000 

ant conductor position for the 1978-79 season. 

For the Musical Galaxy Concert Series, collaborating with 105,000 

Seattle Opera, Pacific Northwest Ballet, and Seattle Arts TF 65,000 

Museum; the festival program, featuring the works of one PG 65,000 

composer; a Christmas concert; anda family concert series 

outside Seattle for the 1979--80 season. 

For engagement of a string quartet and woodwind quintet 20,000 

to perform with the orchestra; and fora concertat Grambling State University, involving a minority composer and 

pianist. 

For the engagement of a music director. 2,000 

For an outreach program involving college residencies, a 40,000 

matinee series for senior citizens, concerts in community 

centers and parks, and collaboration with ¿he Spokane 

Chorale. 
Music 185 

Springfield Orchestra Association 

Springfield, Massachusetts 

For youth concerts, the engagement of professional musicians to perform with the orchestra and to provide ensem17,500 

TF 15,000 

ble services, anda concert featuring American music com- PG 15,000 

posed between 1865 and 1920. 

Syracuse Symphony Orchestra 

Syracuse, New York For the expansion of the Masterworks subscription series, in-school concerts, and family concerts. 

43,800 

TF 70,000 

PG 70,000 

Toledo Symphony Orchestra 

Association 

To support concerts of the chamber orchestra and full orchestra in rural communities. 

35,000 

Toledo, Ohio 

Tucson Symphony Society For the in-school ensemble program concerts, and a 
ore 24,000 

Tucson, Arizona orchestra to perform with the orchestra and provide ensemble services. 

Utah Symphony 

Salt Lake City, Utah 

For the regional program involving educational and faroily concerts; and for collaboration with the Utah Chorale, 

Ballet West, and Utah Opera. 

TF 

PG 

120,000 

55,000 

55,000 

Vermont Symphony Orchestra For engagement of a string quartet, engagement of a 17,000 

Association chamber music coordinator, and additional rehearsal time. 

Burlington, Vermont 

Wichita Symphony Society For a touring program, a chamber music series called 40,000 

Wichita, Kansas "Soirees Musicales," and engagement of a string quartet 

to perform with the orchestra and provide ensemble services. 

Winston-Salem Symphony Association For the in-school music program and the engagement of 10,000 

Winston-Salem, North Carolina professional musicians to perform with the orchestra. 

Youngstown Symphony Society For orchestral services for ah opera production, ensemble 19,500 

Youngstown, Ohio performances in schools, youth concerts, and engagement 

of a guest conductor. 

Music Resources 

Boston Symphony Orchestra For the first phase of development oÍ a perÍormance-based 20,000 

Boston, Massachusetts computer music system. 

Brooklyn Philharmonia 

Brooklyn, New York 

To support a "Music of the Americas" series to perÍorm 

works of contemporary Black, Spanish, and Indian Ameri13,000 

can composers and to perform these works in New York 

City neighborhoods. 

Phoenix Symphony Association For the reading and performance of new orchestral works. 22,000 

Phoenix, Arizona 

Related Orchestra Activities 

American Symphony Orchestra 

League 

For a management training program involving eight internships to orchestras for an 18-month period. 

100,000 

Vienna, Virginia 

American Symphony Orchestra 

League 

Vienna, Virginia 

For the collection and dissemination of statistical information on orchestras, management workshops, leadership 

training seminars for presidents of orchestras and women’s 

guild boards of directors, publications, and consultation 

165,000 

services. 

Buffalo Philharmonic Orchestra For the nationally televised concert com~nemorating Mar. 10,000 

Society tin Luther King, Jr., as part of an all-day civic celebraBuffalo, New York tion. 

Buffalo Philharmonic Orchestra For the testing and installation of the "phonic ear" device 12,000 

Society to be used by those who have hearing impairments. 

Buffalo, New York 
186 Music 

North Carolina School of the 

Arts Foundation 

Winston-Salem, North Carolina 

Orchestral Association 

Chicago, Illinois 

Performing Artists Cultural 

Endeavors 

New York, New York 

West Virginia Arts and Humanities 

Council 

Charleston, West Virginia 

Choral 

American Choral Directors 

Association 

Lawton, Oklahoma 

Association of Professional Vocal 

Ensembles 

Philadelphia, Pennsylvania 

Gregg Smith Singers 

New York, New York 

Musica Sacra of New York 

New York, New York 

Southern California Choral Music 

Association 

Los Angeles, California 

Career Development." 

Training 

Association of Independent 

Conservatories of Music 

Cleveland, Ohio 

Berklee College of Music 

Boston, Massachusetts 

Boston Symphony Orchestra 

Boston, Massachusetts 

Cleveland Institute of Music 

Cleveland, Ohio 

Juilliard School 

New York, New York 

For additional rehearsal time, Southeastern tour concerts, 

ensemble and solo performances, residencies and workshops, and engagement of young American artists. 

15,000 

For the Chicago Symphony Orchestra’s "Raggedy Ann 

Concerts" for handicapped children. 

7,500 

For the Suburban Concert Series in communities surrounding New York City. 

6,000 

For the performances of the Wheeling and Charleston 30,000 

Symphony Orchestras throughout West Virginia. 

To support the activities of a limited number of fully professional 

choral organizations. 

Program funds: $72,000 

Fora choral leadership training workshop for state and $17,000 

division presidents and national officers of ACDA. 

For the association’s third year of service to professional 10,000 

vocal ensembles. 

For concerts and residencies featuring the performance of 15,000 

American music. 

For five concerts at Avery Fisher Hall.	 15,000 

For three concerts by the Los Angeles Master Chorale with 15,000 

the Los Angeles Philharmonic Orchestra. 

To support scholarship aid, development activities, and master 

teacher residencies for eligible music schools and to assist other

musical organizations which provide training opportunities in music. 

Program funds: $265,900 

Treasury funds: $427,500 

Private gifts: $427,500 

For maintaining a central office in Cleveland.	 $10,000 

For support of the development office.	 TF 7,500 

PG 7,500 

To support the Berkshire Music Center asa training insti- 100,000 

tution for young musicians. 

For support of the scholarship aid program, the develop- TF 40,000 

ment program, and master teacher residencies. PG 40,000 

To support the scholarship aid program.	 TF 55,000 

PG 55,000 

Los Angeles Philharmonic Association For the orchestral training program for minority students, 25,000 

Los Angeles, California	 in which members of the Los Angeles Philharmonic Orchestra teach gifted minority instrumentalists. 
Music 187 

Manhattan School of Music For the scholarship aid program. TF 40,000 

New York, New York PG 40,000 

Mannes Coilege of Music For the scholarship aid and development programs. TF 30,000 

New York, New York PG 30,000 

To support the administrative activities of the national 30,000 

Rockville, Maryland o1~ce, including a job clearinghouse, an annual meeting, and publication of a newsletter. 

MCA Educationai Activities 

Music Associates of Aspen	 To support the programs of the Aspen Muslo Festival: 50,000 

Aspen, Colorado	 Aspen Chamber Symphony, training program for young TF 50,000 

eonductors, contemporary ~nusic program, and the opera PG 50,000 

training program. 

National Guild of Community For support of administrative activities, regional meetings 20,000 

Schools of the Arts for community arts school representatives, and promoNew York, New York tional activities designed to increase awareness and support of community schools. 

New England Conservatory of Music For support of the scholarship aid program.	 TF 45,000 

Boston, Massachusetts PG 45,000

New School of Music For support of the orchestra training program, which pro- TF 30,000 

Philadelphia, Pennsylvania vides fellowships for instrumentalists who, in turn, teach PG 30,000 

talented, disadvantaged younger students. 

New York Community Trust, 15,900 For the Music Assistance Fund, which provides scholarVarious Trust Funds ship aid to minority musicians in conservatories. 

New York, New York 

15,000 

Various Trust Funds 

New York Community Trust,	 For continuing support of the Orchestral Fellowship Program, which gives talented non-white musicians the opportunity to gain experience in orchestral playing by placing 

them for a year with participating orchestras. New York, New York 

TF 40,000 

PG 40,000 Peabody Institute of the Johns	 For support of the scholarship aid program and developHopkins University ment activities. 

Baltimore, l~Iaryland 

Philadelphia College of the For support of the scholarship aid program. TF 30,000 

Performing Arts PG 30,000 

Philadelphia, Pennsylvania 

San Francisco Conservatory of Music For support of the preparatory and collegiate scholarship TF 40,000 

San Francisco, California programs and development activities. PG 40,000 

Wisconsin Conservatory of Music	 For support of the scholarship aid and development pro- TF 20,000 

Milwaukee, Wisconsin	 gratas. PG 20,000

Career Development: To assist organizations that provide career development and performance opportunities for young artists. General 

Program funds: $100,000 

Treasury funds: $220,000 

Private gifts: $220,000 

Affiliate Artists	 For continuing support of the Exxon/Arts Endowment TF $95,000 

New York, New York	 Conductors’ Program during the 1978-79 season. The pro- PG 95,000 

gram will expand the number of available conductorships 

to 12. 

Afiiliate Artists For support of 37 Affiliate Artists appointments in 1978- TF 125,000 

N¢w York, New York 79. This program furthers the development of young per- PG 125,000 

forming artists. 

Marlboro School of Music For scholarship and fellowship aid to approximately 70 40,000 

Marlboro, Vermont young artists to enable them to study with master teaehers 

at Marlboro during the 1979 season. 
188 Music 

Young Concert Artists 

New York, New York 

Young Concert Artists 

New York, New York 

Contemporary Music." 

Performance 

American Composers Concerts 

New York, New York 

American Dance Festival 

Durham, North Carolina 

American Music Center 

New York, New York 

and/or service 

Seattle, Washington 

Arizona Commission on the Arts 

and Humanities 

Phoenix, Arizona 

Artist Development 

Binghamton, New York 

Audiura 

San Francisco, California 

Aurora Music Foundation 

New York, New York 

Avant-Garde Music Festival 

New York, New York 

Bring Your Own Pillow 

San Francisco, California , 

Collage 

Natick, Massachusetts 

Composers’ Conference and 

Chamber Music Center 

Hyde Park, Vermont 

Composers’ Forum 

New York, New York 

Conimicut Foundation 

Berkeley, California 

Contemporary Arts Center 

Cincinnati, Ohio 

Contemporary Concerts 

Chicago, Illinois 

Contrasts in Contemporary Music 

New York, New York 

Contrasts in Contemporary Music 

New York, New York 

For management services to outstanding young concert 

artists, and for a New York City recital series for 1978. 

35,000 

For continued support of management services to outstanding young concert artists; a New York City recital series; 

and residency programs and other performance opportunities for young artists for 1979. 

25,000 

To provide support to professional ensembles and presenting organizations in order to encourage the performance of new music and 

to increase performance opportunities for the works of American 

composers. 

Program funds: $441,500 

For the 1979-80 performance season of the American Com- $15,000 

posers Orchestra. 

To bring together two composers and two choreographers 24,000 

to create two compositions for two new dances. 

To present, in conjunction with Chamber Music America, 5,000 

workshop-seminars on the problems of small performing 

ensembles. 

For the 1979-80 series of contemporary muslo concerts. 4,500 

For the 1979-80 Music of the Americas concert series by 3,000 

the o~Oth Century Chamber Theater. 

For the 1979-80 performances of contemporary string 3,500 

quartets by the Audubon Quartet. 

For the 1978-79 series of performance-seminars for col- 7,500 

lege and high school groups. 

For musicians’ lees for the performance of a new work by 3,500 

Philip Glass by the Philip Glass Ensemble. 

For the 1979-80 residency program of the Contemporary 16,000 

Chamber Ensemble. 

For the 1979-80 performance season of the San Francisco 8,000 

Contemporary Music Players. 

For the 1979-80 series of concerts. 6,000 

For the summer 1979 conference, including fellowships to 15,000 

composers, readings, rehearsals, and performances. 

For concerts of contemporary American music. 5,000 

For the Arch Ensemble’s 1979-80 performance season. 6,000 

For the 1979-80 season of contemporary music concerts. 3,000 

For a festival of contemporary music in spring 1980. 3,500 

For the 1979-80 season of Composers’ Showcase concerts 6,000 

at the Whitney Museum. 

For the 1978-79 concert series, Composers’ Showcase, at 6,000 

the Whitney Museum. 
Music 189 

Creative Music Foundation 

Woodstock, New York 

For tours to southern black colleges involving concertseminars by Black contemporary music ensembles. 4,500 

Da Capo Chamber Players 

New York, New York 

For workshops and concerts during the 1979-80 season. 3,500 

Drawing Center 

New York, New York 

For musicians’ lees for concerts performed in con~unction 

with an exhibition of musical manuscripts. 

3,000 

Foundation for Modern Dance 

New York, New York 

For musicians’ lees for touring a chamber orchestra with 

the Erick Hawkins Dance Company. 4,000 

Friends of American Music 

Taos, New Mexico 

For musicians’ lees and travel connected with concerts of 

American musie. 1,500 

Gregg Smith Singiri 

New York, New York 

To pay musicians’ lees and travel expenses during residencies. 10,000 

Group for Contemporary Music 

New York, New York For the 1979-80 season of concerts of contemporary musie. 10,000 

Haleaka]a 

New York, New York 

For the 1979-.80 Contemporary Music Series at the Kitchen 

Center for Video, Music, and Dance. 

12~000 

Independent Composers’ Association 

Los Angeles, California 

For the 1979-80 concert series by the ICA Ensemble. 3,500 

Kronos Performing Arts Association 

Oakland, California 

For the 1979-80 concert season by the Kronos Quartet. 12,000 

League of Composers International 

Society for Contemporary Music, 

U.S. Section 

For a series of contemporary chamber music concerts during the 1979-80 season. 5,000 

New York, New York 

Lenox Arts Center 

New York, New York 

For the 1979-80 and 1980-81 performance seasons of the 

Lenox Arts Center Chamber Ensemble in Stockbridge, 20,000 

Massachusetts, and in New York City. 

Meet the Composer 

New York, New York 

For performances, workshops, and lecture demonstrations 

in which composers participate. 25,000 

Metropolitan Pittsburgh Educational 

Television For the 1979-80 season of the Pittsburgh New Muslo En. 

semble. 

10,000 

Pittsburgh, Pennsylvania 

Minnesota Composers Forum 

St. Paul, Minnesota 

For concerts of contemporary music during the 1979-80 

season. 2,000 

MSQ Enterprises 

Mt. Kisco, New York 

For concerts by the Manhattan String Quartet. 3,500 

Nevada State Council on the Arts 

Reno, Nevada For the 1979-80 performance season of the Las Vegas 

Chamber Players. 6,000 

New England Foundation for the Arts 

Cambridge, Massachusetts 

For the 1979-80 New England Contemporary Muslo Circuit. 10,000 

New ,Music Circle 

St. L~uis, Missouri 

For the 1979-80 concert series. 4,000 

New Music Consort 

New York, New York 

For the 1979-80 tour performances. 5,000 

New York, Research Foundation of the 

State University of 

Albany, New York 

For residencies by musicians and composers at the Center 

of the Creative and Performing Arts in Buffalo. 15,000 

Opus I Chamber Orchestra 

Lakewood, Ohio 

For the 1979-80 contemporary musi¢ concert series. 5,000 

Orchestra of Our Time 

Bronx, New York 

For the 1979-80 season, including the South Bron~ residency and shor¿-term residencies ¿hroughou$ ¿he Uni¿ed 28,000 

States. 
190 Music 

Parnassus Contemporary Music	 For the 1979-80 season of contemporary chamber music. 2,000 

Foundation 

New York, New York 

Pennsylvania, University of For the 1979-80 season o[ the Penn Contemporary Players. 3,000 

Philadelphia, Pennsylvania 

Performers’ Committee for Twentieth- For mini-residencies and concerts on college campuses and 12,000 

Century Music in communities. 

New York, New York 

Real Art Ways Raw Ink For the 1979-80 season of new music concerts. 5,000 

Hartford, Connecticut 

Southern California Chamber Music For the 1978-79 series of Monday Evening Concerts of 8,000 

Society contemporary music. 

Los Angeles, California 

For the 1979-80 Monday Evening Concerts series of con- 15,000 

Society temporary music. 

Los Angeles, California 

Southern California Chamber Music 

Speculum Musicae For the 1978-79 performance season. 6,000 

New York, New York 

Speculum Musicae For the 1979-80 performance season. 7,500 

New York, New York 

Strawberry Banke Chamber Music For contemp.orary music performances during the 1979--80 2,500 

Festival season of the Portsmouth Chamber Ensemble. 

Portsmouth, New Hampshire 

Theater Chamber Players For the 1979-80 concert season and concert-workshops in 15,000 

Washington, D.C. the Washington, D.C. area. 

Twentieth Century Consort For the 1979-80 concert season. 12,500 

Washington, D. C. 

Voices of Change For the 1979-80 performance season. 10,000 

Dallas, Texas 

Contemporary Music:	 Includes five subcategories: I: Composers Fellowships provide for 

the creation or completion of musical works of for research related to 

~omposer/LH)rettlst	 creative activity. II: Collaborations Fellowships enable composers to 

collaborate with librettists, vídeo artists, filmmakers, poets, or choreographers for the creation of completion of collaborative works. 

III: Career ~4dvancement Fellowships help composers and librettists 

further their careers. IV: Services to Composers grants ate awarded 

to organizations for projects that serve composers on a national or 

regional basis. V: Centers Íor New Music Resources ate pilot grants 

awarded to innovative music facilities, including electronic music 

studios and computer centers in order to encourage collaboration 

between composers and other creative artists. 

Program funds: $525,420 

Category I: Composers Fellowships 

Baker, Larry 

Cleveland Heights, 0hio 

$2,000 Blumenfeld, Harold 

St. Lol~is, Missouri 

5,000 

Baley, Virko 

Las Vegas, Nevada 

2,500 Boesing, Paul 

Minneapolis, Minnesota 

3,300 

Bassett, Leslie 

Ann Arbor, Michigan 

3,300 Bolcom, William 

Ann Arbor, Michigan 

5,000 

Beaser, Robert 

New York, New York 

3,300 Brehm, Alvin 

New York, New York 

3,700 

Bergsma, William 

Seattle, Washington 

3,700 Bresnick, Martín 

New Haven 

5,000 
Music 191 

Bruce, Frank (Neely) 

Middletown, Connecticut 

5,000 Freedman, Hal 

New York, New York 

2,000 

Budd, Harold 

Newhall, Caliíornia 

3,700 Gabel, Gerald 

La Jolla, California 

3,300 

Byron, Michael 

New York, New York 

2,000 Gerster, Robert 

Fresno, California 

2,500 

Carlsen, Philip 

Brooklyn, New York 

1,000 Giteck, Janice 

Oakland, California 

3,000 

Ceely, Robert 

Brookline, Massachusetts 

2,000 Graziano, John 

Flushing, New York 

3,300 

Cervetti, Sergio 

Brooklyn, New York 

3,000 Grusin, Martin 

La Jolla, California 

4,000 

Clark, Timothy 

Waltham, Massachusetts 

3,300 Hankinson, Ann 

La Jolla, California 

2,000 

Consoli, Marc-Antonio 

Rego Park, New York 

3,000 Hays, Doris 

New York, New York 

4,000 

Cooper, Paul 

Houston, Texas 

3,000 Hellermann, William 

New York, New York 

3,300 

Daugherty, Michael 

Ne~v York, New York 

5,000 Hicks, David 

New York, New York 

3,700 

Dembski, Stephen 

Hanover, New Hampshire 

3,300 Hiller, Lejaren 

Buffalo, New York 

5,000 

Dickerson, Roger 

New Orleans, Louisiana 

3,000 Hodkinson, Sydney 

Fairport, New York 

4,000 

Dlugoszewski, Lucia 

New York, New York 

7,500 Hoffman, Richard 

Oberlin, Ohio 

3,300 

Dodge, Charles 

New York, New York 

3,300 Hoover, Katherine 

New York, New York 

3,000 

Dresher, Paul 

La Jolla, California 

3,300 Howard, Earl 

New York, New York 

3,300 

Drummond, Dean 

New York, New York 

3,000 Hudson, Joseph 

New York, New York 

3,000 

Earnest, John David 

New York, New York 

2,000 Hunt, Jerry 

Dallas, Texas 

2,000 

Eaton, Bruce 

Farmington, Connecticut 

2,500 Johnson, Toro 

New York, New York 

3,300 

Eaton, John 

Bloomington, Indiana 

5,000 Karlins, M. William 

Northbrook, Illinois 

2,000 

Eversole, James 

West Willington, Connecticut 

2,000 Kastle, Leonard 

New Lebanon Center, New York 

2,000 

Felciano, Richard 

San Francsico, California 

5,000 Kechley, David 

Lyndhurst, Ohio 

3,000 

Fennelly, Brian 

New York, New York 

3,700 Kim, Earl 

Cambridge, Massachusetts 

2,500 

Fontana, Bill 

San Francisco, California 

3,000 Koblitz, David 

New York, New York 

3,700 

Forman, .loanne 

Taos, New Mexico 

3,300 Kohn, Karl 

Claremont, California 

3,000 

Foss, Lukas 

New York, New York 

4,000 Kolb, Barbara 

New York, New York 

3,000 

Fox, Frederick 

Bloomington, Indiana 

2,500 Koplow, Philip 

Covington, Kentucky 

2,000 
192 l~Iusic 

Kraft, Leo 

Great Neck, New York 

Kraft, William 

Marina del Rey, California 

Kriesberg, Matthias 

New York, New York 

LaValle, Deanna 

Cambridge, Massachusetts 

Lazarof, Henri 

Los Angeles, California 

Lewis, Peter 

Iowa City, Iowa 

Lockwood, Annea
 

Crompond, New York
 

London, Edwin 

Shaker Heights, Ohio 

Lopato, David 

New York, New York 

Magrill, Samuel 

San Marino, California 

Mahler, David 

Seattle, Washington 

McKinley, William 

Reading, Massachusetts 

McLean, Priscilla 

Austin, Texas 

McNabb, Michael 

Stanford, Calií*ornia 

Mills, Charles 

New York, New York 

Montague, Stephen 

London, England 

Moore, Robert 

New Haven, Connecticut 

Moran, Robert 

New York, New York 

Musgrave, Thea 

Norfolk, Virginia 

Niblock, Phill 

New York, New York 

O’Brien, Eugene 

Cleveland Heights, Ohio 

Palmer, Robert 

Ithaca, New York 

Payne, Maggi 

Oakland, California 

Peles, Stephen 

Hartford, Connecticut 

Pellman, Samuel
 

Ithaca, New York
 

Penn, William
 

Austin, Texas
 

2,000 

3,300 

3,000 

2,000 

3,300 

2,000 

3,700 

2,000 

2,000 

2,000 

2,250 

2,000 

3,700 

5,000 

2,000 

2,500 

2,000 

5,000 

3,000 

2,000 

4,500 

2,000 

2,000 

3,000 

920 

2,000 

Peterson, Thomas 

Seattle, Washington 

3,300 

Picker, Tobias 

New York, New York 

2,000 

Quittner, Katherine 

West Berlin, Germany 

2,500 

Rands, Bernard 

Cardiff, California 

3,300 

Reynolds, Roger 

Del Mar, California 

7,500 

Richter, Marga 

Huntington, New York 

2,500 

Rzewski, Frederic 

Rome, Italy 

2,000 

Sackett, John 

Oakland, California 

3,000 

Schottstaedt, William 

Palo Alto, California 

2,500 

Schwantner, Joseph 

Rochester, New York 

7,500 

Semegen, Daría 

Stony Brook, New York 

3,300 

Silverman, Stanley 

New York, New York 

4,000 

Steinhort, William 

Dayton, Ohio 

2,200 

Stern, Howard 

Princeton, New Jersey 

500 

Taxin, Ira 

Brooklyn, New York 

3,300 

Teitelbaum, Richard 

New York, New York 

2,000 

Thome, Diane 

Seattle, Washington 

2,000 

Thorne, Francis 

New York, New York 

3,700 

Tillis, Frederick 

Amherst, Massachusetts 

3,300 

Toensing, Richard  ̄ 

Boulder, Colorado 

3,000 

Tower, Joan 

New York, New York 

2,000 

Trimble, Lester 

New York, New York 

2,000 

Turetzky, Bertram 

Del Mar, California 

2,000 

Walker, George 

Montclair, New Jersey 

5,500 

Ward, Robert 

Winston-Salem, North Carolina 

5,000 

Waters, James 

Kent, Ohio 

2,200 
Music 193 

Wernick, Richard 3,000 Win~or, Philip 3,300 

Media, Pennsylvania Chicago, Illinois 

Weinstein, Arnold 

Easthampton, New York 

5,000 Wright, Maurice 

Brookline, Massachusetts 

4,000 

Wiley, Frank, Jr. 

Wilmington, North Carolina 

3,700 Yannay, Yehuda 

Shorewood, Wisconsin 

2,000 

Willey, James 3,000 

Geniseo, New York 

Category II: Collaborations Fellowships Category III: Career Advancement 

Goldberg, Stephen	 $1,700 

Woodside, New York 

Boesing, Martha $2,200 

Minneapolis, Minnesota Heller, Duane 

Ithaca, New York 

Connor, John (Tony)	 3,400 Klucevsek, Guy	 1,250 Middletown, Connecticut	 Brooklyn, New York 

2,700	 Lennon, John 1,250 

Knoxville, Tennessee Foreman, Richard 

New York, New York 

Martino, Donald 2,500 

Kondek, Charles 3,400 Newton, Massachusetts 

New York, New York 

Ovanin, Nikola 1,000 

New York, New York Stambler, Bernard 2,700 

Annandale-on-Hudson, New York 

Services to Composers 

American Academy in Rome For a one-year fellowship fora composer to live and work $10,000 

New York, New York at the American Academy in Rome. 

American Music Center For the center’s administrative expenses and costs of work- 25,000 

New York, New York shops for contemporary music ensembles and composers. 

Centers for New Music Resources 

and/or service For the electronic music ~tudio, a resource Íor composers $7,000 

Seattle, Washington in the Northwest. 

California, University of For the Center for Music Experiment, a resource for com- 18,000 

La Jolla, California posers. 

Colgate University For the visiting composer program at the computer music 18,000 

Hamilton, New York studio and to purchase equipment for the studio. 

Mills College. To enable the Center for Contemporary Muslo to make its 18,000 

Oakland, California facilities available to composers. 

Princeton University To upgrade equipment at the Winham Laboratory, used by 10,000 

Princeton, New Jersey composers in computer music-synthesis programs. 

Stanford University, Board of For stal~ saIaries and equipment purchase for the Center 18,000 

Trustees of for Computer Research in Music and Acoustics. 

Stanford, California 

650 
 

194 Music 

Jazz	 Includes four subcategories: Fellowships ]or Composers and PerÍormers enable highly talented professional jazz composers and

performers’ to advance their careers. Study Fellowships enable young 

musicians of exceptional talent to study with established artists for

concentrated instruction and experience. Organizations are awarded 

grants to present jazz performances, educational programs, shortterm residencies by jazz specialists, and regional or national festivals 

or tours. Jazz Related Activities grants as’sist individuals and organizations with projects which are not included in other Jazz grant

categories. 

Program funds: $1,063,900 

Fellowships for Composers and Performers	 Ewart, Douglas R. 5,000 

Chicago, Illinois 

Acey, Sinclair T. $7,500 

Bronx, New York	 Ford, Richard A. 4,000 

New York, New York 

Albam, Manny	 7,500 Franklin, Henry	 3,000 New York, New York Los Angeles, California 

Amberger, Christopher F. 3,000 

Belleville, New York Friesen, David 2,500 

Portland, Oregon 

Baker, David 10,000 

Bloomington, Indiana Gardner, AIonzo 1,000 

Hempstead, New York 

Basile, John J. 5,000 

Dedham Massachusetts Gilbert, Stanley	 3,000

Long Beach, California 

Berg, Gordon C. 3,500 

No. Hollywood, California	 Gordon, Frank A. 3,000

New York, New York 

Bluiett, Hamiet A., Jr. 7,500 

New York, New York Grauer, Joanne 3,500 

Los Angeles, California 

Booth, Arthur E. 4,000 

Gumbs, OnajeAllan 10,000 St. Albans, New York Bronx, New York 

Bown, Patricia A. 10,000 

New York, New York Haden, Charles E.	 8,000

San Francisco, California 

Brackeen, Joanne M. 10,000 

New York, New York Harris, Doug	 3,500

New York, New York 

Braithwaite, George T. 10,000 

New York, New York Harrison, Wendell 1,500 

Detroit, Michigan 

Branch, James E. 5,000 

Richmond, Virginia Hehmsoth, Hank H. 1,500 

Austin, Texas 

Brown, Ray	 5,000 Hill, Andrew	 5,000 Santa Cruz, California Pittsburg, Caliíornia
 

Brown, Richard 2,000
 

Chicago, Illinois Jackson, Ira J. 2,000 

New York, New York 

Brown, Gerald (Sonny) 3,000 

Jefferson, Ron 3,500 New York, New York Los Angeles, California
 

Burrell, Kenneth E. :10,000
 

Huntington Beach, California	 Jenkins, Travis W. 1,500

Memphis, Tennessee 

Burton, William R.	 5,000 Johnson, J.C.	 10,000 New York, New York Wurtsboro, New York
 

Bushell, Garvin
 5,000 2,000 Las Vegas, Nevada	 Jones, Robert T. 

White Plains, New York
 

Contos, Paul D. 4,000
 Konitz, Leon	 5,000 Santa Cruz, California New York, New York 

Davis, Walter T. 10,000 Lake, Oliver 6,000 

New York, New York New York, New York 
Music 195 

Land, Harold 

Los Angeles, California 

5,000 Tesar, William C. 

Ridgewood, New Jersey 

2,500 

Lawrence, Michael S. 

New York, New York 

2,500 Thompson, Malachi Richard 

Brooklyn, New York 

3,000 

Lawsha, William 

Oakland, Caliíornia 

5,000 Ty|er, Charles 

Brooklyn, New York 

2,000 

Lewis, George E. 

New York, New York 

6,000 Wiiber, Robert S. 

Brewster, Massachusetts 

3,500 

Loomis, Paul N. 

Denton, Texas 

Mahones, Gildo 

Los Angeles, California 

McGlohon, Loonis R. 

Charlotte, North Carolina 

McLean, Rene P. 

New York, New York 

Melillo, Michael C. 

Stroudsburg, Pennsylvania 

Mitchell, Roscoe 

Cambridge, Massachusetts 

Moffet, Charles 

Corum, New York 

Moody, James 

Las Vegas, Nevada 

Morgan, Frank 

Marina Del Rey, California 

Morris, James 

San Francisco, California 

Morton, Bennie 

New York, New York 

Myers, Claudine 

New York, New York 

Nagel, Paul R. 

Felton, California 

Peterson, Hannibal M. 

New York, New York 

Preston, Edward L. 

East Elmhurst, New York 

Rusch, Jerome A. 

Los Angeles, California 

Russell, George 

Cambridge, Massachusetts 

Simmons, Huey P. 

San Jose, California 

StadIer, Heiner 

Manset, Maine 

Stock, Jaxon L. 

Las Vegas, Nevada 

3,000 

5,000 

2,500 

4,000 

3,500 

6,000 

5,000 

5,000 

2,000 

5,000 

10,000 

3,500 

3,000 

5,000 

5,000 

2,500 

10,000 

2,000 

1,500 

3,000 

Study Fellowships 

Allen, Geri A. 

Detroit, Michigan 

Benbow, Byron J. 

Springfield Gardens, New York 

Brookens, Richard R. 

Falls Church, Virginia 

Brown, Keith R. 

Knoxville, Tennessee 

Burrs, Leslie S. 

Philadelphia, Pennsylvania 

Carelli, Humbert J. 

San Francisco, California 

Cerasiei|o, Pat 

Booton, Massachusetts 

Chung, Brian K. 

Sterling Heights, Michigan 

Ciarke, Kim A. 

East Elmhurst, New York 

Cozier, Jimmy E. 

Brooklyn, New York 

Culver, Michael E. 

Toledo, Ohio 

Davis, Otis C. 

Lamar, South Carolina 

Dixon, Nathaniel 

New York, New York 

Emanuel, Donna M. 

Jamaica, New York 

Folks, Juateen S. 

New Boston, Michigan 

Furnace, Samuel 

Brooklyn, New York 

Gaskin, Steven T. 

Denver, Colorado 

Giardullo, Joseph R. 

High Falls, New York 

$2,000 

1,000 

1,500 

1,250 

2,500 

1,500 

1,000 

1,000 

1,000 

1,260 

1,000 

1,000 

2,600 

2,000 

2,000 

2,500 

2,500 

2,000 

Taylor, Cecil P. 

New York, New York 

5,000 Glassman, Susan Gracie 

San Francisco, California 

2,500 

Terry, Keith 

Berkeley, Caliíornia 

2,000 Green, Gail 

New York, New York 

1,500 
 

 

 

196 NIusic 

Grimes, Lennox 

New York, New York 

Grund, Thomas S.
 

Jackson Heights, New York
 

Janow, Terry L. 


Sherman Oaks, California 


Kachulis, James A.
 

Forest Hills, New York
 

Kay, Judith
 

Ardentown, Delaware
 

Kendall, Victor C.
 

Willingboro, New Jersey
 

Kindred, Robert H.
 

Englewood, New Jersey
 

Kirchner, William J., Jr.
 

Arlington, Virginia
 

Lake, Michael M. 

Phoenix, Arizona 

Langdon, Gregory G. 

Yonkers, New York 

Lawsha, Prince H. 

Santa Cruz, California 

Leisenring, John R. 

Prairie Village, Kansas 

Lopez, Luis 

New York, New York 

Mayer, Jira E. 

St. Louis, Missouri 

McIntyre, Earl P. 

Brooklyn, New York 

Meyer, Jon C. 

Appleton, Wisconsin 

Miller, Glenn 

New York, New York 

Nausbaum, Nora R. 

Arlington, Massachusetts 

Organizations 

Alley Theatre 

Houston, Texas 

Alternative Center for 

International Arts 

New York, New York 

Artists Collective 

Hartford, Connecticut 

Association for the Advancement of 

Creative Musicians 

Chicago, Illinois 

Atlanta, City of 

Atlanta, Georgia 

2,500 

2,500 

2,500 

1,500 

5,000 

2,500 

1,870 

1,700 

750 

1,200 

2,700 

1,940 

1,000 

1,000 

5,000 

2,500 

2,500 

375 

Owen, Charles R., Jr. 

Northridge, California 

1,000 

Previte, Robert J. 

Buffalo, New York 

1,200 

New York, New York Purcell, John R. 2,000 

Purcell, Yvonne 

New York, New York 

1,000 

Randolph, Deborah 

New York, New York 

3,000 

Reiter, Richard 

Adelphi, Maryland 

3,000 

Saxton, William E. 

Richmond Hill, New York 

3,500 

Serio, Mario 

New York, New York 

2,000 

Sevanhu, Chavunduka 

Chicago, Illinois 

1,000 

Strickland, Jean L. 

Malibu, California 

1,000 

Taylor, Robert L. 

Washington, D. C. 

2,000 

Turk, Mike 

Cambridge, Massachusetts 

1,300 

¥oth, Barry 

Westminster, Colorado 

2,000 

Williams, Mare C. 

Shawnee, Colorado 

2,000 

Williams, Vea 

Northampton, Massachusetts 2,500 

Withers, Heather 

Clifton, New Jersey 1,000 

Witzel, James F. 

San Francisco, California 

2,000 

For the 1979 summer ]azz festival which will Íeature local 

jazz artists. $6,000 

For concerts by ]azz artists. 4,000 

For performances by the jazz ensemble, directed by Jackie 

McLean, illustrating the development of jazz. 

7,000 

For performances in new locations in Chicago, and Íor a 

performance in New York City. 

7,000 

For the 1979 Atlanta Jazz Festival, which features national and regional jazz talent and is free to the publi¢. 

7,500 
Music 197 

Austin, City of 

Austin, Texas 

For jazz concerts, including performances in Austin area 

high schools. 

3,500 

Central Missouri State University 

Warrensburg, ~Iissouri 

For a residency by the Woody Herman Band which will include workshops with high school jazz bands. 

2,000 

Centrum Foundation For a jazz festival featuring both nationally known and 3,780 

Port Townsend, Washington local jazz artists. 

Century City Educationai 

Arts Project 

For performances at the Century City Playhouse by visiting jazz artists. 

3,000 

Los Angeles, California 

Chrysler Museura at Norfolk 

Norfolk, Virginia 

For performances by visiting and local jazz musicians 

illustrating the development of jazz. 

3,000 

Collective Black Artists For performances by welI-known jazz composers with the 20,000 

New York, New York CBA Ensemble under the direction of Slide Hampton. 

Community Renewal Team of For the 1979 Hartford Festival of Jazz. 5,000 

Greater Hartford 

Hartford, Connecticut 

Cornish Institute For a residency by a group of nationally known jazz art­ 5,000 

Seattle, Washington ists who will perform with local jazz musicians. 

Cosanti Foundation For the engagement of well known jazz artists to partici­ 3,500 

Scottsdale, Arizona pate in the 1979 Arcosanti Spring Jazz Festival. 

Creative Music Foundation For performances and workshops by visiting jazz artists 4p500 

Woodstock, New York at the Creative Music Foundation. 

Cultural Council Foundation For jazz concerts and a spring jazz festival conducted by 2,500 

New York, New York Environ and Composers ColIective. 

Drake University 

Des Moines, Iowa 

For a jazz symposi~~m consisting of workshops, clinics, and 

performances by visiting jazz artists. 

1,750 

I-Iampshire College 

Amherst, Massachusetts 

For a jazz performance series and the seventh annual 

Black M~~sicians Conf erence. 

10,000 

I-Iartford Jazz Society For jazz seminars in pablic schools. 2,550 

Hartford, Connecticut 

ttenry Stre¢t Settlement 

New York, New York 

For a jazz workshop and performance series for the Lower 

East Side comm~~nity. 

10,000 

Highlights in Jazz 

New York, New York 

For a series of jazz concerts, each devoted to the music of 

a particzdar jazz artists or style of jazz. 

3,000 

Hutchinson Community College For a rozar by Clark Terry to Kansas high schooIs. 2,205 

Hutchinson, Kansas 

International Art of Jazz For performances and lect~~re/demonstrations in the pub­ 18,000 

Stony Brook, New York lic schools of ~~pstate New York. 

International Music Camp 

Bottineau, North Dakota 

For a jazz ensemble workshop for high school st~~dents and 

band directors. 

2,335 

Jackson State University 

Jackson, Mississippi 

For a three-day jazz workshop for the university and local 

comm~~nity. 

5,000 

Jazz Coalition 

Boston, Massachusetts 

For Boston Jazz Week, performances and workshops in 

local schools desig~ted to bring attention to local talent. 

3,500 

Jazz Heritage Foundation 

Los Angeles, California 

For ch~~rch concerts which explore the relationship between sacred music and jazz. 

3,500 

Jazz in Arizona For residencies by jazz artists and concerts for inner-city 7,000 

Paradise Valley, Arizona children. 

Jazz Research Institute For jazz instruction and workshops to be conducted by the 12,500 

Detroit, Michigan Jazz Development Workshop. 

Jazz Research Institute For concerts of new works by Detroit jazz composers. 10,000 

Detroit, Michigan 
198 Music 

Jazzmobile 

New York, New York 

Jewish Community Center 

Kansas City, Missouri 

Kentucky, University of 

Lexington, Kentucky 

Kuumbwa Jazz Soeiety 

Santa Cruz, California 

Las Vegas Jazz Society 

Las Vegas, Nevada 

Left Bank Jazz Society 

Baltimore, Maryland 

Lettumplay 

Washington, D. C. 

Lewis (Elma) School of Fine Arts 

Dorchester, Massachusetts 

Lincoln Jazz Society 

Lincoln, Nebraska 

Manna House Workshops 

New York, New York 

MeLennan Community College 

Waco, Texas 

McNider (Charles H.) Museum

Mason City, Iowa 

Memphis Arts Council 

Memphis, Tennessee 

Michigan State University 

East Lansing, Michigan 

Mid-America Arts Allianee 

Kan~as City, Missouri 

Milwaukee County War Memorial 

Milwaukee, Wisconsin 

Mobile Jazz Festival 

Mobile, Alabama 

Monmouth County Library 

Freehold, New Jersey 

Mt. San Antonio College 

Walnut, California 

Museum of Contemporary Art

Chicago, Illinois 

Music Center Presentations 

Los Angeles, California 

National Band Camp 

South Bend, Indiana 

New Muse Community Museum 

Brooklyn, New York 

For the summer concerts by Jazzmobile ensembles and the 

lecture-concerts in public schools. 

25,000 

For performances and workshops by visiting jazz artists. 3,500 

For the "Spotlight Jazz" series, concert8 and workshops 

by professional jazz artists in schools and community centers throughout Kentucky. 

2,500 

For residencies by visiting jazz artists and monthly iazz 

clinic/workshops. 

3,000 

For a jazz concert series and a program of instruetion in 

Las Vegas public schools by local jazz musicians. 

15,000 

For a continuing series of concerts by well known jazz 

artists. 

7,500 

For a series of presentations on the history of jazz. 3,500 

For jazz instruction and performances. 5,000 

For jazz concerts and workshops held in eonjunction with 

the University of Nebraska. 

3,500 

For a program of jazz instruction for members of the East 

Harlem community. 

3,500 

For a residency by the Jimmy Owens Quintet. 2,500 

For the engagement oÍ a jazz musician and edueator to 

per forro and conduct clinics. 

3,500 

For a program of jazz residencies coordinated with Memphis schools, universities, and community centers. 

5,000 

For "Showcase Jazz," a student-run jazz concert/lecture 

series. 

6,065 

For a tour by the Billy Taylor Trío. 7,500 

For the 1979 Alewives RiverÍront Jazz Festival. 4,000 

For the engagement of professional jazz musicians/educators to participate in the 1979 High School Jazz Festival. 10,000 

For free jazz performances and demonstrations at three 

libraries in New Jersey. 

3,000 

For jazz performances and workshops for local residents, 

students, and teachers. 

2,000 

For concerts and lectures emphasizing the music oÍ the 

Association for the Advancement of Creative Musicians. 

1,000 

For the Los Angeles Jazz Musicians Concert Series. 7,500 

To engage jazz artists to participate in a week-long sumroer jazz clinic. 

10,000 

For the Muse’s Jazz Heritage Program: a regular concert/lecture series, free to the public; a senior citizens’ 

jazz program; and "Adventures in Jazz," a series 

young and handicapped children. 

20,000 

New York Brass Conference for For weekly master workshops conducted by proÍessional 5,000 

Scholarships jazz artists. 

New York, New York 
Music 199 

New York Foundation for the Arts For performances by the Manhattan Plaza Big Band and 7,500 

New York, New York concerts by jazz artists performing their own works. 

New York Shakespeare Festival To engage artists to perform in the New Jazz Series at the 5,000 

New York, New York Public Theater. 

Parker (Charlie) Memorial 

Foundation 

For the foundation’s program o] instruetion in jazz for 

Kansas City area children. 

5,000 

Kansas City, Missouri 

Portland Center for the Visual Arts 

Portland, Oregon 

For concerts featuring both nationally recognized and local 

jazz artióts. 

4,000 

Rutgers, the State University of 

New Jersey 

For concerts and lecture/demonstrations by well known 

jazz artists. 

15,000 

New Brunswick, New Jersey 

Settlement Music School For a program of performance and instruction by jazz art­ 4,000 

Philadelphia, Pennsylvania ists in local prisons and schools. 

Society of Universal Cultural Arts 

New York, New York 

For free jazz concerts held in parks throughou~ New York 

City. 

10,000 

South Carolina Arts Commission For a series of residencies by nationally known jazz artists. 5,000 

Columbia, South Carolina 

Southern Arts Federation For a conference on jazz held in conjunction with the fall 5,000 

Atlanta, Georgia 1979 Atlanta Jazz Festival. 

SUM Concerts 

Houston, Texas 

To engage professional jazz artists to perform free for 

the public. 

3,000 

Una Noche Plateada For a jazz resident program by a well known jazz group 7,500 

Tucson, Arizona which will provide performances and workshops in the 

Tucson atea. 

Universal Jazz Coalition For jazz concerts anda program of instr~~ction about the 10,000 

New York, New York music b~~siness for atea artists. 

Universal Jazz Coalition For a series of performances by lesser-known New York 7,500 

New York, New York jazz artists and for "Salute to Women in Jazz." 

Universal Jazz Preservation Society 

Altadena, California 

For jazz concerts anda program of instr~~ction about the 

music b~~siness for area artists. 

3,500 

Utah, University of 

Salt Lake City, Utah 

To engage jazz artists to per forro and cond~~ct clinics during the 1979 "Snowbird Summer Arts Institute." 

2,500 

Walnut Street Theater For concerts and workshops by visiting jazz artists. 7,500 

Philadelphia, Pennsylvania 

Wesleyan University 

Middletown, Connecticut 

To engage jazz artists to participate in concerts for Wesleyan students. 

3,000 

West Virginia Arts and Humanities 

Commission 

For a jazz festival, including performances by professional 

West Virginia jazz musicians, and for the engagement of 

4,000 

Charleston, West Virginia nationally known artists. 

Women’s Jazz Festival For the 1979 Women’s Jazz Festival, including workshops, 3,000 

Kansas City, Missouri jam sessions, and participation by high school musicians. 

Jazz Related Activities 

Bradley, John For preparation of a photo essay about Louis Armstrong. $3,500 

Harwichport, Massachusetts 

Consortium of Jazz Organizations 

and Artists 

For service to jazz organizations and artists, including 

gathering data and information on jazz activity, pubHsh24,000 

New York, New York ing a newsIetter, providing a referral service on sources of 

support and providing technical assistance to organizations 

involved with jazz. 

National Jazz Foundation For technical assistance to organizations involved in jazz 26,400 

Washington, D.C. activities. 
200 Music 

Composer Jeffrey Levine at Millay Colony for the Arts, Austerlitz, 

New York. Photo: Clemens Kalischer 
Rutgers, the State University of To administer the Endowment’s Jazz Oral History Pro]ect 114,170 

New Jersey involving interviews with distinguished elder jazz artists. 

Newark, New Jersey 

General Programs Grants to support projects that cannot be accommodated within

established Endowment music programs. 

Congress of Strings 

Scholarship Fund 

New York, New York 

Dance Theater of Harlem 

New York, New York 

District 1199 Cultural Center 

New York, New York 

Eastern Music Festival 

Greensboro, North Carolina 

Grand Teton Music Festival 

Teton Village, Wyoming 

Inter-American Music and Arts 

Festivals Foundation 

Washington, D. C. 

Lincoln Center for the Performing 

Arts 

New York, New York 

National Fine Arts Committee,
 

Lake Placid Olympic Organizing
 

Committee
 

Lake Placid, New York 

New York, Research Foundation of 

the State University of* 

Binghamton, New York 

Northwestern University 

Evanston, Illinois 

Robin Hood Dell Concerts 

Philadelphia, Pennsylvania 

Spoleto Festival, U.S.A. 

Charleston, South Carolina 

Theatre Development Fund 

New York, New York 

* contract: TF--Treasury funds~ PG--private gifts 

Program funds: $212,293 

$15,000 For artists’ and conductors’ lees associated with the 1979 

Congress of Strings programs at the University of Cincinnati and the University of Washington. 

For the orchestra workshop program of rehearsals and 10,000 

community performances of the Dance Theater of Harlem 

Percussion Ensemble. 

For performance lees for the music component of "Bread 5,000

and Roses," programs in the performing arts for hospital 

and nursing home employees. 

15,000 For continued support of the artist-in-residence program, 

involving the engagement of artists to provide master 

classes and performances. 

For weekly concerts featuring 20th-century music, a com- 25,000 

posers-in-residence program, the presentation of young 

American artists, and audience development activities. 

To present the tenth Inter-American Music Festival. 20,000

25,000 To support the center’~ "Mostly Mozart" Festival in its 

1979 season of low-cost summer concerts. 

15,000 For musicians’ lees during a two-week residency by Jazzmobile at the Winter Olympic Games in February 1980. 

39,943 To provide an outstanding professional arts administrator 

with the opportunity to serve temporarily in the Endowment’s Muslo Program under the Intergovernmental Personnel Act. 

For the 1978 International Computer Music Conference 7,350

held in November 1978 at Northwestern University. 

15,000 For continued support of conductors’ and soloists’ lees for 

the 1979 season of concerts by the Philadelphia Orchestra 

at Robin Hood Dell West. 

For administrative and artistic expenses involved in the 5,000 

music portion of the 1979 Spoleto Festival, U.S.A. 

For support of the music voz~cher program for small pro- 15,000 

fessional gro~~ps in the New York City area. The program 

makes ir possible for students, teachers, union members, 

retired persons, and members of youth and community organizations to attend performances. 

203 

Opera-Musical
 

Theater
 

The Opera-Musical Theater Program, which November another national meeting was held 

was created last year, enables the Endowment to discuss what form the new Program might 

to respond to the needs and opportunities take. A few key points emerged: 

within all forms of sung theater. Before we  ̄ Continued attention to producible new 

came into being, opera had been supported work is vital to the art’s future. 

through the Music Program. Musical theater,  ̄ The Program should in no way allow artihowever, had not received direct aid, although ficial divisions between opera and musical 

occasional productions of this uniquely Ameri- theater. Categories of support should cover 

can art form were funded through either the both. 

Music or the Theater Program.  ̄ The Program must be flexible and open to 

innovative ideas. For several years, our professional advi­  ̄ Producers and general managers must be sors in both fields had held that opera and encouraged to present contemporary material. musical theater are part of one "music theater" 

We accepted applications in spring 1979 continuum, that each could benefit from a closer 

relationship with the other. There was already for the 1980-81 season. The grants appearing 

a lot of crossover, with directors, designers, in this Annual Report are for the 1979-80 seaconductors, even singers working in both areas, son and reflect ayear of transition, from the 

Also, contemporary music theater cannot be Music Program in fiscal 1978 to the new program in fiscal 1980. These 1979 grants are ar­ categorized neatly. Some works might be called ranged in support categories which are simply opera, others musical theater. Staff and advisors agreed ; who cares what a work is called ? íunctional ; the categories do not reflect the new

Program’s philosophy. You may find out for Ir ir is good, ir should be produced and enjoyed. what purposes grants were awarded during During a series of meetings held to discuss this transition year by reviewing the project the possibility of an opera-musical theater pro- descriptions. gram, initially cautious representatives of both We, the panel and staff of the Opera- fields found that they agreed. This was espe- Musical Theater Program, look forward to the cially true when contemporary works were the future. We sincerely hope that our intent is topic at hand. Opera companies generally fear clear and ~vill be realized--that for a wide, ever- the box office loss associated with new works, expanding public, all varieties of sung theater Similarly, musical theater backers are afraid will present both the classics and the best of that experimental material will bring commer­ contemporary performing art. What better cial losses and, therefore, most new productions place for both than in "music theater," where were either revivals or new works created ac­ all the arts combine to satisfy an audience? cording to hackneyed formulas. Fewer and 

fewer really valuable new works were being ~ 

produced, with almost none entering the repertory. Thus the need for good contemporary 

producible work quickly became a central theme 

of discussion. James Ireland 

Our Program was born in July 1978. In Director, Opera-Musical Theater Program 

Stage director Lou Galterio rehearses "Ariadne on Naxos" with 

Faith Esharn~Opera Theatre of St. Louis. Photo: Ken Howard 
 

 

204 Opera-Musical Theater 

Opera-Musical Theater Adv~sory Panel
 

Policy Panel 

Carlisle Floyd, Chairman 

Professor, Composer 

University of Houston 

Co-Director, Houston Opera Studio 

Houston, Texas 

Patricia Collins, Vice-Chairman

Lighting Designer 

Hamden, Connecticut 

Kurt Herbert Adler 

Conductor, General Director 

San Francisco Opera Association 

San Francisco, California 

Carmen Balthrop 

Soprano 

Los Angeles, California 

Vinnette Carroll 

Director, Producer, Actress 

Founder-Artistic Director 

Urban Arts Corps 

New York, New York 

Edward Com 

General Manager 

Opera Company of Philadelphia 

Philadelphia, Pennsylvania 

Robert Edward Darling 

Artistic Director 

Central City Opera House Association 

Denver, Colorado 

Justino Diaz 

Bass 

New York, New York 

David Gockley 

General Director, Houston Grand 

Opera 

Co-Director, Houston Opera Studio 

Houston, Texas 

Joan Harris 

President, Chicago Opera Theater 

Chicago, Illinois 

Lynne Meadow 

Artistic/Executive Director 

Manhattan Theatre Club 

New York, New York 

Stuart Ostrow 

Producer 

Pound Ridge, New York 

Stanley Silvirman 

Composer, Music Consultant 

New York, New York 

Stephen Sondheim 

Composer, Lyricist 

New York, New York 

Edward Weston 

Assistant Executive" Secretary and 

Western Regiona! Director 

Actors’ Equity Association 

Los Angeles, California 

Grants Panel 

H. Wesley Balk 

Stage Director, Educator 

St. Paul, Minnesota 

Adelaide Bishop 

Stage Director, Educator 

Boston, Massachusetts 

Michael Bronson 

Business Director 

Metropolitan Opera 

New York, New York 

Hazel Bryant 

Producer, Singer, Actress 

Executive Producing Director 

Richard Allen Center for Culture 

and Art 

New York, New York 

Nash Cox
 

Arts Administrator, Educator
 

Executive Director
 

Kentucky Arts Commission
 

Frankfort, Kentucky
 

Robert Herman 

General Manager

Greater Miami Opera Association
 

Miami, Florida
 

Robert Holton 

Publisher, Composer 

Director, Serious Music Division 

President, Lyra Management Division 

Belwin-Mills Publishing Corporation 

New York, New York 

$ohn Kander
 

Composer, Educator
 

New York, New York
 

Paula Kelly
 

Dancer, Choreographer, Actress
 

Los Angeles, California
 

Mike Malone 

Choreographer, Educator 

Director, Performing Arts 

Karamu Performing Arts Theatre 

Cleveland, Ohio 

Thea Musgrave
 

Composer, Librettist, Conductor
 

Norfolk, Virginia
 

Conrad Susa 

Composer
 

San Francisco, California
 

Anthony Turney
 

Executive Director
 

Southern Arts Federation
 

Atlanta, Georgia
 

Opera-Musical Theater Grants
 

Program funds: $3,035,800 

Treasury funds: $1,791,000 

Private gifts: $1,791,000 
Opera-Musical Theater 205 

Basic (;rants To help opera companies improve their artistic quality and their 

management, reach new audiences, and broaden their repertoires 

to include more works by American artists. 

Program funds: $2,528,500 

Treasury funds: $1,341,000 

Private gifts: $1,341,000 

Arizona Opera Company 

Tucson, Arizona 

To support the engagement of the Phoenix Symphony 

Orchestra for two productions in Phoenix. 

$6,000 

Augusta Opera Association 

Augusta, Georgia 

For a resident ensemble of young American singers anda 

coach for the 1980 season. 

7,500 

Baltimore Opera Company 

Baltimore, Maryland 

For administrative expenses, including the engagement of 

sta~, the Opera Education for Youth program, production 

expenses, and statewide touring of the Eastern Opera 

80,000 

Theater. 

Central City Opera House Association 

Denver, Colorado 

To support ah eight-wee]c apprentice training program for 

young professionals, and performances during the 1979 

festival. 

50,000 

Charlotte Opera Association 

Charlotte, North Carolina 

For improvement of artistic quality, including increased 

rehearsal time for orchestra and hiring of technical personnel. 

10,000 

Chautauqua Institution 

Chautauqua, New York 

To support a new production of The Taming of the Shrew 

by American composer Vittorio Giannini, and the Apprenrice Artists program for young American singers in the 

35,000 

1980 summer season of Chautauqua Opera. 

Cincinnati Opera Association 

Cincinnati, Ohio 

For production and artistic resource needs and extension 

programs, including resource services to area organizations for the 1978-79 season. 

TF 15,000 

PG 15,000 

Cincinnati Opera Association 

Cincinnati, Ohio 

To s~~pport the 1980 S~~mmer Festival; a spring opera production ; establish~nent of ah office of marketing and development; a~~d outreach activities, including in-school and 

90,000 

tour performances for the 1979-80 season. 

City Center of Music and Drama 

New York, New York 

To s~~pport new productions of the New York City Opera. 150,000 

TF 50,000 

PG 50,000 

Columbus Symphony Orchestra 

Columbus, Ohio 

To support the four-production opera series, and two performances for students. 

25,000 

Connecticut Opera Association 

Hartford, Connecticut 

To s~~pport the repeat performance of Verdi’s I1 Trovatore. TF 6,000 

PG 6,000 

Dallas Civic Opera Company 

Dallas, Texas 

For development and marketing programs, ah additional 

performance series, and audience development projects for 

the 1978-79 season. 

TF 40,000 

PG 40,000 

Dallas Civic Opera Company 

Dallas, Texas 

To strengthen artistic resources, incl~~ding the engagement 

of orchestral and choral personnel; expand community 

outreach programs, including performances for students; 

45,000 

TF 50,000 

PG 50,000 

and improve management and marketing techniques. 

Des Moines Metro Opera 

Indianola, Iowa 

For the engagement of young American singers, anda 

production of Vanessa by Samuel Barber. 

7,500 

Fort Worth Civic Opera Association 

Fort Worth, Texas 

To s~~pport the engagement of artistic and management 

personnel. 

20,000 

Goldovsky Opera Institute To support the institute’s fundraising activities. 20,000 

Brookline, Massachusetts 

Hawaii Opera Theater of the Honolulu 

Symphony Society 

Honolulu, Hawaii 

To strengthen artistic standards; engage a resident technical director, a set designer, and an accompanist-artistic 

advisor; expand the educational program; and upgrade 

the promotion campaigns. 

30,000 
206 Opera-Musical Theater 

Hidden Valley Music Seminars 

Carmel Valley, California 

Houston Grand Opera Association 

Houston, Texas 

Houston Grand Opera Association 

Houston, Texas 

Kansas City Lyric Theater

Kansas City, Missouri 

Kentucky Opera Association 

Louisville, Kentucky 

Lyric Opera of Chicago 

Chicago, Illinois 

Massachusetts Council on the Arts 

and Humanities 

Boston, Massachusetts 

Memphis Opera Theatre 

Meraphis, Tennessee 

Metropolitan Opera Association 

New York, New York 

Miehigan Opera Theater 

Detroit, Michigan 

Milwaukee Florentine Opera Company 

Milwaukee, Wisconsin 

Milwaukee Florentine Opera Company 

Milwaukee, Wisconsin 

Minnesota Opera Company 

Minneapolis, Minnesota 

Natural Heritage Trust/Artpark 

Lewiston, New York 

Nevada Opera Guild 

Reno, Nevada 

New Orleans Opera Assoeiation 

NewOrleans, Louisiana 

Omaha Opera Company 

Omaha, Nebraska 

Opera Association of New Mexico 

Santa Fe, New Mexico 

Opera Company of Boston 

Boston, Massachusetts 

Opera Company of Philadelphia 

Philadephia, Pennsylvania 

To engage artistic personnel, including stage directors and 4,500 lighting designers. 

For the engagement of guest conductors, stage directors, 135,000 and designers; the engagement of the Houston Symphony TF 50,000 Orchestra for rehearsals and performances; anda market- PG 50,000 

ing campaign to increase subscription sales. 

To enable the Texas Opera Theater to expand its touring 50,000 and community service program. TF 20,000 

PG 20,000 

To support the engagement of artistic, prodnction, and 65,000 management personnel. 

To support the completion of a two-year audience develop- 22,000 ment campaign. 

To support the engagement of apprentice artists for regu­ 150,000 lar season performances, three new productions for the TF 50,000 25th anniversary season, the education and performance PG 50,000 program for students, and the expansion of the opera season by two weeks.
 

To snpport the following activities of Opera New England: 55,000 the engagement of six young American singers, a marketing/audience development program, a technical apprentice 

program, anda fund-raising compaign. 

For strengthening of artistic quality, including increased 30,000 rehearsal time. " 

To support artistic and technica! preparation for the 100,000 1979-80 season, rehearsal time for new productions of four TF 600,000 operas, and two weeks of free parks concerts. PG 600,000 

For additional rehearsals with singers and orchestra play­ 40,000 ers, and the engagement of a resident music director. 

For additional rehearsal time, the engagement of the Mil- TF 20,000 waukee Symphony for all productions, anda master class PG 20,000 in stage manner for the resident chorus for the 1978-79 

season. 

For additional performances of three operas for the 1979­ TF 20,000 80 season. PG 20,000 

For increased rehearsal time; engagement of guest stage 67,500 directors, music directors, and designers; engagement of 

guest artists; and fund-raising activities. 

To support 12 performances of three opera productions 6,500 during the 1979 season.
 

To support the engagement of administrative and artistic 15,000
 personnel.
 

To support additional rehearsals with members of the New 32,500
 

Orleans Philbarmonic, engagement of guest conductors
 

and directors, and two per.formances of Madame Butterfly,
 

nsing yo~~ng American singers.
 

To s~~pport a new educational program that includes the 10,000
 e~~gageme~t of two residc~t artists, and the production of TF 15,000
 a children’s opera. PG 15,000
 

For co~~tin~dng ¿upport of the apprentice training pro­ 135,000 

gratas for singers and technicians for the 1980 summer 

season of the Santa Fe Opera. 

To s~tpport the engagement of costume, set and lighting 50,000 dcMgners; t]~e expansion of the computer accounting sys- TF 50,000 

teta; a~~d ah audience development/marketing campaign. PG 50,000 

For broadcni~~g of repertory, i~cluding a new production TF 40,000 of Hansel and Gretel; and the engagement of staff for a PG 40,000 major fund-raising ef]ort for the 1978-79 season. 
Opera-Musical Theater 207 

Opera Company of Philadelphia 

Philadelphia, Pennsylvania 

Opera Festival Association 

Glens Falls, New York 

Opera Festival Association 

Glens Falls, New York 

Opera Guild of Greater Miami 

Miami, Florida 

Opera School of Chicago


Chicago, Illinois
 

Opera Theatre of St. Louis
 

St. Louis, Missouri
 

Opera Theater of Syracuse
 

Syracuse, New York
 

Pittsburgh Opera
 

Pittsburgh, Pennsylvania
 

Portland Opera Association 

Portland, Oregon 

San Diego Opera Association


San Diego, California
 

San Francisco Opera Association
 

San Francisco, California
 

Seattle Opera Association
 

Seattle, Washington
 

Spoleto Festival, U. S.A.
 

Charleston, South Carolina
 

Spring Opera of San Francisco 

San Francisco, California 

Symphony Society of San Antonio 

San Antonio, Texas 

Tri-Cities Opera Company
 

Binghamton, New York
 

Tulsa Opera
 

Tulsa, Oklahoma
 

Virginia Opera Association
 

Norfolk, Virginia
 

Washington Opera


Washington, D.C.
 

To strengthen artistic quality, engage guest conductors 

and other artistic personnel, hire management experts, 

and expand ontreach programs for communities in the 

Delaware Valley region for the 1979-80 season. 

For the 1979 summer season oÍ the Lake George Opera 

Festival, including four productions in English; and pertinuation of the Young Resident Artists program; and the 

engagement of administrative and artistic personnel. 

For the 1980 summer season of the Lake George Opera 

Festival, incIuding four productions in English; and performances in Albany, Schencctady, and Troy. 

To support the set design, construction, and stage direction of fonr new prodnctions; engagement of technical 

management personnel; and the engagement of American 

artists. 

To support production costs, including a chamber opera in 

English; performances for school children from grades 

four to eight; and Íour concert performances with the 

Gí’ant Park Symphony. 

To support five productions during the May-June 1980 season, including a newly commissioned work by American
 

composer David del Tredici.
 

For the engagement of technical and artistic personnel. 

To support the cngagement of artistic and prod~~ction personncl, the Pittsb,rgh prcmicre of Ariadne auf Naxos, and 

the contim~ed use of the Construction Center for the Performing Arts. 

To s~~pport a s~tmmer prodnction in Washington Park, inclading outreach and audience development activities; and
 a ncw production of Beethoven’s Fidelio which will be exchanged with Seattle Opera. 

To support three Í~dly stagcd dress rehearsal performances for studcnts, and the addition of ah eighth production.
 

To s~~pport the cngagemcnt of young American singers; 

production and artistic resmtrce needs, inch~ding more rehcarsal time; and dcvclopmcnt activities. 

To support the opera-in-English program, the developmcnt 

program, a comp.terized data processing system, and the 

fifth ann.al Pacific Northwest Festival production of 

Wagner’s Ring of the Nibelung during snmmer 1979. 

To engage artists and musical staff for the 1979 festival. 

To support the cngagement of yom~g American singers, 

the hiring of additional string playcrs, and touring fully 

staged prod~~ctions. 

To support the 1980 scason of San Antonio Grand Opera, 

inchtding the premiere of a new Amcrican opera and performanccs for stt~dents. 

To support threc prod~~ctions, inclading the engagement of 

artistic, technical, and administratice personnel. 

To s~¢pport thrcc productions during the 1979-80 season. 

To snpport the engagement of management and artistic 

personnel. 

To s~~pport the artistic and expansion goals during the 

1979-80 season. 

35,000 

TF 40,000 

PG 40,000 

TF 20,000 

PG 20,000 

25,000 

TF 20,000 

PG 20,000 

100,000 

45,000 

25,000 

10,000 

15,000
 

TF 25,000
 

PG 25,000 

57,000 

80,000 

175,000 

TF 50,000 

PG 50,000 

150,000 

TF 50,000 

PG 50,000 

25,000 

50,000 

TF 20,000
 

PG 20,000
 

22,500 

15,000 

10,000 

TF 15,000 

PG 15,000 

70,000 

TF 50,000 

PG 50,000 
208 Opera-Musical Theater 

Western Opera Theater 

San Francisco, California 

Wolf Trap Foundation for the 

Performing Arts 

Vienna, Virginia 

Development Grants 

Anchorage Civic Opera 

Anchorage, Alaska 

Brooklyn Aeademy of Music 

Brooklyn, New York 

Chattanooga Opera Association 

Chattanooga, Tennessee 

Chicago Opera Theater 

Chicago, Illinois 

Ebony-Opera 

New York, New York 

Fargo-Moorhead Civic Opera Company 

Fargo, North Dakota 

Mobile Opera Guild 

Mobile, Alabama 

New Cleveland Opera Company 

Cleveland, Ohio 

Skylight Comic Opera 

Milwaukee, Wisconsin 

Utah Opera Company 

Salt Lake City, Utah 

Music 

Resources 

Projects 

Central City Opera House 

Association 

Denver, Colorado 

Houston Grand Opera Association 

Houston, Texas 

Michigan Opera Theatre 

Detroit, Michigan 

To support the annual five-month tour, an increase in the 

number of performances accompanied by orchestra, and 

promotional and educational materials. 

To support two new productions, including the design and 

construction of sets and the engagement of artistic personnel. 

To strengthen some on-going activities of opera companies with

budgets between $100,000 and $200,000. Projects include hiring guest


artists and consultants in management, fund-raising, and development.
 

Program funds: $28,000 

Second-year support for the engagement of an administra­ $2,000 tive director/opera planner.
 

To support the engagement of a company director anda
 5,000 part-time administrative assistant to work on the development of the New Opera Theatre.
 

Second-year support for the engagement of guest stage di­ 2,000 rectors and lighting designers.
 

Second-year support for the engagement of a part-time de­ 2,000 velopment coordinator. 

Second-year support for performances in English, with 2,500 American singers, conductors, and stage directors.
 

Second-year support for the engagement of a full-time di­ 2,000 rector.
 

Second-year support for the engagement of guest artistic
 2,000 personnel who will also actas consultants to the guild.
 

To support ah audience development program.
 5,000 

To engage an American tenor asa resident artist. 3,500 

Second-year support for the engagement of artistic person­ 2,000 nel. 

To assist outstanding projects that can be used as models for future 

developments in opera. These grants required a three-to-one match. 

Program funds: $275,000 

To support the Composers’ Series: staged readings and $25,000 full productions of new works by American composers. 

Continued support for the Houston Opera Studio, an ad- 50,000 vanced training program for singers and directors, jointly 

sponsored by the University of Houston. 

Continued support for the resident company, including tak­ 45,500 ing opera programs into schools and communities. 

60,000 

TF 25,000 

PG 25,000 

15,000 
Opera-Musical Theater 209 

National Opera Institute	 To support the Music Theater Workshop pro]ect which in- 30,000 

Washington, D.C.	 volves rehearsals, conferences, and professional workshop 

performances of new opera-musical theater works by 

American composers and librettists. 

15,000 O’Neill (Eugene) Theater Center	 To support the second annual Composer/Librettist ConferWaterford, Connecticut	 ence, a joint program with the Opera Company of Philadelphia, which involves rehearsals, conferences, and workshop performances of new opera-musical theater works by 

American composers and librettists. 

13,000 Opera Association of New Mexico	 For a training program for 15 students in performance, 

production, and general administration for Santa Fe 

Opera. Santa Fe, New Mexico 

34,000 Opera Company of Philadelphia To support a study of technology that could be adapted to 

Philadelphia, Pennsylvania theatrical purposes. 

San Francisco Opera Association	 Continuing support for the Opera Laboratory project to 32,500 

increase the knowledge and availability of new American San Francisco, California works. 

30,000 Southern Arts Federation To support a pilot pro]ect for a ]oint new production of 

Atlanta, Georgia Don Giovanni for Augusta, Mobile, and Piedmont Opera 

Companies. 

General Services	 To assist organizations that provide services to the opera field, and 

to assist unique projects of limited duration.

to the Field 

Program funds: $204,300 

Treasury funds: $450,000 

Private gifts: $450,000 

Afliliate Artists	 To support the continued operation of the San Francisco/ TF $50,000 

PG 350,000 New York, New York	 Aff~liate Artists career development program for young

American opera performers. 

5,590 Darling, Ann* A contraer to study the feasibility of a service organizaWashington, D.C. tion for musical theater. 

6,000 District 1199 Cultural Center To support Bread and Roses: An Oral History Revue, with

New York, New York songs and sketches about working people.

TF 50,000 

PG 50,000 Metropolitan Opera Association	 To support a fund-raising project in cooperation with the 

New York, New York U.S. Pioneer Electronics Corporation. 

2,050 MississippiInter-Collegiate For the purchase of off~ce supplies and furniture for
 

Opera Guild Opera/South to replace items lost in the spring 1979 flood.
 

Jackson, Mississippi 

8,750 Mississippi Opera Association For the purchase of costumes and aeeessories for Opera/ 

Jackson, Mississippi South to replace those lost in the spring 1979 flood. 

50,000 National Opera Institute* A contraer to provide consultant services for evaluation of
 

Washington, D.C. nonprofit professional opera and musical theater organizations.
 

TF 350,000 National Opera Institute	 For assistance to young opera singers, apprentieeships in PG 35,000 Washington, D. 6.	 opera administration and production, assistance with productions of new or rarely performed works, inter-company
 

cooperative projects, innovative pro]eets, publie information prograrns, and technical as8i8~ance to small opera 

companies. 

1,410 National Opera Institute	 To increase a previous grant to a total of $1~,560 to supWashington, D.C.	 porta census of all nonprof!t 501(e)(3) organizations
 

which produce fully staged performances of opera-musical
 

theatcr works with professional performers before live
 

audiences.
 
210 Opera-Musical Theater 

Joseph McKee in "The Three Pintos" by Carl ~Iaria ron Weber and 

Gustar I~ahler--Opera Theatre of St. Louis. Photo: Ken Howard 
Opera-Musical Theater 211 

OPERA America	 For the Accessible Arts Demonstration Pro]ect, including 9,000 

Washington, D.C.	 the engagement of a consultant who will provide technical
 

assistance to member companies regarding compliance with
 

Section 50~ of the 1973 Rehabilitation Act.
 

OPERA America For maintaining a national office to provide services to 50,000 

Washington, D.C. pro]essional opera companies and for consultation services 

to member companies. 

Ostrow (Stuart) Foundation To support in-residence costs for artists engaged for six 13,000 

Pound Ridge, New York workshop productions at the Musical Theatre Lab, located 

at the John F. Kennedy Center in Washington, D.C. 

Puerto Riean Culture, Institute of To support a three-day meeting for opera-musical theater 2,000 

San Juan, Puerto Rico companies in Puerto Rico in order to discuss ideas for 

mutual cooperation and self help. 

3,500 Senahan	 For the creation of a new work in music/theater/dance 

New York, New York	 involving the following artists: Martha Clarke, choreographer; Jan Wodynski, composer; Linda Hunt, actress; and
 

Felix Blaska, choreographer.
 

Slobin, Mark To support the reconstruction of the score and the transla- 5,000 

New York, New York tion of the libretto for Shulamis~ ¢omposed a eentury ago 

by Abraham Goldfaden, founder of the Yiddish Theater. 

Tharp (Twyla) Dance Foundation To support the creation of a full evening’s work incorporar- 15,000 

New York, New York ing original dance, theater, and musical elements. 

Theatre Express To support the professional production of a new musical 3,000 

Pittsburgh, Pennsylvania theater work, Made by Two, written by Gertrude Stein 

and composed by William Turner. 

Western States Arts Foundation For regional touring activities of Texas Opera Theater 3,000 

Denver, Colorado (Houston) and Western Opera Theater (San Francisco) 

in the lO-state region. 

* ­ontra­t: TF--Treasury funds; PG---private gifts 

213 

Special Projects
 

More often than not, ar~--especially the art of gives funds to model projects that should be

today--does not fit into neat packages. Rather, emulated. We have shifted our focus, from management- and service-oriented activities to cre­ it crosses boundaries and ignores categories, 

Such art forms as music, theater, dance may ative art projects involving more than one art

form. Bread and Roses, a New York hospital combine in the newest, most innovative work, 

with fascinating results. Special Projects is workers’ union program designed to offer music,

largely concerned with ventures which bring to- theater, and the visual arts to its members as 

wel! as help them share their different cultural gether these different arts. For us, 1979 was a year of study and	 backgrounds and daily lives with each other, is 

such an undertaking. So is Affiliate Artists’ change. We had just become a full program 

within the Endowment, and everything was Community Artists Residency Training Program, which teaches community leaders how to under scrutiny. We assessed, we redefined, we bring artists to their cities and towns. looked at reports about what we have been 

doing. In the process, we learned a good deal We will concentrate more on artists’ coloo 

about what we think interdisciplinary arts nies such as Yaddo and Millay, which give a 

organizations like those we work with need haven to writers, composers, sculptors, and the 

most. like, and on interdisciplinary places where new 

Our Arts Centers and Festivals category	 work is emphasized, such as The Kitchen. Pilot 

programs designed with such places in mind had been a pilot program for the last five years, 

Groups as different as the Brooklyn Academy may well emerge. Another improvement will be 

of Music and Chemung County Performing a new routing system for projects ~vhich get 

Arts or Spoleto Festival USA and Real Art money from more than one Endowment proWays had received money through this pilot gram. They will now be able to apply only once, 

during 1979. They had used their grants to to Special Projects, instead of contending with 

the requirements of many programs. solicit more members, to learn about computers, Our Interdisciplinary/Services to the Field or simply to survive. As lar as ir went, the pro- category gives help to management-oriented, gram had been useful and effective, Now, however, our panels believe that Spe- technical assistance projects. In 1979 we helped 

Volunteer Lawyers for the Arts offer low-cost cial Projects needs to do more to aid presenting legal services to artists. We funded scholarships organizations. Entities such as Lincoln Center to arts management workshops, supported an and the Music Center of Los Angeles that pres- arts administration clearinghouse, and pro­ ent artists have not, up to now, had one specific vided aid for groups that involve older people place to turn to at the Endowment. We plan to
 

offer them such a place. This new emphasis on in the arts. At present we plan to continue along
 

presentors and the resulting guidelines changes these lines.
 

came about partially as a result of our Arts Special Projects has other ideas in mind,
 

Centers and Festivals study, which was com- too. We are considering supporting collaborations of artists working in a variety of art pleted in October 1979. The results will be evident during 1980. forms, training programs that cross artistic 

There will also be changes in our Interdís- boundaries, and fellowships for artists using 

ciplinary/Special Projects category, which more than one medium. Many currently wellPhoto" Hosvital Audi�nce~, Inc. 
214 Special Projects 

established programs began years ago as part 

of the Office of Special Projects. 

Ir isn’t always easy to work with art forms 

that do not fit within the existing Endowment 

structure, but it is always exciting. We are confident that the changes we planned in 1979 will 

help institutions that offer the finest in such 

art, and we look forward to carrying out these 

changes. 

Esther Novak 

Director, Speeial Projeets Program 
 

Special Projects 215 

Special Projects Advisory Panel 

Robert Alexander 

Director, Living Stage 

Washington, D.C. 

Mikki Ankhra 

Community Relations Manager 

Brooklyn Academy of Music 

New York, New York 

$udith Baca 

Program Developer 

Social and Public Art Resource Center 

Venice, California 

Thomas Bacchetti 

Associate Manager 

Atlanta Symphony Orchestra 

Atlanta, Georgia 

Robin Berry 

Executive Director 

Rhode Island State Counci[ on the 

Arts 

Providence, Rhode Island 

Sp ilP j ec a ro ects rants
 

Arts Centers/ 

and Festivals 

Alternative Center for 

InternationalArts 

New York, New York 

Alternative Center for 

International Arts 

New York, New York 

American Shakespeare Festival 

TheatreandAcademy 

Stratford, Connecticut 

Brooklyn Academy of Music 

Brooklyn, New York 

Brooklyn Academy of Music 

Brooklyn, New York 

Chemung County Performing Arts 

Elmira, New York 

International Arts Relations 

New York, New York 

Simon Michael Bessie 

Senior Vice President 

Harper and Row Publishers 

New York, New York 

Leonard DePaur 

Director of Community Relations 

Lincoln Center for the Performing 

Arts 

New York, New York 

Robert Fitzpatrick 

President 

California Institute of the Arts 

Valencia, California 

Diana Goldin 

Journalist 

Vice President, Arts Division, 

Rudder & Finn 

New York, New York 

G 

George Irwin 

Former Director 

Quincy Fine Arts Society 

Quincy, Illinois 

Bonnie Pitman-Gelles 

Coordinator, National Endowment 

for the Humanities, Youth Projects 

Washington, D.C. 

Curtis Schwartz 

Former Executive Director 

Ok]ahoma Arts and Humanities 

Council 

Oklahoma City, Oklahoma 

Yen Lu Wong 

Professor of Drama 

University of California 

La Jolla, California 

Program funds: $2,948,617 

Treasury funds: $ 165,000 

Private gifts: $ 165,000 

To assist organizations that present multidisciplinary programs and 

that have full-time, year-round administrations. Grants aid such

activities as fundraising and audience development projects. 

Program funds: $354,000 

Treasury funds: $ 30,000 

Private gifts: $ 30,000 

For the 1978-79 a~tdience development project, which will $12,000 

include bencfit concerts, ah associates drive, a q[mrterly 

newsletter, a~~d traveling exhibitions. 

For the center’s 1979-80 audie~~ce development and fund- 13,000 

raisbrg eff orts. 

For tire American Shakespcarc Theatre, Connecticut Cen- 25,000 

terfor the Performing Arts, to comp~derize their box 

office operations. 

For the 1979 aztdience development campaign targeting 17,500 

Black and Hispanic commmtities. 

For tire 1980 audience development campaign targeting 25,000 

Black and Hispa~~ic commrotities. 

To set up ah office of marketing and research with a direc- 10,000 

tor to conce~ttrate on increasing membership, and ah education coordinator to develop young audiences. 

To assist INTAR, ah Hispanic cultural center, in develop- 15,000 

ing audiences for its concerts and exhibitions. 
216 Special Projects 

Lincoln Center for the 

Performing Arts 

New York, New York 

Long Beach, City of 

Long Beach, California 

Milwaukee County War Memorial 

Performing Arts Center 

Milwaukee, Wisconsin 

Natural Heritage Trust/Artpark 

Lewiston, New York 

Performing Arts for Community 

and Education 

Miami, Florida 

Queens Cultural Association 

Flushing, New York 

Real Art Ways Raw Ink 

Hartford, Connecticut 

Spoleto Festival, USA 

Charles¿on, South Carolina 

Sun Valley Center for the Arts 

and Humanities 

Sun Valley, Idaho 

Walker Art Center 

Minneapolis, Minnesota 

Washington Performing Arts So¢iety 

Washington, D. C. 

White Mountains Art and 

Music Festival 

Jefferson, New Hampshire 

Women’s Interart Center 

New York, New York 

Interdisciplinary: 

Services 

to the Field 

Albany League of Arts 

Albany, New York 

America the Beautiful Fund 

Washington, D.C. 

American Council for the Arts 

New York, New York 

ARTS/Boston 

Boston, Massachusetts 

Arts Development Services 

Buffalo, New York 

Continued support for audience development for "Lincoln TF 30,000 

Center Out-of-Doors." PG 30,000 

To develop a ~narketing plan for the Terraee Theater and 20,000 

the Center Theater, using the computer services of the 

Long Beach State University School of Business. 

For a marketing effort designed to increase the visibility 10,000 

o! the Performing Arts Center and its activities. 

For a variety of audience development and fundraising 25,000 

activities. 

For start-up costs for the production and promotion of tire 20,000 

concerts. 

For an audience development campaign for Theater in the 12,500 

Park. 

For a director of development and community tela¿loas 17,500 

who will undertake a fundraising campaign. 

Continued support for audience development and fund- 25,000 

raising e~orts. 

For the center’s fundraising activities, includin9 establi8h- 12,100 

ing a development office and hiring a director oí development. 

For a membership campaign. 25,000 

For audience development and promotional activities. 25,000 

For a director of audience development, an informa¿ion di- 20,000 

rector, anda fund~aiser for muslo and visual arts. 

To contrae¿ a public relations person to imple~nent an audi- 25,000 

ente development pro]ect. 

Grants to a variety of special interdisciplinary service organizations

that provide technical assistance, services to special audiences, and 

facilities for artists. 

Program funds: $867,940 

Treasury funds: $ 60,000 

Private gifts: $ 60,000 

To enable the Community Box Office and Informa¿ion . $7,500 

Center to expand to a second site. 

To provide services and skills, administrative aid, technical 25,000 

and advisory time, and materials to develop arts programs 

in towns and villages with populations under 10,000. 

For services in arts management training conferences, 150,000 

publications, and news services. 

For administrative costs of ARTS/Boston’s ongoing pro- 35,000 

gratas: the voucher program; Boston on Stage; Arts/ 

Extra; Arts/Pass and BOSTIX. 

For the performing arts voucher program, which provide~ 15,000 

low-cost admission to cultural events anda subsidy to $0 

arts groups in western New York State. 
Special Projects 217 

Association of College, University 

and Community Arts Administrators 

For scholarships to the association’s 1979 summer workshops. 

7,500 

Madison, Wisconsin 

Associationof College, University 

and Community Arts Administrators 

For scholarships to the association’s 1980 arts management workshops, and for scholarship assistance to five 

21,500 

Madison, Wisconsin additional workshops on "Marketing the Arts." 

Cultural Alliance of Greater 

Washington, D.C. 

For services designed to strengthen planning and managerial capabilities of cultural institutions and individual 

50,000 

Washington, D.C. artists in the Washington area. 

Cultural Council Foundation For the Center for Arts Information’s program: an infor­ 15,000 

New York, New York mation clearinghouse; an administration library and research collection; and referral services for arts organizations and artists. 

Cultural Council Foundation Support of the fiscal and advisory services provided to arts 40,000 

New York, New York organizations in New York City. 

Cummington Schooi of the Arts 

Cummington, Massachusetts For the scholarship program of residencies for artists. 20,000 

Hallof Science of the 

City of New York For the Energy Information Clearinghouse, which disseminates energy-related materials to cultural institutions 30,000 

Flushing’, New York and service organizations. 

Hospital Audiences Support for the national pro]ects to disseminate strategie8 35,000 

New York, New York for measuring the e~ects of arts programming, offer technical assistance, and continue advocacy efforts. 

MacDowell Colony For residency fellowships at the MacDowell Colony for TF 60,000 

Peterborough, New Hampshire writers, composers, and visual artists. PG 60,000 

Millay Colony for the Arts 

Austerlitz, New York 

For the 1979 residency program which provides a retreat 

for creative artists at Steepletop in the Berkshire foothills. 15,000 

Millay Colony for the Arts For the 1980 residency program for writers, composers, 20,000 

Austerlitz, New York and visual artists. 

Museums Collaborative Support for the cultural voucher program, a service deliv­ 20,000 

New York, New York ery syste~n involving cultural institutions and communi,ty 

organizations. 

National Council on the Aging 

Washington, D.C. To provide information and technical assistance to organizations involved in delivering arts programs and services 

50,000 

to older persons, prepare and distribute booklets, and conduct conferences and workshops. 

Opportunity Resources for the Arts To maintain and develop placement, counseling, and other 45,000 

New York, New York services to individuals and organizations involved in the 

performing and visual arts. 

Performing Artists Associates of 

New England 

Brookline, Massachusetts 

To provide performance opportunities and career development services to performing artists in the New England 

region. 

10,000 

Performing Arts Services To administer a ticket voucher program involving approxi­ 25,000 

San Francisco, California mately 175 performing arts groups. 

Publishing Center for For the center’s 1978-79 projects for cooperative printing 32,540 

Cultural Resources and book distribution. 

New York, New York 

Publishing Center for For the center’s 1979-80 projects for cooperative printing 35,000 

Cultural Resources and book distribution. 

New York, New York 

Theatre Development Fund For the 1979 Development Services Program, which pro­ 25,000 

New York, New York vides assistance to communities interested in developing 

TDF systems. 

Theatre Development Fund For the Development Services Program during 1980, which 25,000 

New York, New York provides assistance to communities interested in developing 

TDF systems. 

Virginia Center for the Creative Arts Support of a residency program for creative artists. 25,400 

Sweet Briar, Virginia 
218 Special Projects 

Volunteer Lawyers for the Arts 

New York, New York 

Volunteer Urban Consulting Group 

New York, New York 

Yaddo, Corporation of 

Saratoga Springs, New York 

Interdisciplinary: 

Special Projects A 

Afliliate Artists 

New York, New York 

Afliliate Artists 

New York, New York 

Alvarado S¢hool Art Workshop 

San Francisco, California 

Ameriean Institute of Architeets 

Kansas City, Missouri 

Ann Arbor Summer Festival 

Ann Arbor, Michigan 

Artists Foundation 

Boston, Massachusetts 

Arts Journal 

Asheville, North Carolina 

For development of a national network of organizations 33,500 

and to expand research, education, and publications programs on the legal problems of the arts. 

To bring volunteer management and board of director re- 30,000 

cruitment assistance to arts and cultural organizations in 

the New York area, and to assist arts service organizations nationally to develop similar serviees. 

For short-term residencies for professionals working in 25,000 

literature, visual arts, and musical composition. 

Grants to projects that are multi-disciplined, maintain professional 

standards, test ah idea that might be widely useful, and ate initiated 

from the field. 

Program funds: $934,687 

Treasury funds: $ 75,000 

Private gifts: $ 75,000 

To publish an evaluation of the impact of the Community $15,000 

Artists Residency Training program on ¿he participating 

communities in the member states oÍ the Southern Arts 

Federation. 

For the Community Artists Residency Training (CART) 48,600 

program to train community leaders in ten member states 

of the Southern Arts Federation in the skills requir¢d to 

present artists in community residencies. 

For the Scrounger’s Center for Reusable Arts Part# 15,000 

(SCRAP) program of providing supplies and training to 

organizations on the creative use of discarded materials. 

Fora series of cultural events to take place in Kansas 20,000 

City as part of the 1979 City in Celebration Week. 

To help plan the Ann Arbor Summer Festival through 17,500 

conducting a market study of the potential audience and 

a survey of the area’s fundraising potential. 

For the Taking Care of Business Program, a management 15,750 

system which provides artist~ with training in business 

and marketing skills. 

Support for The Arts Journal, a publication covering the 10,000

performing, visual, and language arts. 

Aspen Institute for Humanistic Studies "For the participation of artists in the Aspen Institute’s 25,000 

New York, New York 

Cultural Council Foundation 

New York, New York 

District 1199 Cultural Center 

New York, New York 

District 1199 Cultural Center 

New York, New York 

Educational Testing Service 

Princeton, New Jersey 

Free Street Theater 

Chicago, Illinois 

Frome Theatre Company 

New York, New York 

Executive Seminar Program. 

To increase enrollment in the New York School for Circus 25,000

Arts, increase attendance at the Big Apple Circus performances, a~d organize ah in-house booking ol~ce. 

To develop foundation and corporate support for Bread TF 25,000 

and Roses, a multifaceted arts and humanities project de- PG 25,000 

signed to broaden hospital workers’ response to the arts. 

Contin~~ed support during 1980 for Bread and Roses, a 100,000 

m~dtifaceted arts pro]ect in the visual and perÍorming arts. 

For planning e]orts fora National Arts Awards Program 25,000 

to recognize high accomplishments in the arts among high 

school students and others of that age group. 

To to~~r a model program Íor artists working in rehabili- 25,000 

tation csnters. 

For activities of the Frome Theatrs Company, a group of 25,000 

pro]essional artists composed oÍ veterans of the Vietnam 

War. 
Special Projects 219 

Graduate School for Urban Resources To bring Hispanic and Black leaders in the arts to a two- 10,000
 

and Social Policy day workshop/conference.
 

San Diego, California
 

Hospice To enable Connecticut artists to participate in the Hospice 12,400
 

New Haven, Connecticut program of care for the terminally ill.
 

IIuman Arts Association For a 12-week workshop/performance series with chore- 11,700
 

New York, New York ographers and jazz musicians.
 

Lane Regional Arts Council To tour ah exhibir/performance worlc dispIaying the crea- 25,000
 

Eugene, Oregon tive talents of 12 artists.
 

Lawyers for the Creative Arts To publish Law and the Arts, a legal handbook for artists, 4,450
 

Chicago, Illinois arts attorneys, and arts administrators.
 

Lewis (Elma) School of Fine Arts To hire a development-fiscal planner, support sta~, anda 100,000 

Dorchester, Massachusetts principal of the school. 

Los Angeles, City of For the Los Angeles Street Scene Festival. TF 50,000 

Los Angeles, California PG 50,000 

Maine Association for Women in For Spectra I, a showcase of the works of Maine’s women 5,000 

the Fine and Performing Arts artists. 

Portland, Maine 

Metropolitan Cultural Alliance To develop and implement a self-supporting computerized 17,500 

Boston, Massachusetts accounting and financial management service for cultural 

institutions. 

Michigan, University of For two half-day sessions entitled "Gerontology and the 7,730 

Ann Arbor, Michigan Arts" as part of the Gerontological Society Annual Meeting. 

National Associationof Partners To develop training materials for the Partners’ artist-in- 10,000
 

of the Alliance residence program, ah exchange progra~n involving U.S.
 

Washington, D.C. and Latín American artists.
 

National Center for For a national festival confercnce, regional workshops, 25,000
 

Urban Ethnic Affairs and a festival planning handbook.
 

Washington, D. C.
 

National Rural Center	 To co-sponsor with tt~e American Councff for the Arts a 15,000
 

Washington, D.C.	 regional eonference addressing "The Arts in Rural Communitics," with the publication of a directory as an outgrowth of the conference. 

New School for Social Research For a model training program and curriculu~n for proles- 15,000 

New York, New York sionals, artists, and students to work with senior citizens 

through the Crcative Arts Centcr for Older Adalts. 

North Caro]ina Department of Cultural To increase accessibility to the arts and promote greater 25,000 

Resources participation in the arts by bandicapped persons through 

Raleigh, North Carolina s~~rveys and the implemcntation of pilot projects. 

Opportunity Resources for the Arts To hire a fund raiser fora year to assist in expanding a 10,000 

New York, New York base of s~~pport. 

Opportunity Resources for the Arts	 To eonduct four one-day seminars that provide New York 5,282 

New York, New York	 State vocational rehabilitation co~tnselors with information 

regarding career alternativos, job opportunities, and resoarees available in the arts for the handicapped. 

Phelps Stokes Fund, Trustees of the Support for the Vis~~al Arts Research and Resouree Cen- 25,050 

New York, New York ter relating to the month-long program, "African Diaspora 

in the Americas: Caribbean Expressions." 

For the production of audio and videotapes explaining the 2,750 

Washington, D.C. use of calor poetas as a model for teaching creative exWashington, D.C. pression in dance, drama, and literature. 

Private Arts Foundation of 

Puerto Rican Culture, Institute of For artistic and cultural programming to take place in 45,000 

San Juan, Puerto Rico conjunction with the Pan American Games. 

Puppeteers of America Support for planning and fundraising for an lnternational 10,000 

Pasadena, California Puppet Festival to be held in Washington, D.C. in June 

1980. 
220 Special Projects 

Religious Communities for the Arts 

New York, New York 

Rhode Island State Council 

on the Arts 

Providence, Rhode Island 

Rodgers (Rod) Dance Company 

New York, New York 

St. Mary’s Episcopal Church 

Washington, D.C. 

Snow, Carolyn* 

Norman, Oklahoma 

Summers (Elaine)Experimental 

Intermedia Foundation 

New York, New York 

Theatre Communications Group 

New York, New York 

U.S. Bureau of Prisons 

Washington, D.C. 

Washington Center for Metropolitan 

Studies 

Washington, D. C. 

Wolf Trap Foundation 

Vienna, Virginia 

Interdisciplinary: 

Special Projects B 

Afro-American Total Theatre Arts 

Foundation 

New York, New York 

Applied Management Services* 

Washington, D.C. 

Applied Management Services* 

Washington, D.C. 

Asciolla, Paul J.* 

Washington, D.C. 

Coe, Linda* 

Camb~’idge, Massachusetts 

Coe, Linda* 

Cambridge, Massachusetts 

Council of State Governments 

Lexington, Kentucky 

For the organizing and staffing of six workshops on pre­ 15,000 

senting the arte in religious institutions. 

For the special constituencies program. 19,500 

For an audience enrichment and development program to 30,000

take place in 10 urban locations throughout the 1978-79 

touring season. 

Support for the multi-arts program, a joint el~ort of St. 14,370 

Mary’s Church and George Washington University, whieh

will provide arte classee Íor the elderly. 

To set up, monitor, and document an artist-in-residence 10,000 

program in several federal prisons. 

To present a two-week International Intermedia Arte 10,000 

Festival. 

For the national fellowships in performing arte manage- 50,000 

ment, a program to extend the skills of ad~ninistrators. 

For the artist-in-reeidence proiect, which is ~ointly funded 25,000 

with the Federal Bureau of Prisons and which places profeseional artists in nine federal prisons. 

To amend a previous grant for continued support oÍ the 10,000 

Cultural Alliance oÍ Greater Washington. 

Fora day of seminars on development and fundraising Íor 2,105 

National Festival Managers. 

Grants and contracts which have come from outside the Special 

Projects atea and are included under Special Projects for accounting 

purposes. 

Program funde: $791,390 

For travel and expenses fora planning meeting of direc- $3,000 

tors and producers to prepare the Black Theatre Festival 

USA and Arts Revival. 

For conducting the Íeasibility study for Arte Education 17,500 

Technical Assistance Center, a program of technical aseistance Íor arte education. 

To amend a contraer for the feasibility study Íor Arte Ed- 34,996 

ueation Technical Assistance Center in order to include 

$17,500 transferred from the Humanities Endowment and 

$17,5o0 transferred Írom the O~ice of Edueation. 

To assist in the development, structuring, and implementa- 45,460 

tion oÍ the Livable Cities program and to actas liaison 

between the Department of Housing and Urban Development, the Arte Endowment, and the field. 

To amend a previous contraer to update the Cultural Di- 16,000 

rectory. 

To amend the contraer to update the Cultural Directory. 8,000 

This amendment resulte from a transÍer from the O~ce of 

Education. 

To amend a previous grant awarded Íor the National Con- 10,000 

ference of State Legislature’s arte task Íorce. 
Special Projects 221 

Cultural Resources* 

Washington, D.C. 

A contract to develop and conduct long-range programs to 

enlarge contributions from nongovernmental sources in 252,310 

support of the arts. 

District 1199 Cultural Center 

New York, New York 

For a many-faceted theater program for Dis~r~ct 1199 

members, their families, and retirees. 35,000 

Louisiana Council for Music and the 

Performing Arts 

New Orleans, Louisiana 

For a program which provides handicapped citizens with 

exposure to and participation opportunities in various arts 

activities. 

17,500 

Mayleas, Ruth* 

New York, New York A contraer to investigate professional training and eareer development opportunities in dance, opera/musical theater, 100,000 

and theater; survey the needs; and recommend to the Endowment means by which the problems might be addressed. 

National Assocition of Counties 

Research Foundation To amend a previous grant for the establishment of a 

county government task force on the arts which provides 

10,000 

Washington, D.C. information on arts activities to county governments. 

National Association of State 

Universities and Land-Grant Colleges 

Washington, D.C. 

To publish a booklet about contributions by NASULGC 

members in teaching the fine arts, fostering the creative 

process, and in community outreach. 

5,000 

OPERA America 

Washington, D.C. 

To provide opera leadership with information on arts and 

the handicapped at the ninth annual meeting of OPERA 

1,084 

A merica. 

Phelps Stokes Fund, Trustees of the To compile and distribute information on the funding par­ 17,500 

New York, New York terns of public and private institutions to Hispanic arts 

organizations. 

Rodriquez, Joe B.* 

Washington, D.C. To amend a previous contraer for support of the Hispanic/ 

American Task Force. 

27,642 

Rooney, Alice* 

Seattle, Washington For ah evaluation of arts marketing seminars over the 

past two years. 

225 

SBA/NEA Program for This joint pro]ect with the Small Business Administration 18,275 

Visual Artists includes three pilot business and marketing seminars, and 

Washington, D.C. the development of a training manual to be used for seminars with arts organizations. 

Stover, Carl F.* 

Washington, D.C. 

To amend a 1978 contraer to develop and conduct longrange programs to enlarge contributions from nongovern29,304 

mental sources in support of the arts. 

Task Force on the Education, 

Training and Development of the For the writing and distribution of reports and papers of 

the task force. 

4,021 

Artist and Art Educator 

Washington, D. C. 

Task Force on the Education, 

Training and Development of the 

For readers’ lees for those working with the Technical 

Assistance Center. 

2,180 

Artist and Art Educator 

Washington, D. C. 

Tennessee, University of To amend a contraer under the Intergovernmental Person­ 5,536 

Knoxville, Tennessee nel Act of 1970 (IPA) to include adidtional travel. 

Texas, University of* For the Hispanic/American Task Force, which will make 111,987 

San Antonio, Texas recommendations to the National Council on the Arts concerning the needs of the Hispanic/American community. 

Texas, University of* 

San Antonio, Texas 

To amend a contraer to provide additional support Íor 

meetings of the Hispanie Task Force. 

17,500 

Women’s Legal Defense Fund For travel costs to present the Broadway play, For Colored 1,400 

Washington, D.C. Girls Who Have Considered Suicide When the Rainbow Is 

Enuf, at the Federal Correctional Institution for Women 

in Alderson, West Virginia. 

* 	ontraer: TF~Treaaury funda : PG~pr|vate gift~ 

223 

Theater
 

In an age of machines, of alienation from they are rarely familiar with a broad theatrical 

society, from family, and even from self, man spectrum. New playwrights with fresh visions 

senses a need to touch the lives of others, to of man are the plasma by which the theater 

share time and space with his fellows, lives and thrives; every means must be used 

Man needs illusions; he needs theater, to provide these playwrights with ready access 

Theater as an art is very old, reaching to production--and to audiences. 

beyond history. But professional, not-for-profit Young directors with fresh concepts make 

theater in America is only about 20 years old. theatrical visions work on stage. We must 

It has vaulted to national importance in an examine the means by which young directors 

astonishingly short time. In good measure, this can "try their wings" in both experimental and 

growth results from the Endowment’s atten- traditional stage forms. By providing such playtion, coupled with support from the private wrights and directors with fellowships as active 

sector and a genuine desire for good theater artists in a variety of theaters, we can expand 

from audiences throughout the country, the experience and sensibility of the audience, 

The Endowment’s Theater Program stands and we can give the next generation of playat a crossroads. On the one hand, the Program wrights and directors a chance to find their 

can choose safety, staying justa bit behind own styles, to make their own choices for the 

the field, behind inflation, behind the sure war- future. 

horses of production and plays. Or the Program The Theater Program also must focus atcan begin to shift priorities, to try new ideas, tention on our major institutions, the "flagship" 

new directions. We are taking the latter path. theaters. These companies set the standards by 

One such innovation, we believe, will which other smaller companies judge themstretch the capabilities of theater artists. Two selves. Each serves a city, a state, ora region 

dramaturgen will be selected each year to work with world-quality theater. Yet these instituwith two different theater companies. Possess- tions still struggle with day-to-day survival. 

ing both literary and theatrical sensibilities, They need the financial security that will enable 

these dramiturgen will serve equally with them to devore their resources and energies to 

artistic and managerial directors in shaping the leadership roles they are equipped to play. 

seasons, selecting plays for production, and ex- We must somehow find the means to do that. 

ploring new production techniques. The drama- The Theater Program must even presume 

turgen, we believe, will provide new dimensions to try to change the quality of life in this 

for established and for emerging theaters, country. The disenfranchised (because of geogwhere too often directors do not have the time raphy, age, disability, ethnic or cultural expeor the perspective to forge distinctive theatrical rience) must have theater made available to 

pathways for their institutions or their com- them. Ir is impossible, of course, for every 

munities, metropolitan center, let alone every crossroads, 

We will try to change audiences by bring- to have a resident theater company ; but we can 

ing to them new voices, new concepts of what make the living stage available by sending the 

theater is or might be. Ir is easy for audiences best of our companies, large and small, classical 

to say that they know what they like; the and experimental, to tour, to exchange seasons, 

truth is that they like what they know and that and to trade off entire productions. 

Scrooge in "A Christmas Carol" at The Guthrie Theater, 

Minneapolis. Photo: John Louis Anderson 
 

224 Theater 

Arena Stage, Washington, D.C. Photo: Tess Steinkolk 

Ir would be enormously exciting if, for example, the Guthrie Theatre could play regularly 

in Duluth, Sioux Falls, Dubuque, and Madison, 

while the Long Wharfs, the Colonnades, and 

the Magic Theatres alternated on the stage in 

Minneapolis. Theatrical juices might really 

flow if 30 or 40 such touring companies were 

circling the country each year, with special 

residencies in areas where little theater had 

existed before, 

Sooner or later, the Theater Program will 

have to re-examine not only such priorities and 

choices as these but also the grant categories. 

Should the Program begin to assist the individual artist directly rather than through institutions? Should we eliminate our Theater for 

Youth category and let this valuable kind of 

theater be evaluated as we do any other theater? 

By segregating theater for youth in a separate 

funding category, do we damn ir to inferior 

artistic standards and to a sense of not belonging with "real theater"? In addition to the 

present Large Theater category and Small 

Theater category, should we establish a Middle 

There are larger questions: Is ir too ambitious to want to help audiences explore this 

universe, this planet we share, this society we 

create, this family we inhabit, and this soul we 

possess, as well as this mind we all too frequently ignore? 

In a declining economy are we willing to 

commit money to something more than bread 

alone? In an age of fear of the future, ate we 

willing to risk unchartered pathways of the 

mind and the spirit? In a time of caution, are 

we willing to dare and to dream? 

The response must be yes. The danger, as 

John Cheever puts ir, lies only in that "our 

powers of selection will be mistaken and that 

the vision we serve will come to nothing." 

Better that than the chaos which art strives to 

overcome. Better failure than failing to care. 

~ /v~ ~ 

Theater category, so that no theater need "fall Arthur Ballet 

between the cracks" in competition for funds? Director, Theater Program 
 

Theater 225 

Theater Advisory Panel 

Policy Panel 

Lloyd Richards, Co-Chairman Large Theater Grants Panel Douglas Turner Ward 

Artistic Director Actor, Director, Playwright 

Eugene O’Neill Theatre Center Negro Ensemble Company 

Waterford, Connecticut New York, New York 

Earle Gister, Co-Chairman Donald Schoenbaum, Co-Chairman 

Managing Director Dean, Drama School

City College of New York Guthrie Theatre 

Minneapolis, l~Iinnesota New York, New York

Small Theater Grants Panel 

Margo Albert	 Donald Schoenbaum, Co-Chairman 

Mayor’s Advisory Cultural Committee Managing Director 

Los Angeles, California Guthrie Theatre 

Minneapolis, Minnesota Lynne Meadow, Co-Chairman Robin Berry Margo Albert Artistic/Executive Director

Director Mayor’s Advisory Cultural Committee Manhattan Theatre Club Rhode Island State Council on the New York, New York Arts Los Angeles, California 

Providence, Rhode Island Lloyd Richards, Co-Chairman David Birney Artistic Director 

Richard Foreman Actor Eugene O’Neill Theatre Center Artistic Director	 Los Angeles, California Waterford, Connecticut Ontological-Hysteric Theatre 

New York, New York Wallace Chappell Lee Breuer 

Associate Director Artistic Director, Mabou Mines Earle Gister Alliance Theatre New York, New York Dean, Drama School	 Atlanta, Georgia City College of New York Richard Foreman New York, New York Donald Grody	 Artistic Director 

Executive S�cretary	 Ontological Hysteric Theatre Donald Grody Actors Equity Association	 New York, New York Executive Secretary New York, New York Actors Equity Association Gregory Hausch New York, New York Adrian Hall Co-Artistic Director

Hippodrome Theatre Workshop Artistic Director Adrian Hall Trinity Square Repertory Company	 Gainesville, Florida Artistic Director Providence, Rhode Island Trinity Square Repertory Company Jorge Huerta Providence, Rhode Island Elizabeth Huddle Assistant Professor, Drama

University of California Lynne Meadow	 Actress 

American Conservatory Theatre	 San Diego, California Artistic/Executive Director 

Manhattan Theatre Club San Francisco, California 

New York, New York Wo~die King 

Robert Moss Artistic Director 

Sara O’Connor Producing Director New Federal Theatre 

Managing Director Playwrights’ Horizons New York, New York 

Milwaukee Repertory Theatre New York, New York 

Milwaukee, Wisconsin Patricia McIlrath 

Tharon Musser 	 Artistic Director Gideon Schein	 Missouri Repertory Theatre Lighting Designer Artistic Director	 Kansas City, Missouri New York, New York GeVa Theatre 

Rochester, New York David Mamet Sara O’Connor Playwright Alan Managing Director Schneider	 Associate Director, Goodman Theatre Director, Juilliard Theatre Center	 Milwaukee Repertory Theatre Chicago, Illinois New York, New York	 Milwaukee, Wisconsin 

Angela Paton Megan Terry	 Nikos Psacharopoulos Actress Playwright Artistic Director Artistic Director, Berkeley Stage Omaha, Nebraska Williamstown Theater Festival Company Williamstown, Massachusetts San Francisco, California Douglas Turner Ward 

Actor, Director, Playwright 

Negro Ensemble Company Steven Schacter	 Patricia Quinn

New York, New York	 Artistic Director Associate Director, American 

St. Nicholas Theatre Repertory Tñeatre 

Chicago, Illinois	 Cambridge, Massachusetts 
226 Theater 

Gideon Schein Megan Terry, Co-Chairman 

Artistic Director, GeVa Theatre Playwright 

Rochester, New York Omaha, Nebraska 

Corinne Anderson 

Assistant Director 

George Council on the Arts

At]anta, Georgia Youth Theater Grants Panel 

Barbara Colton 

Actress 

Jonathan Levy, Co.Chairman Vice-President, Actors Equity 

Playwright, Professor Association 

New York, New York New York, New York 

Theater Grants
 

State Arts Agencies 

Theater Projects 

Utah State Arts Council 

Salt Lake City, Utah 

Professional 

Theater Touring 

(Pilot) 

Afliliated States Arts Agencies of the 

Upper Midwset 

Minneapolis, Minnesota 

Afliliated State Arts Agencies of the 

Upper Midwest 

Minneapolis, Minnesota 

Arizona Commission on the Arts 

and Humanities 

Phoenix, Arizona 

Arizona Commission on the Arts and 

Humanities 

Phoenix, Arizona 

Georgia Council for the Arts and 

Humanities 

Atlanta, Georgia 

Hawaii State Foundation on Culture 

and the Arts 

Honolulu, Hawaii 

Hawaii State Foundation on Culture 

and the Arts 

Honolulu, Hawaii 

David Frank 

Managing Director, Loretto-Hilton 

Theatre 

St. Louis, Missouri 

Carole Huggins 

Assistant Director 

Programs íor Chi]dren and Youth

5ohn F. Kennedy Center

for the Performing Arts 

Washington, D.C. 

Zuri McKie 

Associate Producer 

National Black Theatre Workshop 

New York, New York 

Program funds: $6,551,341 

Treasury funds: $ 850,000 

Private gifts: $ 850,000 

Grants to state arts agencies, either individually or in regional

groupings, for special projects involving professional theater resources in their areas. 

Program funds: $20,000 

For the Pioneer Memorial Theatre’s 1978-79 season. $20,000 

To bring high quality professional theater to areas where ir has not 

been available. 

Program funds: $630,959 

To enable the Milwaukee Repertory Theater to tour lis $31,000 

production of Taming of the Shrew to communities in 

Iowa, Minnesota, North Dakota, South Dakota, and Wisconsin. 

To enable the Guthrie Theater to tour for five weeks 52,770 

throughout the Midwest. 

To enable the National Theater of the Deaf and Living 10,810 

Stage to serve the deaf populations in Phoenix and Tucson 

through one-week residencies. 

Fora one-month residency of the Arizona Civic Theater 17,750 

of T~~cson in the Phoenix area. 

For tours of the Alliance Theatre and the Academy The- 24,000 arre. 

For a two-week residency including performances and 35,000 

community workshops by the American Conservatory Thearre o.f San Francisco. 

For the Honolulu Theatre for Youth’s Neighborhood Island 20,000 

Tour. 
Theater 227 

Kansas Arts Commission Fora tour of the Vanguard Company of the Missouri Rep­ 11,000 

Topeka, Kansas ertory Theater to eight communities throughout Kansas. 

Mid-America Arts Alliance For tours of the Missouri Repertory Theatre, The Acting 40,000 

Kansas City, Missouri Company, and the Imaginary Theatre Company to communities in Arkansas, Kansas, Missouri, Nebraska and Oklahoma. 

National Black Touring Circuir To develop a national touring program for Black theater 50,000 

New York, New York in 12 ma]or cities. 

Negro Ensemble Company To begin a touring component of the Negro Ensemble Com­ 86,890 

New York, New York pany which will develop new work suitable for touring. 

New Jersey State Council on the Arts For a two-week statewide tour of the McCarter Theatre. 32,259 

Trenton, New Jersey 

North Carolina Department of For a 21/2-week statewide tour of The Acting Company of 22,759 

Cultural Resources New York. 

Raleigh, North Carolina 

Oldo Arts Council For a three-week statewide tour of the Great Lakes 8,000 

Columbus, Ohio Shakespeare Festival. 

Pan American University 

Edinburgh, Texas 

For a one-week residency by The Acting Company of New 

York, sponsored by the Communications Department. 

8,000 

Pennsylvania Council on the Arts For a three-weelc tour by the Pittsburgh Public Theatre 7,947 

Harrisburg, Pennsylvania to communities in West Virginia and Pennsylvania. 

Southern Federation of State Arts For a $1/2-week tour of The Acting Company of New York 21,312 

Agencies to va~~ous southern states. 

Atlanta, Georgia 

Tennessee Arts Commission For a four-week statewide tour of The Play Group. 6,400 

Nashville, Tennessee 

Theater Association of Pennsylvania To enable The Independent Eye, the Lovelace Theatre, and 4,300 

University Park, Pennsylvania Theatre Express to tour the state. 

Virgin Islands Council on the Arts Fora one-week residency of The Acting Company of New 10,000 

St. Croix, Virgin Islands York. 

Virginia Commission of the Arts For a four-week tour of the Barrer Theater. 8,815 

and Humanities 

Richmond, Virginia 

West Virginia Arts and Humanities 

Council 

For a three-week tour by the Pittsburgh Public Theater to 

communities in West Virginia and Pennsylvania. 

7,947 

Charleston, West Virginia 

Western States Arts Foundation To enable tire professional theater companies--American 114,000 

Denver, Colorado Conservatory Theatre, The Acting Company, El Teatro 

Campesino, Mark Taper Forum, and the Seattle Repertory 

Theatre--to tour a lO-state region. 

Large Professional To assist in the development of a theater company by aiding in 

artistic development, improving the effectíveness of administration, Theater Companies or supporting community service activities. 

Program funds: $3,799,886 

Treasury funds: $ 850,000 

Private gifts: $ 850,000 

A Contemporary Theatre For the 1979-80 season. $35,000 

Seattle, Washington 

Actor’s Theatre of Louisvílle For the 1978-79 season. TF 60,000 

Louisville, Kentucky PG 60,000 
228 Theater 

Actor’s Theatre of Louisville 

Louisville, Kentucky 

Alaska Repertory Theatre 

Anchorage, Alaska 

Alley Theater 

Houston, Texas 

American Conservatory Theatre 

Foundation 

San Francisco, California 

American Place Theatre 

New York, New York 

Amherst College, Trustees of

Washington, D.C. 

Arizona Civic Theater 

Tucson, Arizona 

Asolo State Theater 

Sarasota, Florida 

Atlanta Arts Alliance 

Atlanta, Georgia 

Barter Foundation 

Abingdon, Virginia 

Berkeley Repertory Theater 

Berkeley, California 

Center Stage Associates 

Baltimore, Maryland 

Center Theatre Group 

Los Angeles, California 

Chelsea Theater Center 

New York, New York 

Chelsea Theater Center 

New York, New York 

Chicago Theatre Group 

Chicago, Illinois 

Cincinnati Playhouse in the Park 

Cincinnati, Ohio 

Circle in the Square 

New York, New York 

Circle Repertory Theater Company 

New York, New York 

Cohoes Music Hall 

New York, New York 

Colonnades Theater Lab 

Ne~í York, New York 

Com~munity Arts Foundation 

Chicago, Illinois 

Connecticut Players Foundation 

New Haven, Connecticut 

Dallas Theatre Center 

Dallas, Texas 

Genessee Valley Arts Foundation 

Rochéster, New York 

For the 1979-80 season. 70,000 

TF 65,000 

PG 65,000 

For the 1979--80 season. 55,000 

For the 1979-~80 season. 110,000 

For the 1979-80 season. 41,000 

TF 150,000 

PG 150,000 

For the 1979-80 season. 30,000 

For artistic sta] development and new play production for 40,000 

the Folger Theatre Group. 

For the 1979-80 season. 30,000 

For the 1979-80 season. 25,000 

For the 1979-80 season of the Allianc~ Theatre Company. 45,000 

For administrative sta] development anda new play pro­ 5,000 

grato. 

For administrative sta] development. 10,000 

For the 1979-80 season. 75,000 

For the 1979-80 season of the Mark Taper Forum. TF 185,000 

PG 185,000 

For the 1979-80 season. 75,000 

To complete the season’s final production. 7,500 

For the Goodman Theatre’s 1979-80 season. 95,000 

For artistie and administrative sta~í development. 80,000 

For the 1979-80 season. 50,000 

For the 1979-80 season. 39,000 

For the 1979-80 season. 2,500 

For the 1979-80 resident and touring season. 35,000 

For administrative sta] development of the Body Politic 3,000 

Theatre. 

For the 1979-80 season of th~ Long Wharf Theatre. 175,000 

For two productions during the 1979-80 season and expan­ 60,000 

sion of present programs. 

For the 1979-80 season of the GeVa Theatre. 20,000 
Theater 229 

George Street Playhouse To support artistic sta~ development. 15,000 

New Brunswick, New Jersey 

Goodspeed Opera House Foundation For administrative and artistic staff development and the 5,000 

East Haddam, Connecticut New American Musical Theatre Festival. 

Group I Acting Company 

New York, New York 

To support the 1979--80 season of The Acting Company. 130,000 

Guthrie Theater Foundation For the 1979-80 season. 26,000 

Minneapolis, Minnesota TF 150,000 

PG 150,000 

Hartford Stage Company For the 1979-80 season. 125,000 

I-Iartford, Connecticut 

Harvard University, President and 

Fellows of 

For artistic and administrative sta] development, artists’ 

lees, and audience development for the American Reper50,000 

Cambridge, Massachusetts tory Theatre Company. 

Indiana Repertory Theatre 

Indianapolis, Indiana 

For the 1979-80 season. 50,000 

Inner City Cultural Center 

Los Angeles, California 

For the 1979-80 season. 35,000 

La Mama Experimental Theatre Club For the 1979-80 season. 95,000 

New York, New York 

Lenox Arts Center For the 1979-80 season. 25,000 

New York, New York 

Loretto-Hilton Theatre 

St. Louis, Missouri 

For the 1979-80 season, new play development, and administrative development. 60,000 

Manhattan Theater Club For the 1979-80 DownStage Series season. 70,000 

New York, New York 

McCarter Theater Company For the presentation of plays, development of outreach 17,500 

Princeton, New Jersey programs, strengthening of audience development and 

fund-raising el~orts, and increased administrative support 

for the 1979-80 season. 

Milwaukee Repertory Theater For the 1979-80 season. 75,000 

Milwaukee, Wisconsin 

Missouri, University of For the 1979-80 season of the Missouri Repertory Theatre. 55,000 

Kansas City, Missouri 

Negro Ensemble Company For the 1979-80 season. 179,000 

New York, New York 

New York Shakespeare Festival For the 1979-80 season of the Public Theatre. 40,000 

New York, New York TF 150,000 

PG 150,000 

North Carolina, University of For the production of new plays during the 1979-80 sea­ 10,000 

Chapel Hill, North Carolina son of the Playmakers Repertory Company. 

Oakland University For artistic sta~ development during the 1979-80 season 30,000 

Rochester, New York of the Meadow Brook Theatre. 

Old Globe Theatre For the 1980 season of the National Shakespeare Festival. 75,000 

San Diego, California 

O’Neill (Eugene) Memorial Theatre For the National Playwrights Conference and the National 140,000 

Foundation Critics lnstitute. 

Waterford, Connecticut 

Oregon Shakespearean Festival For artistic sta] development during the 1979 season. 30,000 

Association 

Ashland, Oregon 

Organic Theater Company For the 1979-80 season. 30,000 

Chicago, Illinois 
 

230 Theater 

Performing Arts Foundation of 

Long Island 

Huntington Station, New York 

Philadelphia Drama Guild 

Philadelphia, Pennsylvania 

Pittsburgh Public Theater 

Pittsburgh, Pennsylvania 

PlayHouse 

Cleveland, Ohio 

Playwrights Horizons 

New York, New York 

St. Nicholas Theater Company 

Chicago, Illinois 

Seattle Repertory Theater 

Seattle, Washington 

South Carolina Arts Commission 

Columbia, South Carolina 

South Coast Repertory 

Costa Mesa, California 

Southeastern Academy of Theatre 

and Music 

Atlanta, Georgia 

Soútheastern Academy of Theatre 

and Music 

Atlanta, Georgia 

Sp~ingfield Theatre Arts Association 

Springfield, Massachusetts 

Studio Theatre School 

Buffalo, New York 

Syracuse University Theatre 

Corporation 

Syracuse, New York 

Theatre by the Sea 

Portsmouth, New Hampshire 

Th.eatre, Incorporated 

New York, New York 

Trinity Personna Company 

Providence, Rhode Island 

Utah, University of 

Salt Lake City, Utah 

Virginia Museum Foundation 

Richmond, Virginia 

Washington Drama Society 

Washington, D. C. 

Whole Theater Company 

Montclair, New Jersey 

Yale University 

New Haven, Connecticut 

Yale. University 

New Haven, Connecticut 

To support the 1979-80 season of PAF Playhouse. 30,000 

iZ’or the 1979--80 season. 25,000 

For administrative staff development, audience develop- 45,000 

ment, and expansion of the new play series. 

For the 1979-80 season of the Cleveland PlayHouse. 75,000 

For the 1979-80 season. 50,000 

For the 1979-80 season. 40,000 

For the 1979-80 season. 95,386 

TF 50,000 

PG 50,000 

For the 1979--80 season oÍ Stage South. 15,000 

For artistic staff development during the 1979-80 season. 27,000 

For the 1978-79 season of Academy Theatre. 44,000 

For the 1979-80 season of Academy Theatre. 50,000 

For Stage West’s 1979-80 season. 10,000 

34,500 

For the 1979-80 season of the Syracuse Stage. 45,000 

For the 1979-80 season of the Studio Arena Theatre. 

For the 1979-80 season. 15,000 

For the 1979-80 season of Phoenix Theatre. 40,000 

For the 1979-80 season of Trinity Square. 185,000 

For artistic stag development during the 1979-80 season 25,000 

of the Pioneer Memorial Theatre. 

For the 1979-80 season of the Virginia Museum Theatre. 4,500 

For the 1979-80 season of Arena Stage. 235,000 

For the 1979-80 season. 5,000 

For artistic and administrative staff development oÍ the TF 40,000 

Yale Repertory Theatre for the 1978-79 season. PG 40,000 

For administrative and artistic staff and audience devel­ 124,000 

opment .for the Yale Repertory Theatre for the 1979-80 

8~Cl80"R, 
Theater 231 

Professional	 To assist professional theater companies with performance seasons 

of less than five months, such as summer theaters and festivals. Theater Companies Program funds: $178,250 with Short Seasons 

Alabama Shakespeare Festival For artistic sta] development. $6,000 

Anniston, Alabama 

American Shakespeare Festival For production costs of the 1979--80 season. 17,500 

Theatre and Academy 

Stratford, Connecticut 

Dallas Theatre Arts For the 1979 season of the Shakespeare Festival of Dallas. 5,000 

Dallas, Texas 

Great Lakes Shakespeare Association For artistic 8taff development and increased rehearsal 14,750 

Lakewood, Ohio time. 

For artistic staff developmen$ during the 1979-80 season. 3,000 Horse Cave Theatre 

Horse Cave, Kentucky 

5,000 Intiman Theatre For the 1979 season. 

Seattle, Washington 

15,000 Lake Cook Theatre Foundation For the inter-season managem ~~ and planning pro]ect for 

Lake Forest, Illinois the Academy Festival. 

New York Shakespeare Festival For the 1979 season of Free Shakespeare in the Parks and 60,000 

New York, New York the Mobile Theater tour.
 

For artistic and administrative staff development. 3,500
 Oak Park Festival Theatre 

Oak Park, Illinois 

3,000 Peninsula Players Theatre Foundation For the 1979 season. 

Green Bay, Wisconsin 

1,000 Peterborough Players	 For administrative and artistic staff dew . ~ment and the 

Peterborough, New Hampshire	 New Plays program. 

7,500 Souhegan Theatre Council	 For the 1979 season of the American Stage Festival. 

Milford, New Hampshire 

Williamstown Theater Festival	 For artistic and administrative staff development. 37,000
 

Williamstown, Massachusetts
 

Theater for Youth	 To assist professional groups that are engaged primarily in the production of dramatic material for audiences ages five through 14. 

Program íunds: $321,000 

A Contemporary Theatre For the to~~ring seasmz of the You~~g ACT Company. $10,000 

Seattle, Washington 

Asolo State Theater	 For the 1978-79 seas~n of the Asolo Touring Theatre. 10,000
 

Sarasota, Florida
 

5,000
 For the 1978-79 resident and to~~ring seasons of the AtAtlanta, Georgia la~~ta Children’s Theatre. 

Center Stage Associates To s~~pport the touring company of the Young People’s 2,500
 

Baltimore, Maryland Theatre.
 

Atlanta Arts Alliance 

Center Theatre Group of Los Angeles For the Improvisational Theatre Project’s 1978-79 season. 30,000 

Los Angeles, California 

37,500 

and School 

Minneapolis, Minnesota 

Children’s Theatre Company	 To produce nine plays during the 1978-79 season. 
232 Theater 

Educational Puppet Theatre 

Atlanta, Georgia 

Foundation for the Open Eye 

New York, New York 

Green Mountain Guild 

White River Junction, Vermont 

Hartford Stage Company 

Hartíord, Connecticut 

Henry Street Settlement 

New York, New York 

Honolulu Theatre for Youth 

Honol~lu, Hawaii 

Looking Glass Theatre Corporation 

Providence, Rhode Island 

Loretto-Hilton Theatre 

St. Louis, Missouri 

Marionette Theatre Arts Council 

Pittsburgh, Pennsylvania 

Metro Theatre Circus 

St. Louis, Missouri 

New York, Research Foundation of 

the State University of 

Albany, New York 

Paper Bag Players 

New York, New York 

Performing Arts Foundation of 

Long Island 

Huntington Station, New York 

Performing Arts Repertory Theatre 

Foundation 

New York, New York 

Shadow Box Theatre 

New York, New York 

Southeastern Academy of Theatre 

and Music 

Atlanta, Georgia 

Southern Coast Repertory 

Costa Mesa, California 

Washington Drama Society 

Washington, D. C. 

Wayside Foundation for the Arts 

Middletown, Virginia 

Small Professional 

Theater Companies 

For artistic staff development. 2,500 

For the 1978-79 season of the Open Eye Children’s The- 2,500 

arre. 

For the Theatre for Children Company’s 36-week tour. 2,500 

To develop and produce two plays by the touring theatre. 12,000 

To develop and produce new plays for the Family Theatre. 5,000 

For artistic sta~ development. 10,000 

For the 1978-79 season. 5,000 

For the Imaginary Theatre Company’s 19~8-79 season. 6,000 

For continued support of the Lovelace Theatre’s 1978-79 12,000 

youth theater season. 

To produce and tour a new play in Missouri. 2,500 

For the Empire State Youth Theatre Institute’s 1978-79 7,500 

season of eight productions. 

For the 1978-79 resident and tou~’ing season. 60,000 

For the 1978-79 sea$on of children’s programs. 7,500 

For the expansion of present programs to include touring 20,000 

and new play development. 

Fora season of theater ]or culturally deprived and handi- 2,500 

capped children. 

For artistic staff development of the youth theater. 7,500 

For two productions of the Educational Theatre Program. 3,500 

For the Living Stage’s 1978-79 youth theater program. 55,000 

For the Wayside Theater on Tour to take productions to 2,500 

young audiences in Virginia and West Virginia. 

To assist small groups that concentrate on furthering the development of theater artists and the development and presentation of new 

works. 

Program funds: $753,158 

Afro/American Total Theatre Arts For the 1978-79 season of plays. $3,500 

Foundation 

New York, New York 
Theater 233 

Amas Repertory Theatre 

New York, New York 

For four productions for the 1978-79 season. 2,500 

American Contemporary Theatre 

Buffalo, New York 

For artistic sta~ development and presentation of new 

work. 

5,000 

American Society of Theatre Arts 

Washington, D. C. 

For the New Classics program. 1,500 

Artists In Prison 

Los Angeles, California 

To develop and produce new work. 2,500 

Association for the Development of 

Dramatic Arts 

New York, New York 

For the 1978-79 season of the Jean Cocteau Repertory. 1,500 

At the Foot of the Mountain 

Minneapolis, Minnesota 

For the 1978-79 season. 5,000 

Berkeley Stage Company 

Berkeley, California 

For the 1978-79 season of new American plays. 15,000 

Brooklyn Academy of Music 

Brooklyn, New York 

For administrative and ar~istic development of the BAM 

Dodger Theatre. 

6,500 

Byrd Hoffman Foundation 

New York, New York 

For the production of a new work by Robert Wilson. 30,000 

C. S. C. Repertory Limited 

New York, New York 

For the 1978-79 season of tire pIays. 15,000 

Cambridge Ensemble 

Cambridge, Massachusetts 

For the 1978-79 season of four plays. 7,500 

Center for Community Action 

Minneapolis, Minnesota 

Chicago Theatre Strategy 

Wilmette, Illinois 

For the 1978 season of the Mixed Blood Theatre Company. 

For the 1978-79 season oÍ new plays. 

2,000 

2,000 

Circuit Playhouse 

Memphis, Tennessee 

For audience development activity for Playhouse on the 

Square. 

5,000 

Colonnades Theater Lab 

New York, New York 

For the 1978-79 season. 25,000 

Community Arts Foundation 

Chicago, Illinois 

For administrative staff development and a season subscription campaign for the Body Politic Theatre Laboratory. 

3,000 

Company Theatre Foundation 

Los Angeles, California 

For the 1978-79 season. 2,000 

Cultural Council Foundation 

New York, New York 

For the development of a trilogy entitled The Daughter’s 

Cycle for the Women’s Experimental Theatre. 

5,000 

Cultural Council Foundation 

New York, New York 

For the 1978-79 season oÍ the Lion Theatre Company. 7,500 

Direct Theatre 

New York, New York 

For administrative and artistic staff development. 3,000 

Douglass (Frederick) Creative Arts 

Center 

New York, New York 

For the 1978-79 season. 3,500 

Downtown Cabaret Theatre Company 

of Bridgeport 

Bridgeport, Connecticut 

For artistic and administrative staff development. 2,000 

East-West Players 

Los Angeles, California 

For the 1978-79 season including the production oÍ three 

original plays. 

5,000 

El Centro Campesino Cultural 

San Juan Bautista, California 

For the 1978-79 season and artistic staff development of 

El Teatro Campesino. 

22,500 
234 Theater 

El Teatró de la Esperanza 

Santa Barbara, California 

Empty Space Association 

Seattle, Washington 

Encompass Theatre Company 

New York, New York 

Ensemble Studio Theatre 

New York, New York 

Ensemble Studio Theatre 

New York, New York 

Equity Library Theatri 

New York, New York 

Eugene Theater Company 

Eugene, Oregon 

Fflorida Studio Theater 

Sarasota, Florida 

Foundation for the Open Eye 

N-ew York, New York 

Germinal Stage 

Denver, Colorado 

HB Playwrights Foundation 

New York, New York 

Henry Street Settlement 

New York, New York 

Hippodrome Theatre Workshop 

Gainesville, Florida 

Hudson Guild Theatre 

New York, New York 

Impossible Ragtime Theatre 

New York, New York 

Independent Eye 

Lancaster, Pennsylvania 

International Arts Relations 

New York, New York 

Iron Clad Agreement 

Pittsburgh, Pennsylvania 

Jefferson (Joseph) Theater Company 

New York, New York 

Judson Memorial Church 

New York, New York 

Labor Theatre 

New York, New York 

League of Theatre Artists 

Lexington, Kentucky 

Lenox Arts Center 

New York, New York 

Little Flags Theatre Foundation 

Roxbury, Massachusetts 

Los Angeles Actors’ Theatre 

Foundation 

Los Angeles, California 

For the 1978-79 scason. 1,500 

For the 1978-79 season and the New Playwrights Forum. 15,000 

For artistic and administrative staff development. 1,500 

For artistic lees and production costs during the 1978-79 12,500
 season.
 

For the 1979-80 season of new works. 15,000
 

For the 1978-79 season. 3,000
 

For a ]und-raising campaign during the 1978-79 season. 1,500
 

For artistic sta] development and the 1978-79 season. 1,500
 

For artistic staff and production costs Íor the 1978-79 9,500
 season.
 

For artistic staff and audience development. 5,000
 

For the 1978-79 season oÍ new plays. 3,500
 

For the 1978-79 season and artistic sta]] development of 40,000
 

the New Federal Theater.
 

For the dcvelopment, promotion, and management of tour- 7,500
 

ing for the 1978-79 season.
 

For ah expanded 1978-79 season and artistic staff develop- 5,000
 

ment.
 

For the 1978-79 season of plays and workshops. 5,000
 

For administrative staff development. 3,500
 

To support artistic staff development ]or the INTAR The- 2,000
 

arre.
 

For artistic and administrative staff development. 1,500
 

For the 1978-79 season. 3,500
 

To support artistic staff development for the Judson Poets’ 5,000
 

Theater.
 

For the production of two new plays during the 1978-79 2,500
 

season.
 

For the Lexington Conservatory Theatre’s New Plays and 2,000
 

Provos Development pro]ects.
 

For the 1978-79 season including three musical theater 25,000
 

works and three works in progress.
 

For the 1978-79 season. 5,000
 

For the 1978-79 season. 7,500
 
Theater 235 

Lyric Stage Company of Boston For artistic and administrative sta] development. 2,000 

Boston, Massachusetts 

Mabou Mines Development For the 1978-79 season and the development of new work. 30,000 

Founadtion 

New York, New York 

Magic Theatre For the 1978-79 season of 8even new works. 35,000 

San Francisco, California 

Magic Theatre Foundation For the 1978-79 season, which includes two new works. 15,000 

Omaha, Nebraska 

Moving Men Theatre Company of

Berkeley 

For the development of new work. 2,000 

Berkeley, California 

National Black Theatre Workshop For a subscription campaign during the 1978-79 season. 3,000 

New York, New York 

New Dramatists 

New York, New York 

For administrative sta] development and the new play 

workshop. 

7,500 

New Jersey Theatre Foundation

l~Iontclair, New Jersey 

For the Whole Theatre Company’s 1978-79 season. 2,500 

New Playwrights’ Theatre of For the production of six new plays for the 1978-79 season. 5,000 

Washington 

Washington, D. C. 

New York Theater Strategy For the 1978-79 season. 8,500 

New York, New York 

Odyssey Theatre Foundation 

Los Angeles, California 

For administrative staff development, audience developn~ent, and expanded prod~¿ction. 

2,000 

Ontological-Itysteric Theater For the development and prod~~ction of a new work. 20,000 

New York, New York 

Ostrow (Stuart) Foundation For the Musical Theatre Lab’s artistic staff development. 4,158 

Pound Ridge, New York 

Other Theater For the development and prod~~ction of a n~w work. 5,000 

New York, New York 

Pacific Coast Performing Arts For the Bear Rep~~blic Theater’s professional training pro­ 1,500 

Foundation gra~n. 

Santa Cruz, California 

Palace Theatre Foundation For administrative staff develop~nent. 1,500 

Minneapolis, Minnesota 

Performance Community For administrative and artistic staff development. 6,000 

Chicago, Illinois 

Play Group For the 1978-79 season. 5,000 

Knoxville, Tennessee 

Playwrights Horizons For the 1978-79 season. 35,000 

New York, New York 

Profile Theatre For the development of the ensemble acting company. 2,000 

Portland, Maine 

Puerto Rican Culture, lnstitute of For Producciones Yensa’s prod~~ction of En Boca de Mujer. 1,000 

Yensa, San Juan, Puerto Rico 

Puerto Rican Traveling Theatre For the biling~~al Touring Theatre. 22,500 

Company 

New York, New York 

Quaigh Theatre For the 1978-79 series of six productions. 2,500 

New York, New York 

Rabbit*Hole 

New York, New York 

For the development and presentation of The Blue Bird by 

the Manhattan Project. 

7,500 
 

236 Theater 

Ridiculous Theatricai Company 

New York, New York 

Riverside Church in The City of 

New York 

New York, New York 

Roadside Attractions 

Detroit, Michigan 

Shelter West Company 

New York, New York 

Silvera (Frank) Writers’ Workshop 

Foundation 

New Yor~k, New York 

Spanish~Theatre Repertory Company 

New York, New York 

Storefront Actors’ Theatre 

Portl~ind, Oregon 

Theatre Arts Corporation 

Santa Fe, New Mexico 

The~atre Center of Philadelphia 

Philadelphia, Pennsylvania 

Theatre Express 

Pittsburgh, Pennsylvania 

Theatre for the New City Foundation 

New°York, New York 

Theater X 

Milwaukee, Wisconsin 

Urban Arts Corps 

New York, New York 

Victory Gardens Theatre 

Chicago, Illinois 

Wisdom Bridge 

Chicago, Illinois 

Women’s Interart Center 

New York, New York 

Wooster Group 

New York, New York 

Workshop for the Players Arts 

Foundation 

New York, New York 

Director Intern 

Program 

Center Theater Group of 

Los Angeles 

Los Angeles, California 

Group I Acting Company 

New York, New York 

For ¿he 1978-79 season and the production of new work. 16,000 

For the Theatre of the Riverside Church’s 1978-79 season. 5,000 

For the 1978-79 season oí the Attic Theatre. 5,000 

For the 1978-79 season. 1,500 

For the Writers/Directors series and the Monday night 15,000 

series which includes staged readings of new plays. 

For the 1978-79 season of Latín American and Spanish 2,500 

plays. 

Fora subscription campaign during the 1978-79 season. 2,000 

For the 1978-79 season. 8,000 

For the 1978-79 season. 1,500 

For a subscription campaign during the 1978-79 season. 2,000 

For expansion of the 1978-79 season oÍ new works. 20,000 

For the 1978-79 season. 3,000 

For the 1978-79 season and artistic and administrative 10,000 

staff development. 

For the production of two new plays. 7,500 

For the 1978-79 season. 3,000 

For the Interart Theatre’s 1978-79 season. 10,000 

For the presentation of new work by The Performance 27,500 

Group. 

For the 1978-79 season. 5,000 

To help talented individuals make the transition between professional training and full professional work experience. 

Program funds: $178,131 

For a directing internship of up to one year for Richard $20,000 

Gershman at the Mark Taper Forum during the 1978-79 

season. 

For a directing internship of up to one year for Jonathan 20,000 

Furst at The Acting Company during the 1978-79 s¢ason. 
Theater 237 

For a directing internship of up to one year for Bruce 20,000 Guthrie Theater Foundation 

Minneapolis, Minnesota	 Siddons at the Guthrie Theater during the 1978-79 season. 

20,000 Hartford Stage Company	 For a directing internship of up to one year for Ron LagoHartford, Connecticut marsino during the 1978-79 season.

18,131 Milwaukee Repertory Theater	 For a directing internship of up to one year for Susan 

Milwaukee, Wisconsin Einhorn during the 1978-79 season.

20,000 New York Shakespeare Festival	 For a directing internship of up to one year for Jeremy 

Blahnik during the 1978-79 season. New York, New York 

20,000 Pittsburgh Public Theater Corporation	 For a directing internship of up to one year ]or Micah 

Lewensohn during the 1978-79 season. Pittsburgh, Pennsylvania 

20,000 Trinity Personna Company	 For a directing internship of up to one year for Joseph 

Broido at the Trinity Square Repertory Company during Providence, Rhode Island the 1978-79 season. 

20,000 Washington Drama Society	 For a directing internship of up to one year for Gary
 

Washington, D.C. Pearle at Arena Stage during the 1978-79 season.


To assist organizations that provide services to the theater field as Services a whole or to a sector of it.

to the Field Program funds: $245,500 

$17,500 Ambiance Inter-Action	 For a 16-week to~~r of the British American Repertory
 

Company to comm~~nities thro~~gho~~t the U.S.
 New York, New York 

5,000 American Theatre Association For participation of professional directors in the 11th AnWashington, D.C. nual American College Theatre Festival.

10,000 American Theatre Association For the fifth bi-a~~n~~al Festival of American Community
 

Washington, D.C. Theatre.
 

15,000 American Theatre Association For the U~~iversity/Reside~~t Theatre Association’s 1978­

Washington, D.C.	 79 national a~~ditio~~s. 

3,000 Amherst College, Trustees of To eval~~ate and doc~~ment the Folger Theatre Group’s
 

Washington, D.C. ~t~odel program of accessibility for the deaf.
 

7,000 Atlanta Arts Allianee For a program for those with hcari~tg impairments.
 

Atlanta, Georgia
 

20,000 Black For the allia~~ce’s service programs, incb~ding the editi~~g Theater Alliance 

New York, New York and p~,blication of the revised BTA directory.

10,000 Center Theatre Group A program designed for the Mark Taper Forum to explore
 

Los Angeles, California methods for e~~largi~~g the audie~tce to incS~de those with
 

l~earing impairments.
 

33,000 For admi~,istrative a~,d technical assistance to professional 

Development of the Professional theater co~npanies.
 

Theatre
 

New York, Ne~v York
 

85,000 

Foundation for the Extension and 

For s~~ch progra~~~s as the refere~~ce library, visitor and International Theater Institute of cons~dtation services, p~~blicatio~s, and international meet- the United States 

New York, Ne~v York ings.

10,000 North Carolina, University of For the Instit~tte of O~~tdoor Drama’s advisory services.
 

Chapel Hill, North Carolina
 

20,000 Off Off Broadway Alliance
 For service programs to Off Off Broadway theaters.

New York, New York
 

5,000 O’Neill (Eugene) Memorial Theatre For the National Theatre of the Deaf’s documentation of
 

Center Foundation
 sign techniques. 

Waterford, Connect;icut 
238 Theater 

"Zoot Suit" by Luis Valdez--Center Theatre Group!Mark Taper 

Forum, Los Ange]es. Photo: Jay Thompson 
 

Theater 239 

Puppeteers of America For administrative staff development. 5,000 

Pasadena, California 

General Programs To assist projects that are not included in other grant categories. 

Program funds: $424,457 

$10,000 Actors Studio For development and public relations activities.

New York, New York 

85,000 Afro-American Total Theater To increase the ticket subsidy program ]of the Black TheArts Foundation ater Festival U.S.A.

New York, New York 

1,790 American Theatre Association For the Playwrights’ Workshop. 

Washington, D. C. 

2,000 Cultural Council Foundation For the Artists Project, including salaries for CETA artists participating in performances of the New Living New York, New York Newspaper. 

36,812 Minnesota, University of To provide an o~~tstanding arts administrator with the opMinneapolis, Minnesota portunity to serve temporarily in the Endowment’s Theater Program under the Intergovernmental Personnel Act. 

20,355 Negro Ensemble Company To ame~~d a previous grant for administrative staff and

audience development. New York, New York 

12,500 New Theater Festival For performance lees for the 1979 festival.

Baltimore, Maryland 

75,000 New York Public Library, Astor, For the Theatre on Film and Tape project, a program of

doc~~mentation of significant theatrical productions. Lenox, and Tilden Foundations
 

New York, New York
 

56,000 Theatre Communications Group* For a nationwide program of admi~istrative and cons~dtNew York, New York ant services for theater companies. 

125,000 For servicc programs, incb~di~~g the ticket s~~bsidy pro- Theatre Development Fund grato, the non-s~~bsidized ticket distrib~ttion program, the New York, New York theater vo~~c]~er progra~t, a~~d the cost~~me collection. 

* contract; TF--Treasury funds: pG.--pr|vate gifts 

241 

Visual Arts
 

would admittedly simplify things. Ayear of time, time to do things that would What has become true nowadays is that~ be difficult or impossible to do without eco­ there are a number of aesthetic positions. For nomic support, can be terribly important to an instance, certain rules govern abstract expres­ artist. The Visual Arts Program has always sionism, but these would be irrelevant for, say, felt that fellowships area vital part of what 

we have to offer, and so, apparently, do those classical art, or even Afro-American art. The

Visual Arts Program tries to bring together who apply to us. We receive an enormous panelists who are sensitive to those differences, number of applications; in 1979, more than so that artists in one school are not judged by 7000 artists, craftsmen, and photographers the considerations of another. We choose these applied to us íor fellowship money. Most of panelists for their aesthetic judgment and for them had to be disappointed, for while the their intimate knowledge of the field, and we Endowment ratio oí grants to applications is rotate them often. 1 to 4, in artists’ fellowships ir is more like I like the way Robert Irwin groups artists 3 to 100. Next year we are increasing this into broad categories. The first, and numerically budget, which will let us fund considerably smallest, group is the investigators. These are more. 

We are not success-oriented, in the conven­ the people involved in radical research into the

nature of art. By an investigator, I mean tional sense, in giving this direct aid. Our ideas someone like Wassily Kandinsky, who painted of success are different from the usual ones. A the first purely abstract work in 1910, or fellowship might have results to which we and Georges Seurat, who based bis theories of color the artist could point as proof of money wisely composition on the optical effects of light. These invested. But on the other hand, ir might mean people are so in advance of what is usually only that the artist spent bis time testing new labeled new (not to be confused with modish ideas, learning which led up blind alleys and or even avant-garde) that they may be totally which were artistically valid. That, too, would unknown. To me, these are potentially the most be time well spent, We do not require our artists to be com­ important group, and I am tremendously interested in them. mercially successful or popular, either, which A second group to which we pay close at- is sometimes quite different from having artis­ tention might be termed the innovators. These tic merit. Nor do we want to be swayed by artists are not experimenting radically with such faddish considerations as which school is the nature of art itself so much as taking a in vogue this year. So choosing fellowship re- familiar form and re-examining ir in a highly cipients from among all those applicants is no individual way. Think, for instance, what easy job. Ir we, in the world of art, have re- George Gershwin did with the familiar song. treate~l slightly from the extreme position that In art, one could point to Wayne Thiebaud, whatever hangs on a museum wall is art, we who has taken portrait painting and made ir ate still lar from agreeing on what constitutes 

a work of art. But none of us would want to bis own, or Nancy Graves, wh0se totemic 

feathered hangings had their origins in objects return to the kind of stultifying atmosphere she saw in museum display cases as a child. in which pronouncements are handed out in These are artists developing their individual academic books of rules, although doing so 

David von Schlegell’s "Nuevo Mundo."
 

Photo: Miarni-Metro,Department of Publicity and Tourism
 
242 Visual Arts 

Potter, Linnea Todd.
 

Photo: Penland School of C~afts, lqorth Carolina
 

vision, their special ways of looking at the 

world, 

The third group of applicants, and the 

largest, are the íollowers. They are usually 

competent artists working within a tradition, 

whether classical, impressionist, neo-constructivist, or what have you, but without submitting 

it to any radical revisions. The results are 

competent composilions, but ones which we 

have seen so often that they are practically 

visual clichés. When these artists ask us, "Why 

didn’t I get a fellowship? What’s wrong with 

my color sense and technical expertise?" there 

is usually no answer. Nothing can be faulted, 

but everything is wrong, since they bring no 

spark of fresh inventiveness to their work. We 

do not believe ii is our job to support this kind 

of artistic activity through fellowships so much 

as by other means that are possible through 

our program. 

The fourih and final group are those concerned with preserving our artistic heritage. 

A few master craftsmen still know, for example, how to carve a beautiful door or create 

couraged. We are giving grants this year, for 

the first time, to design, for instance, a one-ofa-kind, handmade house; or a structure that 

has the singular purpose of gracing a landscape 

with its fine form, such a gazebo, pavilion, 

tower, or column; or new buildings constructed 

with traditional techniques, such as adobe, 

stone-fitting and carving, timber joinery, plasterwork, and casi metal. Money is also available for apprenticeships so that these skills 

will be passed on. 

Paul Klee has said thai the ultimate purpose of art is nol to render what is visible, 

but to render the invisible visible. You might 

call it making the unknown knowable. A few 

artists have ihat ability to make us see. These 

are the ones we must seek out and help, by the 

best and fairest means we can. 

~/~~_ 

a gorgeous ceiling. They are a precious national James Melchert 

treasure and deserve to be protected and en- Director, Visual Arts Program 
 

Visual Arts 243 

Visual Arts Advisory Panel
 

Art Critics Fellowship Panel 

Budd Hopkins 

Painter 

Wellfleet, Massachusetts 

Peter Plagens 

Professor of Art, Critic 

San Francisco Art Institute 

San Francisco, California 

Brenda Richardson 

Assistant Director and Curator 

Baltimore Museum of Art 

Baltimore, l~faryland 

Photography Fellowship Panel 

Thomas Barrow 

Professor of Art 

University of New Mexico 

Albuquerque, l~ew Mexico 

Harry Callaban 

Photographer 

Providence, Rhode Island 

Patricia Fuller 

Coordinator, Art in Public Places 

Seattle Arts Commission 

Seattle, Washington 

Robert Heinecken 

Professor of Art 

University of California, Los Angeles 

Los Angeles, California 

Anthony Hernandez 

Photographer 

Los Angeles, California 

Anne Tucker 

Curator, Department of Photography 

Museum of Fine Arts 

Houston, Texas 

Apprentice Fellowships 

in Crafts Panel 

CIotilde Barrett 

Weaver 

Boulder, Colorado 

Wendell Castle 

Furniture Maker 

Scottsville, New York 

Viveka Heino 

Potter 

Ojai, California 

Workshops/Alternative 

Spaces Panel 

Laurie Anderson 

Artist 

New York, New York 

Alanna Heiss 

Director 

Institute for Art and Urban Resources 

New York, New York 

Alan Scarritt 

Artist and Director 

Site, Cite, Sight 

San Francisco, California 

Charles Simonds 

Artist 

New York, New York 

Crafts Workshops and 

Exhibition Aid Panel 

Frank Cummings 

Woodworker, Fiber Artist, Teacher 

Long Beach, California 

Helen Drutt 

Director, Art Gallery 

Moore College of Art 

Philadelphia, Pennsylvania 

Glen Kaufman 

Fiber Artist, Teacher 

Athens, Georgia 

Ruth Kohler 

Director 

John Michael Kohler Art Center 

Sheboygan, Wisconsin 

Lynn Springer 

Curator of Decorative Arts 

St. Louis Museum of Art 

St. Louis, Missouri 

Fellowships/Video Subpanel 

Stephen Beck 

Artist 

Berkeley, California 

Robert Sterns 

Director 

Contemporary Art Center 

Cincinnati, Ohio 

Fellowships/Conceptual/ 

Performance Subpanel 

Claire Copley 

Former Gallery Director 

New York, New York 

Peter Frank 

Writer 

New York, New York 

Barry LeVa 

Artist 

New York, New York 

Fellowships/Printmaking, 

Drawing Subpanel 

Wendy Calman 

Artist 

Professor, Art Department 

University of Indiana 

Bloomington, Indiana 

Nathan Oliveira 

Professor, Art Department 

Stanford University 

Stanford, California 

Bill Walmsley 

Professor, Art Department 

Florida State University 

Tallahassee. Florida 

Artists Fellowship Panel 

Linda Cathcart 

Curator of Contemporary Art 

Albright-Knox Art Gallery 

Buffalo, New York 

Ann d’Harnoncourt 

Curator of Twentieth-Century Art 

Philadelphia Museum of Art 

Philadelphia, Pennsylvania 

Luis Jimenez 

Artist 

Roswell, New Mexico Juan Downey 

Artist Sol Lewitt 

New York, New York Artist 

New York, New York 

Nancy Drew 

Director Mary Miss 

Long Beach Museum of Art Artist 

Long Beach, California New York, New York 
 

 

244 Visual Arts 

Ray Saunders 

Artist 

Professor, Art Department

California State University 

Hayward, California 

Crafts Services to the 

Field Subpanel 

Bridget M¢Carthy 

Director 

Portland School of Arts and Crafts 

Portland, Oregon 

Merle Wachter 

Director, Southwest Crafts Center 

San Antonio, Texas 

Jerry Workman 

Director 

Appalachian Fireside Craíts 

Berea, Kentucky 

Visual Arts in the 

Performing Arts Panel 

Merce Cunningham 

Director 

Merce Cunningham Dance Foundation 

New York, New York 

Mimi Gross 

Artist 

New York, New York 

Nigel Redden 

Curator oí Performing Arts 

Walker Art Center 

Minneapolis, Minnesota 

Visual Arts Grants
 

Photography Exhibition Aid, 

Publications and Surveys 

James l~-nyeart 

Director 

Center of Creative Photography 

University of Arizona 

Tucson, Arizona 

John Gossage 

Photographer 

Washington, D.C. 

Joan Lyons 

Coordinator oí Printshop 

Visual Studies Workshop 

Rochester, New York 

Anne Tucker 

Curator of Photography 

Museum of Fine Arts 

Houston, Texas 

Crafts Fellowships Panel 

Paul DuFour 

Professor of Fine Arts 

Louisiana State University 

Baton Rouge, Louisiana 

Gary Grifiin 

Professor, Metalsmithing and Jewelry 

Rochester Institute of Technology 

Rochester, New York 

Janet Kummerlein 

Fiber Artist 

Kansas City, Missouri 

$acqueline Rice 

Chairman, Ceramics Department 

Rhode Island School oí Design 

Providence, Rhode Island 

Josine Starrels 

Gallery Director
 

Municipal Art Gallery
 

Los Angeles, California
 

Art in Public Places Panel 

Hugh Davies 

Director, University Gallery 

University of Massachusetts 

Amherst, Massachusetts 

Lloyd Hamrol
 

Artist
 

Venice, California
 

Norie Sato
 

Artist
 

Seattle, Washington
 

Dianne Vanderlip 

Curator, Twentieth Century Art 

Denver Art Museum 

Denver, Colorado 

Services to the Field Panel 

Thomas Barrow 

Professor oí Art 

University of New Mexico 

Albuquerque, New Mexico 

Mary Beebe 

Director 

Portland Center for the Visual Arts 

Portland, Oregon 

Helene Winer 

Director 

Committee for the Visual Arts 

New York, New York 

Program funds: $4,693,612 

Art in Public Places 

Atlanta, City of 

Atlanta, Georgia 

Bard College 

Annandale-on-Hudson, New York 

Bronx Venture Corporation 

Bronx, New York 

California, University of 

Berkeley, California 

To enable cities, towns, universities, nonprofit private groups, and 

state arts agencies to commission of purchase works of art for such 

places as parks, plazas, riverfronts, airports, subways, and public 

buildings. 

Program funds: $733,002 

To commission a two-dimensional work in the new Central $50,000 Passenger Terminal eomplex at the Hartsfield Atlanta lnternational A irport. 

For an outdoor sculpture by Bernard Kirschenbaum. 7,975 

For a sculpture by Rafael Ferrer, "Puerto Rican Sun," in 22,850 

Community Garden Park. 

For a sound sculpture for the Hall of Seience Plaza. 7,600 
Visual Arts 245 

Cambridge Arts Council For ah interior work in the Harvard Square subway sta­ 30,000 

Cambridge, Massachusetts tion. 

Denver Parks and Recreation For an outdoor eculpture in the plaza oÍ ¿he new Per­ 40,000 

Foundation forming Arte Center. 

Denver, Colorado 

Gallaudet College To amend a previoue grant Íor a sculpture by Lloyd 30,000 

Washington, D.C. Hamrol. 

Hartford, University of 

Hartford, Connecticut 

For an outdoor sculpture near the new College oÍ Engineering. 25,000 

Hayes (Helen) Hospital For an outdoor sculpture on the hospital grounde. 22,000 

West Haverstraw, New York 

Iowa, University of For a eculpture in the courtyard of a new building on 15,000 

Iowa City, Iowa campus. 

Kansas City, City of For a sculpture in a redeveloped residential park. 40,250 

Kansas City, Missouri 

King County Arts Commission 

Seattle, Washington 

For an earth sculpture by Robert Morris, to recycle an 

abandoned gravel pitas a community park. 

50,000 

Lake Placid 1980 Olympic Games 

Lake Placid, New York 

For two sculptures a~ outdoor cites in the Lake Plaeid 

Community, and an interior mural in the new Fieldhouee/ 

25,000 

Arena. 

Lake Placid 1980 Olympic Games For eight environmental sculpturee around the Olympic 45,500 

Lake Placid, New York Games site. 

Metropolitan Arts Council 

Omaha, Nebraska 

For ah Aeolian sculpture in a downtown neighborhood 

park. 

1,500 

Metter, City of For a fountain in Municipal Park. 3,480 

Metter, Georgia 

Miami, City of For design of ah urban park cite. 50,000 

Miami, Florida 

Minneapolis College of Art and Design 

Minneapolis, Minnesota 

For purchase o/ a stacked wood sculpture Íor ah outdoor 

park site by Jackie Ferrara. 

2,340 

Norwalk, City of For an outdoor eculpture ata downtown site. 30,000 

Norwalk, Connecticut 

Oakland Museum For an outdoor sculpture in Eetuary Park. 50,000 

Oakland, California 

Omaha Opportunities Industrialization For ah outdoor sculpture at the Manpower Training Cen­ 15,000 

Center ter. 

Omaha, Nebraska 

Pere Marquette Sculpture Committee Fora sculpture in a downtown park. 10,000 

Oconomowoc, Wisconsin 

Rapid Recovery 

Cleveland, Ohio 

For the development of a plan ]oran urban recreation 

park on the rapid traneit corridor. 

5,000 

St. George Senior Housing Corporation 

Philadelphia, Pennsylvania 

For an outdoor sculpture at the new eenior citizens’ housing complex. 

23,000 

St. Paul, City of 

St. Paul, Minnesota 

Fora sound environment in the central rotunda of the 

Como Park Conservatory. 

19,000 

San Francisco Cttamber of Commerce For an outdoor mural near the civic center. 30,000 

San Francisco, California 

Seattle, City of For an outdoor sculpture at Seattle Center~ an urban park 40,000 

Seattle, Washington and cultural center. 

Ventura County Library For a wall sculpture in the new public library and civic 4,317 

Ventura, California center. 

Wake Forest University For an outdoor sculpture on campus. 25,690 

Winston-Salem, North Carolina 
246 Visual Arts 

Youngstown Area Arts Council 

Youngstown, Ohio 

Art in Public Places/ 

Planning Grants 

for Artists 

Brand, William 

New York, New York 

Burton, Scott 

New York, New York 

Gossage, John 

Washington, D.C. 

Kaufman, Jane 

New York, New York 

Leicester, Andrew 

Minneapolis, Minnesota 

Neuhaus, Max 

New York, New York 

Puryear, Martin 

Chicago, Illinois 

Schiff, Jeffrey 

Boston, Massachusetts 

Stern, Fred 

Baltimore, Maryland 

Tudor, David 

New York, New York 

Ukeles, Mierle 

Riverdale, New York 

Visual Arts 

in the 

Performing Arts 

American Dance Festival 

Durham, North Carolina 

BBC Project Theatre Institute 

New York, New York 

Brown (Trisha) Dance Company 

New York, New York 

City College Research Foundation 

New York, New York 

Cunningham Dance Foundation 

New York, New York 

To amend a previous grant for a sculpture by George 12,500 

Segal at the New Federal Plaza. 

For artists’ exploration of the potential offered by public sites and 

the development of proposals which expand current thinking about 

art in public places. 

Program funds: $22,000 

To research the feasibility and visual possibilities of serial $2,000 

imagery in mass transit Íacilities. 

To develop a full-scale proposal fora public park incor- 2,000 

porating street furniture. 

To investigate the esthetic and archival problems of per- 2,000 

manently installed photographic murals in public spaces. 

To investigate new materials and techniques for large- 2,000 

scale relief murals in public spaces. 

To plan a project using the Earth Resources Observation 2,000 

System of earth-orbiting photographie satellites. 

To research and design technical systems for the develop- 2,000 ment of alternative sounds Íor emergency-vehicle sirens 

in New York City. 

To investigate the possibilities of wood as a medium for 2,000 

permanent sculpture in outdoor public spaces. 

To plan for the participation of artists in developing a 2,000 

ne~v state park in Massachusetts. 

To research the feasibility of establishing a permanent 2,000 

pump stition and mist-generation system fora rainbow 

sc~dpture at a harbor site. 

To develop audio components for ah environmental work 2,000 

involving musicians and visual artists. 

To plan with community groups for the recy¢ling of 2,000 

nearby landfill sites as locations for art projects. 

For performing arts groups that wish to engage visual artists for 

design of sets, costumes, or posters for theater, opera, or dance

productions. 

Program funds: $50,000 

To commission the design of a poster by Alex Katz for the $1,000 

1979 season. 

To commission the design of ah environmental setting for 2,000 

the 1979-80 season. 

To commission Fugiko Nakaya .for the design of set~ for a 6,500 

dance composition, and to commission Nancy Graves to 

design a poster for the 1979-80 season. 

To commission the design of a poster by Romare Bearden 1,000 

for the 1979-80 season. 

To commission the design of sets and costu~nes by Mark 1,000 

Lancaster for the 1979-80 season. 
Visual Arts 247 

Empty Space To commission the design of a poster by Gertrude Pacific 1,000 

Seattle, Washington for the 1979-80 season. 

Foundation for Modern Dance To commission the design of sets and costumes by Ralph 4,500 

New York, New York Dorazio and Ralph Lee for the Erick Hawkins Dance 

Company for the 1979 season. 

Fusion Dance Company To commission the design of costumes by Yura Adams for 1,350 

Miami. Florida a dance piece during the 1980 season. 

Italeakala To commission the design of sets and costumes by Mary 5,000 

New York, New York Ashley for the production of Private Parts at The Kitchen. 

Minnesota Opera Company To commission the design of sets and costumes by William 3,060 

St. Paul, Minnesota Saltzman fora production of Mozart’s The Abduction of 

the Seraglio. 

Monadnock Music To commission the design of a poster by Lotte Jacobi for 1,000 

Jaffrey, New Hampshire the 1979 summer season. 

Orchestra of Our Time To commission the design of sets, costumes, anda poster 6,000 

Bronx, New York by Robert Wilson for the Gertrude Stein/Virgil Thomson 

opera Four Saints in Three Acts. 

Oregon Repertory Theatre To commission the design of posters by Gene Rickabaugh 750 

Eugene, 0regon for the 1979-80 season. 

Performing Artservices To commission Sol Lewitt to collaborate with Lucinda 6,000 

New York, New York Childs and Philip Glass in the preparation of ah eveninglength ballet entitled Mirable. Lewitt will design sets. 

Saracen Foundation for Dance To commission the design of sets and costumes by Alvin 2,850 

Kingston, New York Loving fora work for the 1979-80 season. 

Seattle Opera Association To commission the design of a poster by David Hockney 1,000 

Seattle, Washington for the 1980 Wagner Festival. 

Theater for the New City To commission the design of a sculptural set-environment, 2,500 

New York, New York properties, costumes, and lights by Alison Yerxa fora new 

theater work. 

Tulsa Opera To commission Par Gordon for the design of a poster for 990 

Tulsa, Oklahoma the 1979-80 season. 

Virginia Museum Theatre To commission the design of sets by James Baumgardner 2,500 

Richmond, Virginia for the production of Waiting for Godot. 

Artists, Critics, To enable art schools, university art departments, and other arts 

organizations to invite artists, critics, photographers, and craftsmen

Photographers, of national reputation for short-term stays to instruct and work with 

students and faculty while practicing their professions. and Craftsmen 

in Residence Program funds: $139,052 

Akron Art Institute $1,500	 Art Resources Open to Women 1,500 

Schenectady, New York Akron, Ohio 

Arts Festival Association of Atlanta 1,500

Seattle, Washington Atlanta, Georgia 

Allied Arts Foundation	 1,500 

1,500 Astoria Society	 1,500 Appalachian State University 

Boone, North Carolina Astoria, New York

Arizona, University of 3,000	 Beaver CoIlege 1,500 

Glenside, Pennsylvani Tuscon, Arizona 

Arkansas, University of 1,500 Boulder Public Library Foundation 1,745 

Fayetteville, Arkansas Boulder, Colorado 

Art Institute of Chicago, School of the 1,500 Buffalo Fine Arts Academy 1,500 

Chicago, Illinois Buffalo, New York 
248 Visual Arts 

California, Regents of the University of 1,500 Kutztown State College 1,500 

Berkeley, California Kutztown, Pennsylvania 

Ca]ifornia State College 

Bakersfield, California 

1,500 Lake Placid Association of Music, Drama 

and Art 

1,500 

Lake Placid, New York 

California, University of 1,500 

Los Angeles, California Los Angeles Institute of Contemporary Art 1,500 

Catskill Center for Photography 1,500 Los Angeles, Ca]ifornia 

~ Woodstock, New York Louisville School of Art 1,250 

Claremont Graduate School 1,500 Louisville, Kentucky 

Claremont, California Massachusetts Institute of Technology 1,060 

Clayworks Studio Workshop 1,500 Cambridge, Massachusetts 

New York, New York Massachusetts Intitute of Technology 1,730 

Colorado Mountain College 1,500 Cambridge, Massachusetts 

Glenwood Springs, Colorado Media Study 1,500 

Colorado, University of 1,470 Buffalo, New York 

Boulder, Colorado 

Memphis Academy of Art 1,500 

Committee for the Visual Arts 1,500 Memphis, Tennessee 

New York, New York 

Metropolitan State College 1,500 

Committee for the Visual Arts 1,500 Denver, Colorado 

New York, New York Middle Tennessee State University 576 

Corcoran Gallery of Art, Trustees of 1,500 Murfreesboro, Tennessee 

Washington, D. C. Minnesota, University of 1,500 

Denver, University of 1,500 Minneapolis, Minnesota 

Denver, Colorado Moore College of Art 1,500 

80 Langton Street 3,000 Philadelphia, Pennsylvania 

San Francisco, California Moore College of Art 1,500 

Fine Arts Museum of San Francisco 1,500 Philadelphia, Pennsylvania 

San Francisco, California Moore College of Art 1,500 

Fine Arts Work Center in Provincetown 1,500 Philadelphia, Pennsylvania 

Provincetown, Massachusetts 

National Council on Education for the 315 

Fort Wright College 1,500 Ceramic Arts 

Spokane, Washington West Lafayette, Indiana 

Georgia, The University of 1,500 Natural Heritage Trust/Artpark 1,500 

Athens, Georgia Lewiston, New York 

Guggenheim Foundation 1,500 New Gallery of Contemporary Art 1,500 

New York, New York Cleveland, Ohio 

Hampshire College 1,500 New York, Research Foundation of the 1,500 

Amherst, Massachusetts State University of 

Albany, New York 

Hudson River Museum 

Yonkers, New York 

1,500 

New York, Research Foundation of the 

State University of 

1,500 

Illinois, Universíty of 2,500 Oswego, New York 

Chicago, Illinois  ̄New York, Research Foundation of the 372 

Institute for Art and Urban Resources 

New York, New York 

1,500 State University of 

Plattsburgh, New York 

New York Studio School 1,500 

International Center of Photography 

New York, New York 

1,500 New York, New York 

New Wilderness Foundation 500 

Johnson State College 1,500 New York, New York 

Johnson, Vermont 

92nd Street Young Men’s and Young Women’s 855 

Kutzstown State College 1,500 Hebrew Association 

Kutztown, Pennsylva~ia New York, New York 
Visual Arts 249 

North Carolina State University 

Raleigh, North Carolina 

750 Springfield Library and Museums Association 

Springfield, Massachusetts 

1,415 

Northern Virginia Community College 

Alexandria, Virginia 

1,500 Summer School of Painting 

Saugatuck, Michigan 

1,500 

Ohio State University Research Foundation 

Columbus, Ohio 

1,500 Sun Valley Center for the Arts and Humanities 

Sun Valley, Idaho 

1,000 

Ohio University 

Athens, Ohio 

1,500 Sun Valley Center for the Arts and Humanities 

Sun Valley, Idaho 

1,200 

112 Workshop 

New York, New York 

1,500 Sun Valley Center for the Arts and Humanities 

Sun Valley, Idaho 

1,500 

112 Workshop 

New York, New York 

1,500 Texas, University of 

San Antonio, Texas 

1,279 

Pacific Basin School of Textile Arts 1,035 Tucson Museum of Art 1,500 

Berkeley, California Tucson, Arizona 

Portland Center for the Visual Arts 1,500 United Students Government Service Group 1,500 

Portland, Oregon Buffalo, New York 

Portland Society of Art 

Portland, Oregon 

1,500 Visual Studies Workshop 

Rochester, New York 

1,500 

Private Arts Foundation of Washington 

Washington, D.C. 

1,500 Walker Art Center 

Minneapolis, Minnesota 

1,500 

Rockland Center for the Arts 

West Nyack, New York 

1,500 Washington Community College, District 17 

Spokane, Washington 

1,500 

St. Mary’s Creative Arts Forum 1,500 Washington University 1,500 

Lexington Park, Maryland St. Louis, Missouri 

San Francisco Museum of Art, Trustees of the 1,500 Washington, University of 1,500 

San Francisco, California Seattle, Washington 

Skowhegan School of Painting and Sculpture 1,500 Wichita State University 1,500 

Skowhegan, Maine Wichita, Kansas 

Society for Photographic Education 

New York, New York 

1,500 Wisconsin, University of 

LaCrosse, Wisconsin 

3,000 

Some Serious Business 

Los Angeles, California 

1,500 Women’s Caucus for Art 

Detroit, Michigan 

1,500 

Southeastern Center for Contemporary Art 

Winston-Salem, North Carolina 

1,500 Wright State University 

Dayton, Ohio 

1,500 

Exhibition Aid/ To help groups organize or borrow photography exhibitions of contemporary or historical significance. This category also assists in the Photography publication of ex~ibition catalogues. 

Program funds: $320,358 

$10,000 

Akron, Ohio Brancusi, John Heartfield, and Karl Blossfeldt. 

Akron Art Institute For traveling exhibitions of photographs by Constantin 

Arizona, University of For a retrospective exhibition of photographs by Barbara 10,000 

Tucson, ArizJna Crane at the Center for Creative Photography. 

Bard College For exhibitions of photographs by John Pfahl, Ray Metz. 5,000 

Annandale-on-Hudson, New York ker, Jan Groover, Robert Cumming, Bart Parker, and 

Charles Traub. 

California, Regents of the University of For ah exhibition of photographs by artists who use props 6,500 

Santa Barbara, California and artificial set-ups as their subject matter. 
250 Visual Arts 

California State Universtity 

Fullerton, California 

Catskill Center for Photography 

Woodstock, New York 

Center for Exploratory and Perceptual 

Arts 

Buffalo, New York 

Center for Photographic Arts 

La Jolla, California 

Coleman (Alex) Foto Gallery 

New York, New York 

Colorado, Regents of the University of 

Boulder, Colorado 

Contemporary Arts Center 

New Orleans, Louisiana 

Corcoran Gallery of Art, Trustees 

of the 

Washington, D.C. 

Eyes and Ears Foundation 

San Francisco, California 

Founders Society of Detroit Institute 

of Art 

Detroit, Michigan 

Friends of Photography 

Carmel, California 

Grossmont Community College 

El Cajon, California 

Hawaii-Manoa, University of 

Honolulu, Hawaii 

Institute of Contemporary Art 

Boston, Massachusetts 

Institute of Contemporary Art 

Boston, Massachusetts 

lnternational Center of Photography 

New York, New York 

International Center of Photography 

New York, New York 

Lake Placid 1980 Olympic Games 

New York, New York 

Los Angeles Center for Photographic 

Studies 

Los Angeles, California 

Memphis Academy of Arts 

Memphis, Tennessee 

Mexican American Legal Defense and 

Educaticnal Fund 

San Francisco, California 

Miami, University of 

Coral Gables, Florida 

Missouri, University of 

St. Louis, Missouri 

Museo del Barrio 

New York, New York 

For an exhibition entitled "Ob]ect, Illusion, Reality," 5,000 

which includes work by 12 contemporary photograpñers. 

For six photography exhibitions. 4,000 

For five photography exhibitions. 5,000 

For a series of photography exhibitions. 2,500 

For ezhibitions of work by contemporary photographers. 3,000 

For the exhibition "Arboretu~n," consisting of work by 75 10,000 

photographers. 

For ah exhibition of contemporary documentary photog- 5,000 

raphy in Louisiana. 

For four photography exhibitions. 10,000 

For ah e~hibition of work by eight Bay Area photogra- 5,000 

phers to be mounted on billboards. 

For "Prints in the Cliche-Verre, 1839 to the Present," ah 15,000 

exhibition of 200 works at the Detroi~ Institute of Art. 

For three photography exhibitions: "Ruth Bernhard, A 10,000
 

Retrospective," "Photographs from the Diana Camera,"
 

and "Edmund Teske, A Retrospective."
 

For an exhibition of the photographs of Helen Levitt. 6,000 

For an exhibition of recent color work by 12 photogra- 6,000 

phers. 

For a retrospective exhibition of photographs by George 5,000 

Platt Lynes. 

For a retrospcctive exhibition of photographs by Nathan 9,618 

Lerner. 

For "Insights," a series of exhibitions of work by con- 10,000 

temporary photographers. 

For a retrospective exhibition of 120 works by photogra­ 6,000 pher Lou Bernstein. 

For ah exhibitio~ of contemporary photography to be 15,000 

shown during the Olympic Games. 

For ah exhibition of approximately 75 photographs by 5,900 

William Mortensen. 

For a series of exhibitions of historical and contemporary 7,500 

photography at eight Memphis i~stitutions. 

For ah exhibition and catalogue of photographs of Mexi- 10,000 

can Americans. 

For ah exhibition at the Lowe Art Muscum of the Crimean 10,000 

War photographs by Roger Fenton. 

For "Light Abstractions," an exhibition of abstract photo- 5,000 

graphs. 

For six exhibitions of work by contemporary Hispanic 4,000 

photographers. 
Visual Arts~ 251 

Museum of Contemporary Art For ah exhibition of "extended portraits" by contemporary 5,000 

Chicago, Illinois photographers, including DeLappa, Gowin, Snyder-MacNeil, Revelle, Rubenstein, Keith Smith, and Traube. 

Museum of Fine Arts For a retrospective exhibition of the work of photographer 15,000 

Houston, Texas Sid Grossman. 

Museum of Modern Art For four photography exhibitions in the Steichen Gallery. 12,500 

New York, New York 

New Gallery of Contemporary Art 

Cleveland, Ohio 

For ah exhibition of Berenice Abbott’s documentary photography of the 1930s. 

10,900 

New Mexico, University of 

Albuquerque, New Mexico 

For ah exhibition examining portrait photography in the 

1850s, ’6Os, and ’7Os. 

9,000 

Pennsylvania State University For travel costs for "Selected Image," a photography 1,500 

University Park, Pennsylvania exhibition. 

Philadelphia Museum of Art For "The Spirit of ah American Place," a three-part ex­ 7,000 

Philadelphia, Pennsylvania hibition of 120 prints including photographs by Dorothy 

Norman, portraits of Dorothy Norman by Steiglitz, and 

other photographs by Stieglitz made during the period. 

Port Washington Public Library For a series of exhibitions of contemporary photography. 2,000 

New York, New York 

Portland Society of Art Fora series of exhibitions by contemporay photographers. 1,500 

Portland, Maine 

Private ),rts Foundation of Washington For ten exhibitions of work by contemporary photogra­ 6,000 

Washington, D.C. phers at the Washington Project for the Arts. 

San Francisco Art Institute For "Evolulionary Perspectives : New Directions in Pho­ 3,000 

San Francisco, California tography," a project by 15 photographers and curators. 

San Francisco Camerawork Gallery 

San Francisco, California 

For an cxhibition of 100 photographs of China, India, 

Nepal, and Siam by Samuel Bournc. 

7,500 

San Francisco Museum of Modern Art, 

Trusteesofthe 

For "The Marked Photogreph," ah exhibition of prints by 

photographers who mark their negatives or prints to 

5,000 

San Francisco, California change the context o/the photographic image. 

Santa Barbara Museum of Art 

Santa Barbara, Caliíornia 

For four exhibitions of work by photographers who use 

extended formats or serles of photograp~s. 

5,000 

Sun Valley Center for the Arts and For ah exhibition of photographs from the Rephotographic 7,000 

Humanities Survey Project and 19th-century photographs of the same 

Sun Valley, Idaho sites. 

Temple University For an exhibition cxamining the role of photography in 6,440 

Philadelphia, Pennsylvania anthropology and sociology. 

Visual Studies Workshop For the traveling cxhibition program. 10,000 

Rochester, New York 

Exhibition Aid/ To help groups organize or borroxv crafts exhibitions of contemporary or historical significance. This category also assists in the pub- Crafts lication of exhibition catalogues. 

Program funds: $160,416 

American Crafts Council For "Young Americans: Metal/Enamel," a national juried $15,000 

New York, New York exhibition of the work of craftsmen under the age of 

thirty. 

Arizona, University of For a nationaI ]uried exhibition and catalogue of con- 12,000 

Tucson, Arizona temporary work in copper, brass, and bronze. 

Arts and Crafts Society of Portland For regional exhibition of works in glass, paper, ceramics, 13,400 

Portland, Oregon and wood to be coordinated with a workshop of Northwestern craftsmen. 
252 Visual Arts 

Brookñeld Craft Center 

Brookfield, Connecticut 

California State University 

Fullerton, California 

California State University 

Fullerton, California 

Craft Center 

Worcester, Massachusetts 

Everson Museum of Art 

Syracuse, New York 

Everson Museum of Art 

Syracuse, New York 

Moore College of Art 

Philadelphia, Pennsylvania 

Okefonokee Heritage Center 

Waycross, Georgia 

Oregon State University 

Corvallis, Oregon 

Sheboygan Arts Foundation
 

Sheboygan, Wisconsin
 

Sheboygan Arts Foundation 

Sheboygan, Wisconsin 

Sun Valley Center for the Arts and 

Humanities 

Sun Valley, Idaho 

Textile Workshops
 

Albuquerque, New Mexico
 

Virg]nia Commonwealth University 

Richmond, Virginia 

Wildcliff Museum 

New Rochelle, New York 

Photography 

Publications 

Aperture 

Millerton, New York 

Aperture 

Millerton, New York 

Arizona, University of 

Tucson, Arizona 

Artspace 

Albuquerque, New Mexico 

For an exhibition with catalogue of works by craftsmeninstructors of the center. 

8,950 

For "Itchiku Kobota: Tsujigahana Dyed Kimonos," an 

exhibition with catalogue of 50 furisode kimonos and 

related garments. 

15,000 

For "Juan Quezada: The New Tradition," an exhibition 

with catalogue of the work of this contemporary ceramist. 

5,000 

For "It’s About Time," a national juried exhibition with 

catalogue of contemporary hand made clocks. 

5,200 

For documentation and publication of the proceeding8 of 

the Ceramics Symposium 1979 at Syracuse University. 

5,000 

For "Adelaide Alsop Robineau : American Genius in Porcelain," ah e~chibition with catalogue of the work of 

ceramic artist. 

15,000 

For ah exhibition with catalogue of the works of Claire 

Zeisler and Ruth Duckworth. 

15,000 

For a ]uried exhibition with catalogue of crafts Írorn 

southwest Georgia. 

2,822 

For a national ]uried ezhibition with catalogue of íunctional crafts in fiber, clay, and metal. 4,699 

For "Glad Rags: Wearables by Contemporary American 

Artists," an exhibition with catalogue of one-of-a-kind and 

limited-edition handmade wearables. 

13,000 

For a chronological survey e~chibition and catalogue of the 

work o] Albert Paley at the John M~chael Kohler Arts 

Center. 

7,000 

For an exhibition and catalogue of the work of three 

studio production potters: John Glick, Jenny Lind, and 

Tom Coleman. 

6,000 

For the "National Miniature Fiber Exhibition." 7,500 

For "Five in Fibers," an exhibi~ion and catalogue of 4,845 

works by Dominie DiMare, John McQueen, Joan Livingstone, Neda AI-Hilali, and Mariyo Yagi. 

For support of "Book Art," an exhibition of the book as 5,000 

contemporary cra]t and art forro. 

To make possible the publication of important works in photography, 

including works of historical or contemporary importance, works of

little-known but historically important photographers, and books 

containing research findings, criticism, or essays about the art of 

photography. 

Program funds: $107,310 

Fora monograph on Liberte Model. $10,000

For th~ publication William Klein: His Life and Photo- 10,000 

graphs. 

For monographs on W. Eugene Smith and Margrethe 13,000 

Mather for ¿he Center for Creative Photography. 

For Park City, a book of recent photograph~ by Lewis 10,000 

Baltz with text by Gus Blaisdell. 
Visual Arts 253 

Colorado Associated University Press 

Boulder, Colorado 

For From the Missouri West, a book of western landscape photographs by Robert Adams. 7,410 

Cultural Council Foundation 

New York, New York 

For the fourth edition oÍ The Black Photographers Annual

Íor Another View. 10,000 

Essex Photographic Workshop 

Essex, Massachusetts 

For a publication on the li/e and work of Roman Vishniac, 

written by Melissa Shook. 7,500 

Maryland Institute 

Baltimore, Maryland For a publication of photographs from the East Baltimore Documentary Photography Project. 

7,500 

Schooi of American Research For a publication of photographs by Laura Gilpin. 5,000 

Santa Fe, New Mexico 

Temple University For The Altered Subject, a book of photographs by con­ 3,400 

Philadelphia, Pennsylvania temporary photographers who manipulate the sub]ects of 

their pictures. 

Visual Studies Workshop For the Index on Photography, 1978, ah index to photo­ 7,400 

Rochester, New York graphic literature consisting of approximately 3,000 

enfríes from over 65 periodicals. 

Visual Studies Workshop For William Klein: Painter, Photographer, Filmmaker, 8~600 

Rochester, New York a book by Katherine Tweedie which places Klein’s work 

in a social and historical context. 

Wright State University For Problematic Photography, a book of photographs and 7,500 

Dayton, Ohio essays to be edited by Lew Thomas and Peter d’Agostino. 

Photography Surveys	 To help organizations commission photographers to document the 

geography or way of life in a particular city or region. 

Program funds: $92,860 

Akron Art Institute For a photography survey by Lee Friedlander of the life $15,000 

Akron, Ohio of industrial workers in the Akron, Cleveland, Detroit, and 

Pittsburgh areas. 

Atlanta Historical Society For a photography survey of the Atlanta metropolitan 9,860 

Atlanta, Georgia area recording vanishing historic districts. 

Chinese Historical Society of America Fora photography survey of Chinatown in transition. 2,500 

San Francisco, California 

Earth Environmental Group For continued support of a photography survey of the 8,000 

New York, New York forested areas in the New York City boroughs. 

Emanu-EI Midtown YM-YWHA For ah in-depth photography survey o] l~th Street in 2,500 

New York, New York New York City. 

Hudson River Museum For a photography survey of commercial architecture in 10,000 

Yonkers, New York the Northwest. 

Long Beach California State College	 For a photography survey of the City of Long Beach by 8,000 six southern California photographers. Foundation 

Long Beach, California 

Miami Beach, City of For a photography survey of South Beach. 15,000 

Míami Beach, Florida 

Oregon Center for the Photographic For a photography survey of the Columbia River Gorge 5,000 

Arts atea. 

Portland, Oregon 

Photographie Arts Museum For a photography survey oÍ Los Angele# by eight pho- 15,000 Los Angeles, California tographers. 

Sutton, Town of For a photography survey of the town of Sutton. 2,000 North Sutton, New Hampshire 
254 Visual Arts 

Wort~sho.,/ 

Alternative Spaces 

Alternative Space-Detroit 

Detroit, Michigan 

and/or service 

Seattle, Washington 

Apeiron Workshops 

Millerton, New York 

Archdiocesan Communication Center 

San Francisco, California 

Art Place 

Madison, Wisconsin 

Art Research Center 

Kansas City, Missouri 

Artemesia Fund 

Chicago, Illinois 

Artists in Residence 

New York, New York 

Artists Residents of Chicago 

Chicago, Illinois 

Asylum Hill Artists Cooperative 

Hartford, Connecticut 

Baltimore, City of 

Baltimore, Maryland 

Boston Visual Artists Union 

Boston, Massachusetts 

Brandywine Graphic Workshop 

Philadelphia, Pennsylvania 

Center for Exploratory and 

Perceptual Arts 

Buffalo, New York 

Center for New Art Activities 

New York, New York 

Clayworks Studio Workshop 

New York, New York 

Cochise Fine Arts 

Bisbee, Arizona 

Columbia College 

Chicago, Illinois 

Committee for the Visual Arts 

New York, New York 

Committee for the Visual Arts 

New York, New York 

Contemporary Arts Center 

New Orleans, Louisiana 

To support workshops and alternative spaces. The program is designed to encourage artists to devise modes of working together and 

to test new ideas. 

Program funds: $693,000 

For e~hibitions of local artists’ work emphasizing non- $ 5,000 

traditional art forros. 

For the presenta¿ion of new work by regionally and na- 20,000 

tionally known artists. 

Fora photography workshop program, including ah ad­ 10,000

vanced summer workshop and ah artist in residence 

program. 

For a monthly vídeo performance showcase by Vídeo Free 9,000

America. 

For an ezhibition program and communication center for 3,000 

local artists. 

For research, exhibí¿ion, and documenta¿ion of local and
 4,000

international activity in constructivist art.
 

For exhibition and workshop activities for women artists. 10,000
 

For seminars and exhibitions of work by women artists. 5,000
 

For ah exhibí¿ion program which focuses on the work of 3,000
 

local women artists but also includes work by artists from
 

across the country.
 

For an exhibí¿ion program for local artists. 5,000
 

For an exhibí¿ion program for local artists. 4,000
 

For support of an ezhibition program for local artists. 10,000
 

To support a printmaking workshop facility which invites 5,000
 

both local and nationally known minority artists.
 

For a photography exhibí¿ion, visiting artist, and work- 4,000
 

shop program.
 

For support of vídeo, audio, performance, publica¿ion and 10,000
 

film work generated by Collaborative Projects, an open
 

association of $0 artists who pool their diverse interests
 

and complementary skills and resources.
 

For a workshop facility designed to give artists who 5,000
 

work in other media ah opportunity to experiment in clay.
 

For an exhibí¿ion program for nationally known and local 5,000
 

artista, as well as studio space for visiting ar~i~ts.
 

For the workshop and alternative space program of the 10,000
 

Chicago Ce~~ter for Contemporary Photography.
 

For continued support of ¿he Artists’ Space program for 20,000
 

performance, film and vídeo events, panels, lectures,
 

meetings, and exhibitions.
 

For an artists’ exhibí¿ion program at Fashion Moda, 8,000
 

located in the Bronx.
 

To support a regional ezhibition center which shows work 10,000
 

in all ~nedia by both local and nationally known artists. The
 

center provides a limited number of equipped studios for
 

artists and an exhibition ezchange program.
 
Visual Arts 255 

Creative Time 

New York, New York 

For temporary exhibitions o,f new art works in highly 

visible, unused corporate and municipal spaces. 15,000 

Crossroads Community 

San Francisco, California 

To enable a number o,f artists to create works within the 

context o,f The Farm, a per,formance and exhibition spaee 5,000 

located under a freeway. 

Dayton, City of For a workshop and exhibition program ,for tire visiting 15,000 

Dayton, Ohio artists who create new works at ,four area academic institutions and in the Dayton community. 

80 Langton Street 

San Francisco, California 

For an alternative exhibition space ,for artists working 

in per,formance, vídeo, and other experimental art ,forms. 20,000 

Eyes and Ears Foundation For an environmental art exhibition program anda work­ 5,000 

San Francisco, Caliíornia shop ,for artists. 

Fort Wayne Fine Arts Foundation 

Fort Wayne, Indiana 

For Artlink’s exhibitions oÍ local and nationally known 

artists and a program .for exchanging shows with alterna­ 3,000 

tive spaces in other cities. 

Foundation for Today’s Art 

Philadelphia, Pennsylvania 

For Nexus’ artist-run gallery exhibitions, exchange prograto with ot]~er cities, and art installations in public 

8,000 

spaces. 

Franklin Furnace Archive 

New York, New York 

For an exhibition space ,for artists’ books and for performi~g artists. 12,000 

Haleakala For exhibitions and presentations of work by video and 15,000 

New York, New York performa~~ce artists at The Kitchen. 

Hallwalls For artists’ exhibitions, workshops, and per,formances. 15,000 

Buffalo, New York 

Hera Educational Foundation For ah exhibition program and lecture series for a local 2,840 

Wakeñeld, Rhode Island u’omen artists’ cooperative gallery. 

Hudson River Museum For a workshop and exhibition program which allows 9,000 

Yonkers, New York visual artists to work with science and music in the 

facilities of the Andrz~s Space Transit Planetarium. 

Illinois Arts Council To support Chicago Books, a publishing cooperative for 5,500 

Chicago, Illinois artists interested in printing books and broadsides. 

Indiana University 

Indianapolis, Indiana 

To support exhibitions for indoor and outdoor works of 

art, a film and video series, anda program to exchange 

6,000 

shows with artists in other cities. 

Institute for Art and Urban Resources For support of exhibition and per,formance programs in­ 20,000 

New York, New York cluding the Clocktower and New Urban Landscapes. 

Iowa, University of For Corroboree’s series of visiting artist programs, in­ 7,500 

Iowa City, Iowa cl~~di~tg workshops, exhibitio)ts, and per,formances. 

Just Above Midtown For a gallery wMch emphasizcs the work of Afro-American 5,000 

New York, New York and emergi~tg artists. 

La Mamelle For ah exhibition program which emphasizes video and 9,000 

San Francisco, California pcrforma~zce work, exc]~ange exhibitions with artists’ 

grot~ps i~~ other cities, vidco a~td artist book archives, aud 

micro-documentation of alternative art publications. 

Lightwork Visual Studies For a photograpby workshop a~~d visiting artists programs. 3,510 

Syracuse, New York 

Long Beach Museum of Art Foundation For an cxhibitio~t program and workshops ,for video artists. 5,000 

Long Beach, California 

Los Angeles Institute of Contemporary 

Art 

For exhibitions by Southern California and national artists 

selected by guest curators. 15,000 

Los Angeles, California 

Massachusetts Institute of Technology 

Cambridge, Massachusetts 

For a workshop at the Center ,for Advanced Visual Studies, 

giving artists access to the institute’s scientific and tech­ 5,000 

nological resources. 
256 Visual Arts 

Mills College 

Oakland, California 

Minneapolis Society of Fine Arts 

Minneapolis, Minnesota 

Minneapolis Society of Fine Arts 

Minneapolis, Minnesota 

N.A.M.E. Gallery 

Chicago, Illinois 

Natural Heritage Trust/Artpark 

Lewiston, New York 

New Gallery of Contemporary Art 

Cleveland, Ohio 

New Organization for the Visual Arts 

Cleveland, Ohio 

Nexus 

Atlanta, Georgia 

Nexus 

Atlanta, Georgia 

Northwest Artists Workshop 

Portland, Oregon 

112 Workshop 

New York, New York 

Open Gallery 

Eugene, Oregon 

Open Ring Galleries 

Sacramento, California 

Oregon Center for the Photographic 

Arts 

Portland, Oregon 

Pennsylvania, University of 

Philadelphia, Pennsylvania 

Philadelphia College of Art 

Philadelphia, Pennsylvania 

Portland Center for the Visual Arts 

Portland, Oregon 

Printmaking Workshop 

New York, New York 

Private Arts Foundation of Washington 

Washington, D.C. 

Private Arts Foundation of Washington 

Washington, D.C. 

Public Eye 

San Francisco, California 

Puerto Rican Culture, Institute of 

San Juan, Puerto Rico 

Richmond Printmaking Workshop
 

Richmond, Virginia
 

Roswell Museum and Art Center 

Roswell, New Mexico 

For an exhibition series and electronic equipment workshop facilities at the Center for Contemporary Music. 

8,000 

For a workshop and exhibition program through which 

four prominent artists will visit four colleges and create 

new work. 

16,000 

For exhibitions organized by local artists to show regional 

work, and for a program to exchange work with artists’ 

groups in other areas. 

9,000 

For an artist-run gallery showing local artists and offering other arts activities such as film, poetry readings, 

dance, theater performances, and ezhibi~ion ezchange 

programs with artists in other cities. 

15,000 

For a summer program providing several visual artists 

with overlapping residencies to create outdoor works. 

3,000 

For symposia, lectures, and an exhibition space for the 

work of major contemporary artists. 

5,000 

For a 500-member organization to exhibir works in public 

spaces and administer studio and workspace programs. 

9,000 

For an exhibition program for local artists by the Forrest 

Avenue Consortium. 

8,000 

For a photography workshop and exhibition program. 10,000 

For ezhibition space for local and visiting artists. 6,000 

For ah artist-initiated exhibition program which also 

presents performances, lectures, and concer~s. 

9,000 

For an artist-run exhibition series for local and visiting 

artists anda program to exchange shows with artists in 

other cities. 

5,000 

For an exhibition program for local artists. 6,000 

Fora photography workshop and exhibition program. 3,000 

For exhibitions, projects, and events at the Institute for 

Contemporary Art. 

15,000 

For an exhibition program showing contemporary work 

of national interest. 

7,500 

For exhibition space presenting the work of major contemporary artists. 20,000 

Fora printmaking facility available to professional artists. 8,000 

For exhibitions, workshops, performances, and vídeo presentations at the Washington Projeet for the Arts. 14,000 

To commission temporary public art works for an outdoor 

exhibition space in downtown Washington, D.C. 

3,000 

Fora multi-media, interdisciplinary, outdoor performance 

series in the Bay Arca. 

3,000 

For a photography workshop and exhibition programs 

of Casa Aboy, Inc. 

2,000 

For a workshop for regional artists to eollaborate with 

a master printer. 

5,000 

For ah exhibition program for local and guest artists. 5,000 
Visual Arts 257 

San Francisco Art Institute For an exhibition program for local and guest artists. 9,000 

San Francisco, California 

San Francisco Camerawork For photography exhibitions, workshops, and publications. 7,000 

San Francisco, California 

Santa Barbara Contemporary Arts For an artists’ lecture for visiting artists. 5,400 

Forum 

Santa Barbara, California 

Santa Barbara Museum of Art For an exhibition space showing local artists’ work. 5,000 

Santa Barbara, California 

Senoj For research and exhibitions for artists working with 1,650 

Atlanta, Georgia correspondence and video art. 

Site, Cite, Sight For a project space and a series oÍ exhibitions. 10,000 

San Francisco, California 

Soho Baroque Opera Company For a visual artist’s exhibition program in a public space. 4,400 

New York, New York 

Some Serious Business 

Venice, California 

For a series of artists performances, vídeo and film 

8creenings, concerts, and a cable television program. 

15,000 

Studio Gallery Association For an exhibition program for local artists. 3,000 

Washington, D.C. 

Televista Projects For a workshop and exhibition space for local artists 3,000 

Memphis, Tennessee working in various media, especially video. 

Visual Studies Workshop For workshop facilities and programs in photography, 20,000 

Rochester, New York printing, vídeo, and film. 

WGBtt For a workshop facility for vídeo artists anda series on 20,000 

Boston, Massachusetts visual artists to be o1~ered to PBS for broadcasting. 

Women’s Art Center For an exhibition space and exchange program with 7,500 

Washington, D.C. artists in other cities. 

Women’s Community For a women’s graphic workshop program. 7,500 

"Los Angeles, California 

Women’s Interart Center For an exhibition program for local women artists and 3,000 

New York, New York guest artists. 

Wordworks For ah exhibition, lecture, and performance program for 5,000 

San Jose, California local artists. 

Works For an exhibition program emphasizing performance art. 2,700 

San Jose, California 

Artists’ Fellowships	 To enable artists to set aside time, purchase materials, and generally 

advance their careers as they see fit. Fellowships are awarded to 

painters, sculptors, printmakers, artists specializing in drawing,

video artists, conceptual artists, and environmental artists. 

Program funds: $1,047,000 

The following artists were awarded $10,000 each: 

Alf, Martha	 Atchley, Dana Blackwell, Benjamin 

San Diego, California	 Crested Butte, Colorado Oakland, California 

Allen, Terry Benglis, Lynda Brown, Larry 

Fresno, California New York, New York New York, New York 

Alpert, Richard Berger, Richard Butler, James 

San Francisco, California Oakland, California Bloomington, Illinois 

Antin, Eleanor Biederman, James Carrillo, Graciela 

Del Mar, California New York, New York San Gabriel, California 
258 Visual Arts 

Cervantes, Susan 

San Francisco, California 

Chan, Phillip 

Manhattan, Kansas 

Colescott, Warrington

Hollandale, Wisconsin 

d’Agostino, Peter 

Yellow Springs, Ohio 

Davenport, Rebecca 

Washington, D.C. 

de Cointet, Guy 

Los Angeles, California 

Dickson, John

Alexandria, Virginia 

Duran, Robert 

New York, New York 

Eisler, Susan 

St. Louis, Missouri 

Emshwiller, Ed 

Wantagh, New York 

Fares, William 

New York, New York 

Fine, Perle 

The Springs, New York 

Fitzgerald, Kit 

New York, New York 

Fredenthal, Robinson 

Berwyn, Pennsylvania 

Fuente, Larry 

Mendocino, California 

Gianakos, Steve 

New York, New York 

Gonzalez, Juan 

New York, New York 

Hall, Susan 

New York, New York 

Hammond, Harmony 

New York, New York 

Heilmann, Mary 

New York, New York 

Henselmann, Caspar 

New York, New York 

Hopkins, Budd
 

New York, New York
 

Kaprow, Alan 

Los Angeles, California 

Katz, Michael
 

Miami, Florida
 

Kaufman, Jane
 

New York, New York
 

Kazuko 

New York, New York 

Korot, Beryl 

New York, New York 

La Barbara, Joan 

New York, New York 

Linhares, Judith

San Francisco, California 

Lobe, Robert 

New York, New York 

Long, Anthony 

Paris, France 

Luchs, Michael

Detroit, Michigan 

Mayer, Edward 

Athens, Ohio 

Mayer, Rosemary 

New York, New York 

Miller, Brenda 

New York, New York 

Munson, Paul

Radford, Virginia 

Murphy, Catherine 

Lexington, Massachusetts 

Nelson, Dona 

New York, New York 

Perlman, Joel 

New York, New York 

Pfaff, Judy 

New York, New York 

Piccillo, Joseph 

Buffalo, New York 

Pinto, Jody 

Philadelphia, Pennsylvania 

Piper, Adrian 

Cambridge, Massachusetts 

Pomeroy, James 

San Francisco, California 

Price, Kenneth 

Taos, New Mexico 

Remington, Deborah 

New York, New York 

Romano, Salvatroe 

New York, New York 

Rothenberg, Susan 

New York, New York 

Saul, Peter 

Chappaqua, New York 

Schneider, Ira 

New York, New York 

Segalove, Ilene 

Santa Monica, California 

Shaddle, Alice 

Chicago, Illinois 

Shepp, Alan 

Berkeley, California 

Snider, Jenny 

New York, New York 

Snyder, Robert

Chicago, Illinois 

Surls, James

Splendora, Texas 

Tetherow, Michael 

New York, New York 

Thorne, Joan 

New York, New York 

Trakas, George 

New York, New York 

Valledor, Leo 

San Francisco, California 

Van Winkle, Lester 

Richmond, Virginia 

Viner, Frank 

Valley Cottage, New York 

Walker II, William 

Oakland, California 

Warrens, Robert 

Baton Rouge, Louisiana 

Whitney, Mac 

Dallas, Texas 

Williams, Emmett 

Cambridge, Massachusetts 

Yankowitz, Nina 

New York, New York 

Zagar, Isaiah 

I’hiladelphia, Pennsylvania 

Zapkus, Kes 

New York, New York 

The following artists were 

awarded $3,000 each: 

Allen, Jo 

Fresno, California 

Apple, Jacki 

New York, New York 

Ancona, Patricia 

San Francisco, California 

Beckett, Richard 

Chicago, Illinois 

Boulding, Mark 

Boulder, Colorado 

Bozanich, Ante 

Los Angeles, California 

Brauntuch, Troy 

New York, New York 
Visual Arts 259 

Byrne, $ames 

New York, New York Katz, Leandro 

New York, New York 

Putterman, Florence

Sellingsgrove, Pennsylvania 

Caldwell, .Iohn 

Burbank, California 

Kemppainen, Marilyn 

Los Angeles, California Reif, DavidLaramie, Wyoming 

Cha, Theresa Kennedy, Brigid Roberts, Kirk 

Oakland, California New Haven, Connecticut San Francisco, California 

Cypis 

Los Angeles, California Kirk, Chris 

New York, New York Rudd, EricPotomac, Maryland 

Dennehy, .Iohn 

Brookline, Massachusetts Kleinbard, Alexandra 

Havana, Florida 

Rutkovsky, Paul 

New Haven, Connecticut 

Dolberg, Garrick 

Chicago, Illinois Kotter, .lennifer 

La Jolla, California 

Sapien, Darryl 

San Francisco, California 

Eder, Susan 

Williamstown, Massachusetts 

Kriegman, Mitchell 

New York, New York 

Scarritt, Alan 

San Francisco, California 

Far]ey, William Lackey, David Sherman, Cindy 

East Braintree, Massachusetts Columbia, South Carolina New York, New York 

Feinberg, Jean 

New York, New York 

Lacy, Suzanne 

Venice, California 

Simon-Peterson, Karen 

Lexington, Kentucky 

Feingold, Ken 

Minneapolis, Minnesota 

Lande, Alan 

Seattle, Washington 

Smagula, Howard 

San Francisco, California 

Finkel, Alan 

New York, New York 

Larson, Philip 

Minneapolis, Minnesota Smith, Barbara 

Pasadena, California 

Forsman, Charles Lerner, Howard Spater, Suzanne 

Boulder, Colorado Silver Spring, Maryland San Francisco, California 

Froese, Dieter Lucero, Michael Thomas, Lew 

New York, New York New York, New York San Francisco, California 

Gapp, Marjorie Lurie, David Trasobares, Cesar 

Philadelphia, Pennsylvania Las Vegas, Nevada Coral Gables, Florida 

Gardner, Christopher Makanna, Philip Tschumi, Bernard 

Falls Church, Virginia San Francisco, California New York, New York 

Gellis, Sandy 

New York, New York 

Meyers, Michael 

Kansas City, Missouri 

Venet, Bernar 

New York, New York 

Giuntini, Gilles

Ambler, Pennsylvania 

Miller, Larry 

New York, New York 

Volkes, Ann 

New York, New York 

Goldstein, .Iack 

New York, New York 

Miller, Melissa 

Austin, Texas 

Von Rydingsvard, Ursula 

New York, New York 

Goodell, Kathy 

San Francisco, California 

Newton, Gordon 

Detroit, Michigan White, BillBaltimore, Maryland 

Gorewitz, Shalom 

New York, New York 

Nicholson, Natasha 

Irvine, California 

White, John 

Venice, California 

Gwon, Steven 

New York, New York 

Noble, Kevin 

Buffalo, New York 

Wilhite, Robert 

Los Angeles, California 

Heyward, .lulia Notkin, Richard Wilke, Hanna 

New York, New York Myrtle Point, Oregon New York, New York 

Hill, Gary Obuck, John Young, Purvis 

Barrytown, New York Chicago, Illinois Miami, Florida 

Karol, Diane Patino, Rosa Zwack, Michael 

New York, New York Ann Arbor, Michigan Ncw York, New York 
 

 

260 Visual Arts 

Photo,,ra,d~ers,	 For budgetary reasons, fiscal 1979 Photographers’ Fellowships were 

paid out of fiscal 1978 funds and therefore are listed in the 1978 Fellowships Annual Report. 

Art Critics’ 

Fellowships 

Adney, Carol 

Indianapolís, Indiana 

Beardsley, .lohn 

Fredericksburg, Virginia 

Cavaliere, Barbara 

New York, New York 

Chahroudi, Martha 

Rochester, New York 

Corbino, Marcia 

Sarasota, Florida 

Deitch, Jeffrey 

West Hartford, Connecticut 

Desmarais, Charles 

Chicago, Illinois 

Dillon, David 

Dallas, Texas 

Fineberg, Jonathan 

Glencoe, Illinois 

Finkel, Candida 

Wilmette, Illinois 

Fischer, Lucy 

Pittsburgh, Pennsylvania 

Haggerty, Gerald 

Br ~nswick, Maine 

Hegeman, William 

Minneapolis, Minnesota 

Iskin, Ruth 

Pacific Palisades, California 

Johnson, Eilen 

Oberlin, Ohio 

Kangas, Matthew 

Seattle, Washington 

Levin, Kim 

New York, New York 

Craftsmen~s 

Fellowships 

To enable art critics to set aside time to pursue a specific project 

which is not feasible in their present circumstances. Smaller fellowships for travel also ate made to critics to expand their knowledge 

of the current art scene outside their own regions. 

Program funds: $105,000 

$5,000 Lifson, BenJamin 

New York, New York 

1,000 

1,000 Loeflter, Carl 1,000 

San Francisco, California 

5,000 Lyle, Cindy 5,000 

New York, New York 

1,000 Marranca, Bonnie 1,000 

New York, New York 

5,000 Master-Karnik, Paul 5,000 

Staten Island, New York 

5,000 Perreault, John 5,000 

New York, New York 

1.000 Peterson, William

Albuquerque, New Mexico 

1,000 

1.000 Rayen, Arlene 

Los Angeles, California 

5,000 

5,001~ Rice, Shelley 5,000 

New York, New York 

5.000 Rich, Ruby Chicago, Illinois 5,000 

5,000 Rosenthal, Deborah 1,000 

New York, New York 

5,000 

Silverthorne, Jeanne	 1,000 

Philadelphia, Pennsylvania 1,000 

Smith, Roberta 5,000 

New York, New York 5,000 

Stubbs, A.L. 1,000 

5,000 New York, New York 

Sutinen, Paul	 1,000 1,000 Portland, Oregon 

1,000	 Wilson, William 5,000 

New York, New York 

To enable craftsmen to set aside time, purchase materials, and generally advance their careers as they see fit. 

Program funds: $424,000 

The following craftsmen were awarded $10,000 each: 

Baldwin, Douglas Al-hilali, Neda	 Bailey, Clayton Baltimore, Maryland Santa Monica, California Port Costa, California 
Visual Arts 261 

Bennett, James Kaneko, Jun Tawney, Lenore 

Memphis, Tennessee Long Beach, California Quakertown, New Jersey 

Bertoni, Christina Klotz-Reilly, Suzanne Tompkins, Merrily 

Cranston, Rhode Island Phoenix, Arizona Seattle, Washington 

Blackburn, Edmund Livingstone, Joan Warner, Deborah 

Chico, California Kansas City, Missouri Philadelphia, Pennsylvania 

Bourdon, Robert 

Sheridan, Wyoming 

Magdanz, Andrew 

Berkeley, California 

Warner, Phillip 

New York, New York 

Butt, Harlan McCuistion, John Winokur, Robert 

Denton, Texas Tacoma, Washington Horsham, Pennsylvania 

Campbell, Patricia 

Chalfont, Pennsylvania 

McQueen, John 

Alfred, New York The following craftsmen have 

Carman, Nancy McKie, Judy been awarded $3,000 each: 

San Francisco, California Cambridge, Massachusetts 

Chapnick, Karen 

Vancouver, British Columbia, Canada 

Mulcahy, Kathleen 

Pittsburgh, Pennsylvania 

DeStaebler, Stephen 

Berkeley, California 

Chihuly, Dale Myers, Gifford 

Hamlet, Susan 

West Hartford, Connecticut 

Providence, Rhode Island Altadena, California 

Leitner, Elizabeth 

Devillier, Charles 

Baton Rouge, Louisiana Nagle, Ron 

San Francisco, California 

Philadelphia, Pennsylvania 

Lieberman, Louis 

Fitt, Cathleen 

Richmond, Virginia Nugent, Bob 

Mt. Shasta. California 

New York, New York 

Morosko, Bruce 

Forman, Robert Olszewski, Michael Chicago, Illinois 

Providence, Rhode Island Philadelphia, Pennsylvania Nininger, Susan 

Gill, John Paley, Albert Seattle, Washington 

Helena, Montana Rochester, New York Rosen, Annabeth 

Holcomb, Jan Quigley, Robin New Haven, Connecticut 

Cranston, Rhode Island Philadelphia, Pennsylvania Valdovin, Rogelio 

Itter, Diane 

Bloomington, Indiana Ripley, Jr., Curtis 

Richmond, Virginia 

Tucson, Arizona 

Iverson, Susan 

Richmond, Virginia Sterrenburg, Joan 

Nashville, Indiana 

Apprentice Category I. Individual Craftsmen ate enabled to work as apprentices in the studies of master craftsmen; and Category II: Organiza- Fellowships tions are awarded grants to cover costs of an apprenticeship proin Crafts gram. 

Program funds: $86,500 

The following craftsmen were awarded $5,000 each: 

Baretti, Lynn Holte, B|org Solomon, Barbara Berkeley, California Urbana, Illinois West Hartford, Connecticut 

Bisacca, George LaJeunesse, Don Thiedeman, Michael 

Florence, Italy State College, Pennsylvania Maplewood, Minnesota 

Cellura, Marte Ordaz, David Trupiano, Daniel 

Rochester, New York Venice, California New York, New York 

Condo, Sandra Schopfer, Janice Verbeke, Beverly

Tallahassee, Florida San Francisco, California Erie, Pennsylvania 

Crocker, Barbara Shapiro, Susan Wong, Paul

North Adams, Massachusetts Oakland, California New York, New York 
262 Visual Arts 

The fol|owing organizations were awarded grants Fabric Workshop 5,000 

to support an apprenticeship program: Philadelphía, Pennsylvania 

Center for Book Arts 

New York, New York 

Crafts Æor]~shops 

Arts and Crafts So¢iety of Portland 

Portland, Oregon 

Brookfield Craft Center 

Brookfield, Connecticut 

California College of Arts and Crafts 

Oakland, California 

California State University 

Fullerton, California 

Cerami¢ League of Miami 

Miami, Florida 

Fabric Workshop 

Philadelphia, Pennsylvania 

Factory of Visual Art~ 

Seattle, Washington 

Georgia Council for the Arts and 

Humanities 

Gainesville, Georgia 

Haystack Mountain School of Crafts 

Deer Isle, Maine 

Natural Heritage Trust/Artpark 

Lewiston, New York 

Peters Valley Craftsmen 

Layton, New Jersey 

Rhode Island College 

Providence, Rhode Island 

San Diego State University 

San Diego, California 

Sheboygan Arts Foundation 

Sheboygan, Wisconsin 

Sun Valley Center for the Arts and 

Humanities 

Sun Valley, Idaho 

Tennessee Arts Commission 

Nashville, Tennessee 

Sun Valley Center for the 1,500 

$5,000 Arts and Humanities 

Sun Valley, Idaho 

To encourage craftsmen to find ways of working together and of 

testing new ideas and media. Workshops ate intended to be shortterm and have a specific project of theme. 

Program funds: $125,000 

Fora major regional workshop and conference on works $10,000
 

in glass, paper, ceramics, and wood.
 

For three workshops in clay, fiber, and metal ¿o be led 3,000
 

by Bruno LaVerdiere, Cynthia Shira, Richard Coble, and
 

Susan Corey.
 

For tire consecutive six-day workshops in advanced metal- 3,915
 

working techniques for proíessionals and advanced stu.
 

dente.
 

For a two-week workshop in advanced metal working 9,000
 

processes that will emphasize toolmaking. Ten silversmith
 

professors will be led by Statsuo Ande.
 

For a two-week workshop for atea professionals and 2,500
 

league members to be led by Betty Woodman.
 

To bring professional arti8t-craftsmen to the workshop 9,000
 

for two-week residencies.
 

For íeur workshops led by James Hirschfield, Cindy 10,000
 

Snodgrass, Franeoise Grossen, and Lewis Baltz.
 

For a series of short-term workshops for local proíessional 5,000
 

cra f tsmen.
 

To bring tire master blacksmiths to the echool for a three- 4,700
 

week period to work with advaneed students.
 

For residencies of up to six craftsmen who will develop 10,000
 

site projects during the 1979 season.
 

Fora one-year residency of kiln builder and potter 7,000
 

Katsuyuki Sakazume.
 

For ah exhibition, conference, and workshop on using 5,160
 

renewable resources and appropriate technology in working with metal and clay.
 

Fora workshop on platinum-working for 1~ metalsmith 9,725
 

professors.
 

For the John Miehael Kohler Arte Center’s Arts/Industry 7,000
 

workshop for 3~ craftsmen who will work in the pottery


section oÍ the Kohler Company.
 

To support a two-week workshop for studio produetion 4,500
 

potters John Glick, Jenny Lind, and Toro Coleman to work
 

together at the eenter.
 

To support tire four-day workshops at the Joe L. Evins 4,500
 

Appalachian Center for Crafts in the disciplines of clay,
 

wood, metal, glass, and fiber to be led by Jack Earl, Rudie
 

Osolnik, Ivan Bailey, Harvey Littleton, and Alma Leish.
 

Textile Workshop For workshops with an emphasis on surface design tech- 5,000 

Santa Fe, New Mexico niques. 
United Indians of Al! Tribes 

Foundation 

Seattle, Washington 

Wildcliff Museum 

New Rochelle, New York 

Services to the Field 

Akron Art Institute 

Akron, Ohio 

American Academy of Rome 

New York, New York 

and/or service

Seattle, Washington 

Anderson, Marilyn 

Los Angeles, California 

Anderson, Marilyn F. 

Rochester, New York 

Arizona Commission on the Arts and 

Humanities 

Phoenix, Arizona 

Arizona Commission on the Arts and 

Humanities 

Phoenix, Arizona 

Art Institute of Chicago 

Chicago, Illinois 

Artists Talk on Art 

New York, New York 

Arts and Crafts Society of Portland 

Portland, Oregon 

Arts and Crafts Society of Portland 

Portland, Oregon 

Artspace 

Albuquerque, New Mexico 

Ascott, Ray 

Mill Valley, California 

Association of Artist-Run Galleries 

New York, New York 

Atlanta Art Workers Coalition 

Atlanta, Georgia 

Barton, Jane 

Washintgon, D.C. 

Blumrich, Stephen 

Halsey, Oregon 

Butler, Frances 

Berkeley, California 

Visual Arts 263 

For workshops to encourage lndian artists and artisans 

to use precise cultural knowledge, the thematic inspiration 

of history, legend, and myth, and $raditional ~naterials, 

¿echniques, and forros to creatc a contemporary idiota. 

7,500 

To bring tire iron workers fora two.week workshop at 

the Wildeliff forge. 

7,500 

To assist organizations, artists’ groups, and individuals concerned 

with providing services to artists. 

Program funds: $569,099 

For Dialog, a bi-monthly Ohio newspaper covering con- 3,500 

temporary art. 

To suport three-month fellowships in Rome for three 10,000 

American contemporary artists. 

Fora refere~ce library for the art community. 5,000 

For the study and documentation of Jacquard weaving. 2,500 

For the research and design of a system to provide artists 1,500 

with access to vacated city, county, state and federal 

buildings for exhibitions and events. 

For the artists’ newsletter, Arizona Artist, published by 2,000 

the Tucson Museum of Art School. 

For a six-month crafts marketing program to analyze 5,000 

markets, desig~~ ed~~cation programs, a~~d increase vislbility of Arizona crafts. 

For the production, cataloguing, and distribution of video 7,500 

tapes on contemporary art and artists. 

For a continuing series of panel discussions on contero- 3,500 

porary art. 

For the publication of tablo~ds distributed to craftsmen 5,564 

in the Northwest. 

For a photographic pro]ect documenting craft work inte- 2,305 

grated with architecture in Washington and Oregon. 

For Artspace, a quarterly publication for Southwest 6,500 

artists. 

To provide teIeconference access for artists across ¿he 4,900 

country. 

For ah international studio exchange program for Ameri- 3,500 

can artists. 

For the coalition’s services to local artists, including the 5,000 

newspaper and resource center. 

To determine interest, through a readership survey, in a 1,000 

Washington-based subscription ~~ewsletter for craftsmen. 

For editorial and production services for Surface Design 1,000 

Journal. 

To establish a newsletter and resource cen~er for book 5,000 

arts information in Northern California. 
264 Visual Arts 

Carriage House Handmade Paperworks 

Brookline, Massachuset-ts 

Center for New Art Activities 

New York, New York 

Center for Occupational Hazards 

New York, New York 

Center for Occupational Hazards 

New York, New York 

CenterforPerceptualand Exploratory 

Arts
 

Buffalo, New York
 

Change, Inc.
 

New York, New York
 

Chicago New Art Association
 

Chicago, Illinois
 

Committee for the Visual Arts
 

New York, New York
 

Committee for the Yisual Arts
 

New York, New York
 

Committee for the Visual Arts
 

New York, New York
 

Committee for the Yisual Arts
 

New York, New York
 

Committee for the Visual Arts
 

New York, New York
 

Committee for the Visual Arts
 

New York, New York
 

Committee for the Visual Arts
 

New York, New York
 

Community Free School
 

Boulder, Colorado
 

Contemporary Art/Southeast
 

Atlanta, Georgia
 

Contemporary Arts Center
 

New Orleans, Louisiana
 

Craftsmen’s Guild of Mississippi
 

Jackson, Mississippi
 

Crawford, Tad
 

New York, New York
 

Creative Artists Public Service
 

Program
 

New York, New York
 

Creative Time
 

New York, New York
 

Croft, Michael
 

Tucson, Arizona
 

Davies, Bevan
 

New York, New York
 

Drawing Center 

New York, New York 

To support the Carriage House Handmade Paperworks 5,000 

asa resource center and testing ground ]or artists. 

To support research and experimentation in artists’ use 3,500 

of telecommunications. 

For a national clearinghouse that provides information 5,000 

on the occupational health problems of craftsmen. 

Fora national clearinghouse that provides informa¿ion 2,500 

on the occupational health problems of artists. 

To support CEPA’s resource center and services to 3,000 

Buffalo area artists. 

For a program that provides artists with emergency 10,000 

/unding. 

For the New Art Examiner, a monthly newspaper pro- 5,000 

viding coverage of regional art activities. 

For the Emergency Materials Fund which helps artists 5,000 

pay expenses incurred when preparing art for exhibitions 

in nonprofit galleries. 

For the Independent Exhibitions Program which helps 5,000 

groups of artists organize exhibitions in public spaces. 

For a cumulative catalogue and ongoing documsntation 3,750 

of art exhibitions held in Artists’ Space. 

For cooperative services and technical assistance pro- 2,500 

vided for artists through Picture Productions. 

For Art-Rite Magazine, a forum for artists, critics, and 3,000 

others involved in the visual arts. 

For Spanner/NYC, a magazine featuring the work of 1,500 

younger artists. 

For lees to artists who show at Artists’ Spaee. 2,500 

For Criss Cross, a regional art publieation. 4,000 

Fora monthly arts publi~at~on se~ving the southeastern 4,000 

states. 

To support project grants to artists in Louisiana. 5,000 

For the US-Canada Crafts Round Table Discussion and 1,810 

documentation of the meeting. 

Fora series of articles on the artists’ rights movement. 2,500 

For a referral service that seeks opportunities ]of artists 5,000 

such as exhibitions, residencies, commissions, and purchases. 

For documentation of ephemeral and process works spon- 8,000 

sored by Creative Time. 

For the publication of a directory of courses on jeweIry- 8,700 

making and metal smithing. 

For participation in ah exchange program between the 7,500 Scottish Arts Council and the Arts Endowment. 

To support a slide registry and consultation servi~es for 5,000 

emerging artists. 
Visual Arts 265 

Drutt, Helen To organize visual documentation, and to collate and 3,000 

Philadelphia, Pennsylvania catalogue written data from the archives of the Philadelphia Council of Professional Craftsmen. 

80 Langton Street 

San Francisco~ Caliíornia 

For an annual catalogue documenting work pressnted 

during the previous year in this artists’ space. 

2,780 

Ellis, Robert* To compile, design, and produce the Visual Arts Infor­ 25,000 

Albuquerque, New lYlexico mation Bulletin, which in forros the ficld of current in/or­ mation about the Endowment’s Visual Arts Program. 

Farnsworth, DonaId For the investigation, slide documentation, and collection 3,000 

San Francisco, California of samples of international papers. 

Fiberworks For the production of information packets documenting 5,500 

Berkeley, California ancient textile techniques. 

Foundation for the Community of 

Artists 

To support a membership drive for this artists’ 8ervice 

organiza tion. 

5,000 

New York, New York 

Foundation for the Community of 

Artists 

For the Artworkers News, ah artist-run newspaper with 

national distribution. 

5,000 

New York, New York 

Franklin Furnace Archive For an archive and bibliography of artists’ books. 7,500 

New York, New York 

Friends of Photography 

New York, New York 

To support Exposure, the ]ournal of the Society for 

Photographic Education. 

8,000 

Friends of Puerto Rico To support the Resource Center---a library, vertical file, 7,500 

New York, New York and slide registry of Latín American artists. 

Friends of the Crafts For a state-wide marketing survey and publication of 3,000 

Seattle, Washington the results. 

George, Robert For the production of sound recordings by artists. 5,000 

New York, New York 

Goldberg, Barbara 

Brookline, Massachusetts 

For a pro]set to organize fiber artists in eastern Massachusetts. 

1,000 

Gray, Robert 

Asheville, North Carolina 

To coordinate all aspects of a planning session in Washington, D.C. fora nationwide crafts administrators con11,000 

]erence. 

Haleakala For video documentation of artists’ per/ormance works 4,000 

New York, New York presented in New York State by The Kitchen. 

Ha]lwalls For a library, an archive, and a video and audio collection. 5,000 

Buffalo, New York 

Hauser, Robert For a series oí presentations to promote collaboration 3,000 

North Andover, Massachusetts between artists and conservationists. 

Heresies Collective For Heresies, a feminist art quarterly. 6,000 

New York, New York 

High Performance 

Los Angeles, California 

To support High Performance, a quarterly publication 

devoted to performance art. 

5,000 

Hoffberg, Judith 

Glendale, California 

To support the newsletter Umbrella, which deals with 

artists’ books and publications. 

3,500 

Holmes, Greg and Martin Wolin 

Dannemora, New York 

For Portfolio, a publication on contemporary college 

photography. 

4,000 

Illinois Arts Council For ah offset printing facility for books by artists. 7,500 

Chicago, Illinois 

Independent Curators For The List, a catalogue providing institutions with 5,000 

Washington, D.C. information on artists interested in short-term resideneies 

and presentations. 
266 Visual Arts 

Institute for Architecture and Urban 

Studies 

New York, New York 

Institute for Art and Urban 

Resources 

New York, New York 

International Sculpture Center 

Princeton, New Jersey 

Johnson, William 

Tucson, Arizona 

Just Above Midtown 

New York, New York 

Kallenberger, Klaus 

Murfreesboro, Tennessee 

La Mamelle 

San Francisco, California 

Light Works Magazine 

Ann Arbor, Michigan 

Line Association 

New York, New York 

Long Beach Museum of Art Foundation 

Long Beach, California 

Los Angeles Center for Photographic 

Studies 

Los Angeles, California 

Los Angeles Institute of 

Contemporary Art

Los Angeles, California 

Maryland Arts Council 

Baltimore, Maryland 

Midmarch Associates 

New York, New York 

Minneapolis Society of Fine Arts 

Minneapolis, Minnesota 

Mohon, John P. 

Tucson, Arizona 

Moore College of Art 

Philadelphia, Pennsylvania 

Museum of African American Art 

Los Angeles, California 

N.A.M.E. Gallery 

Chicago, Illinois 

National Conference of Artists 

Los Angeles, California 

New Museum 

New York, New York 

New Organization for the Visual Arts 

Cleveland, Ohio 

Open Gallery Northwest 

Eugene, Oregon 

Organization of Independent Artists 

New York, New York 

To support October, a quarterly art publieation. 10,000 

For artists’ studio spaee at P. S. I in Queens. 10,000 

For the 11th International Seulpture coníerence. 3,000 

For the preparation and editing of ah index to photographie literature. 

3,000 

For a series of seminars on the principles of self-¢nanagement and pro]essional skills. 

5,000 

To investigate and document the training oí German 

goldsmiths. 

1,000 

For ah issue of Art Contemporary. 2,500 

For continued support of a regional quarterly art pubo 

lication. 

2,500 

Fora service organization providing artists with direet 

financial aid for publicatwn projects. 

5,000 

For the mu~eum’s post-produetion faeility for artists. 5,000 

For the center’s services to Los Angeles area pho¿ographers and for the Photo Calendar, a slide registry, and 

a lecture program. 

For a slide registry, information center, and the LAICA 

Journal. 

4,500 

10,000 

To establish a visual arts resouree eenter for the 8tate. 2,500 

For Women Artists Newsletter, a feminist publieation. 1,500 

For a conference designed to promote exchange between 

artists and landscape architects. 10,000 

For research and locally available ceramie ~naterials. 9,010 

To document the contemporary craft8 ¢ollection of Rober¿ 

Pfannebecker. 

10,000 

To support Black Art--An International Quarterly. 3,000 

For honoraria ¿o performing arti#t~ and speakers. 5,000 

To support a series of conferences for Afriean-American 

arti~ts. 

10,000 

To s~pport travel throughout ¿he United States so that 

the New Museum’s exhibitions may reflec~ art~stio activities across ¿he country. 

3,000 

For an information elearinghouse and technical assistance 

center ]or local artists. 

7,500 

To support a production and exhibition facility for local 

vídeo artists. 

4,000 

For a program that assists groups of artists with expenses and in organizing their own exhib~tions. 

10,000 
Visual Arts 267 

Pennsylvania, Trustees of the 

University of 

For a national archival center to preserve documentation

oÍ contemporary ephemeral art projects and performances. 

4,000 

Philadelphia, Pennsylvania 

Pennsylvania, Trustees of the To document several works of art on publie sites in the 5,000 

University of U.S. in order to evolve future guidelines wh~eh will genPhiladelphia, Pennsylvania erate more successful examples of publie works of art. 

Pennsylvania, Trustees of the For a comprehensive file of artists in Pennsylvania, New 2,490 

University of Jersey, and Delaware. 

Philadelphia, Pennsylvania 

Photographic Resource Center For services lo Boston arca photographers and for the 7,000 

Boston, Massachusetts center’ s publications. 

Pitkin County Library For an art reference library which serves artists. 4,000 

Aspen, Colorado 

Portland Center for the Visual Arts For an Oregon artists’ slide bank anda lecture series 4,000 

Portland, Oregon on the visual arts. 

Printed Matter For a facility tha~ distributes artists’ books. 10,000 

New York, New York 

Printmaking Council of New Jersey To support a regional printmaking facility for artists. 3,500 

Sommerville, New Jersey 

Private Art Foundation 

Washington, D.C. 

To support an artis~s’ publications outlst, a publishing

conÍerence, and three publications. 

4,000 

Public Art Fund Fora resource ol~ce facilitating public ar~ programs 6,000 

New York, New York ¿hroughou~ the country. 

Roberson Memorial For a three-day craftsmen’s conference on exhibitions, 1,000 

Binghamton, New York marketing, education, legal advice, and apprenticeships. 

San Francisco Camerawork To support a regional archive of visual arts publications 5,000 

San Francisco, Caliíornia and materials. 

Save the Children Appalachian For a program to upgrade the quality of production 5,000 

Program weavers. 

Berea, Kentucky 

Schnabel, Bruce To support the efforts of the Artist’s Book Consulting 2,000 

New York, New York Service. 

Shelby State Community College For the Media Workshop portion of the First African­ 5,000 

Memphis, Tennessee American Crafts Conference and Jubiles. 

Some Serious Business For a catalogue documenti~g two years of activities spon­ 2,500 

Venice, California sored by Some Serious Business. 

Southeastern Center for For a regional fellowship program for 11 southeastern 10,000 

Contemporary Art states. 

Winston-Salem, North Carolina 

Southern Illinois University 

Carbondale, Illinois 

For technical research of ancient fusion and diffusion 

joining techniques that use the Íorge as a heat source. 

2,990 

Thomas, Lew For the distribution and production of publications Írom 7,000 

San Francisco, California NFS Press. 

Thomas, Richard For the writi~~g and illustrating of a series of monograph8 2,000 

Bloomfield Hills, Michigan on metalworking techniques. 

Ticho, Suzy To complete nationwide directory of slide registries. 2,000 

Los Angeles, Calffornia 

Vinson, David For a publication providing a guide lo adhesives Íor 4,200 

Washington, Michigan craftsmen concerned with ]oining dissimilar materials. 

Visual Studies Workshop For a conference, a book fair, and a publication deaIing 5,600 

Rochester, New York with the book asa visual art. 

Visual Studies Workshop For the publication of photography criticism in After­ 6,000 

Rochester, New York image. 
268 Visual Arts 

Laser scuIpture by Rockne Krebs. Photo: Patrick Radenbaugh 
 

Visual Arts 269 

2,500 Women’s Caucus for Art For a national women’s quarterly newsletter.

Detroit, Michigan 

General Programs To assist projects not included in other grant categories. 

Program funds: $41,015 

$6,000 Craftsmen’s Guild of Mississippi For administrative services and outreach programs made
 

Jackson, Mississippi necessary by losses due to a flood.
 

7,000 Creative Time	 For a model demonstration pro]ect for malcing the visual
 

New York, New York arts accessible to the handicapped through audience de-


velopment and information materials. 

For fellowship stipends to artists working in the center 4,000 Fine Arts Work C�nter of 

Provinceto~rn during 1980.

Provincetown, Massachusetts 

Independent Curators To develop opportunities for visual and performance 10,000 

Washington, D.C. artists to participate in exhibitions and programs throughout the country. 

Los Angeles Institute of For a model demonstration project ]or making the visual 5,000 

Contemporary Art arts accessible to the handicapped through audience develLos Angeles, Caliíornia opment and information materials. 

9,015 Ziola, Toro* To research and prepare a study of the ob]ectives, struc-


Boston, Massachusetts tute, and impact of proposed legislation fora national
 

art bank.
 

* ¢ontract 
Pol~’cy and
 

Plannz’ng
 
Challenge Grants 

Evaluation 

In terna t iona l/ Fe llows 

Research 

Special Constituencies 

273 

Challenge Grants
 

The notion that a problem can be solved by 

showering ir with federal money is rightfully 

out of favor nowadays. However, the case may 

be otherwise when such money is artfully used 

asa catalyst rather than a total solution, 

The Challenge Grant, as ir is known, 

developed from the realization that arts institutions needed broader support than the Endowment, with its emphasis upon grants for 

one-time projects, has so lar been able to give 

them. Since there had been equal concern that 

federal dollars not replace private giving, ir 

was decided that institutions which received 

Challenge Grants must undertake to match each 

government dollar with at least three more 

dollars raised from other sources. 

Since the Challenge Grant Program was 

designed to help arts institutions become financially more secure, its uses were carefully defined. Short-term projects such as exhibitions, 

programs, and performing tours were not to 

be covered, but long-term financial planning 

was. A grant could be spent on establishing 

or improving endowments, adding to cash reserves, ending outstanding debts, or providing 

for structural improvements. Ir could be 

awarded only once. 

Asa writer commented, paraphrasing Dr. 

Samuel Johnson, nothing tends to concentrate 

fiscal acuity more wonderfully than the promise 

of money. The Endowment hoped that the 

prospect of a Challenge Grant would spur the 

leaders of cultural institutions to look more 

searchingly at present problems and future 

possibilities: "become more businesslike," according to Chairman Livingston Biddle. There 

was already an encouraging precedent: the 

Metropolitan Opera, awarded $1 million by the 

Endowment in 1974, had raised its required 

Manhattanville Summer Dance Program--Council for the Arts in
 

Westchester, New York. Photo: Herb Levart
 

$3 million in months. A relatively simple solution, it was reasoned, might succeed where 

other attempts had failed, and might help close 

the gap between ever-mounting labor, operation, and energy costs and dwindling revenues. 

Most of the first 59 awards, made in the 

summer of 1977, went to those institutions best 

prepared to supply at short notice the necessary detailed financial projects required and to 

launch sophisticated fund drives. This meant 

that large, better-organized institutions took 

most of the awards, which were correspondingly large. In some cases, grants of $1 million 

or more were given, to be matched over three 

years. The median Challenge Grant was 

$450,000. 

When a second group was awarded a year 

later, many more smaller institutions were on 

the list, reflecting Biddle’s conviction that these 

organizations were administratively able to cope 

and deserved the same opportunity as larger 

groups. A total of $30 million was awarded to 

102 applicants, and the median grant dropped 

to $280,000. A third set of awards was announced in the fall of 1979 for fiscal 1980. For 

this year, some $26 million will be divided

among an even larger group--120 organizations 

and art consortia. 

Although many of the recipients have yet 

to complete their fund drives, the program is 

a smashing success. Other institutions as well 

as the Metropolitan Opera have repeatedly 

shown that Challenge Grants can help uncover 

new and unsuspected sources of private money. 

A major New England school of design gained 

over 200 new contributors after r¢ceiving its 

Challenge Grant. A New York museum received 

$1 million from a private foundation after its 

own award. The psychological effects oí such 
274 Challenge Grants 

Restored Mechanics Hall, Worcester, Massachusetts. 

Photo: Steve Rosentbal. 

a governmental "stamp of approval," in the 

words of a museum official, have been out of all 

proportion to the size of the grants themselves. 

The program may, of course, have its disappointments. After all, the grants are intended 

to be challenges, not certainties. Most of the 

first group of grantees, now at the end of their 

three-year fund-raising, are showing more than 

a three-to-one match of federal moneys. Nonetheless, the Endowment may have to ask for its 

money back from a few that fail to raise the 

not received grants. In most years, one out of 

four applicants has received a Challenge Grant. 

The Endowment would like to be able to give 

a grant to every institution which qualifies. 

Also, one-time grant winners who have shown 

that they can turn the money to good use are 

now pressing íor a second opportunity. But 

whatever the outcome, the concept of using 

government money to stimulate private dollars 

for the arts seems to have come to stay. 

required matching funds within the required ~ it~ ~.~,~~ 

time period. , When the Program was first launched, it 

was assumed ir would have completed its cycle 

by the end of four years. This is not the case. Elizabeth Weil 

Many other groups that seem to qualify have Director, Challenge Grant Program 
Challenge Grants 275 

Challenge Grants Program funds: $29,981,000 

The Challenge Grant Program, established by Congress in 1976.

encourages cultural organizations to achieve financial stability. 

Alaska Repertory Theatre To establish a cash reserve and to ~neet increased operar­ $150,000 

Anchorage, Alaska ing costs associated with expanded touring. 

Alley Theatre 

Houston, Texas 

To establish a cash reserve and to purchase and lrrogram 

a small computer which will be used for fundraising and 

record keeping. 

100,000 

American Place Theatre To raise funds which will provide replacement of contribu­ 75,000 

New York, New York tions no longer provided by several large foundation gifts. 

Appalshop, Inc. To purehase land and construct both a production building 125,000 

Whitesburgh, Kentucky and a theater to provide a permanent home for Appalshop. 

Arizona Commission on the Arts and On behalf of: 480,000 

Humanities 

Phoenix, Arizona 

Arizona Civic Theatre--to eliminate a long-term debt 

and meet cosgs associa~ed with increased artists’ salaries and underwriting the second year of a proposed 

Second Stage Program; 

Arizona Opera--to eliminate ah accumulated deficit and 

¢neet costs associated with an e~¢panded public relations program ; 

Flagsta] Summer Festival--to reduce ah accumulated 

deficit and ~neet costs associated with increased development staff and expanded programming; 

Museum of Northern Arizona--to meet costs associated 

with a ~najor promotional/fundraising e]ort, to provide adequate and appropriate space for the museum’s 

collection by native American artists, and to provide 

continuing support to the Art Institute and Summer 

Symposium; 

Phoenix Symphony Orchestra--to meet costs associated 

with ]undraising, audience development, educational 

programs in the schools, and deveIopment of regional 

tourin g ; 

Scottsdale Center íor the Arts--to construct additional 

workshop space in the center, equip the theater with 

adequate pro]ection equipment, and meet costs of the 

Scottsdals Festival; 

Tucson Muse~m of Ar~to restore two natíonal historic 

structures (the Hiram Stevens House and the Edward 

Nye Fish House), and to provide space for the art 

resources library and other museum functions; 

Tucson Symphony Society--for development of a core 

orchestra and fora director of developmen~ and 

publicity ; 

Arizona Comm~ssion on the Arts and Humanities--for 

a public advocacy plan and expaaded services to arts 

organizations. 

Ballet Theatre Foundationl To eliminate an accumulated deficit and to establish a cash 1,000,000 

American Ballet Theatre reserve. 

New York, New York 

Ballet West To create a cash reserve, to eliminate an accumulated defi- 250,000 

Salt Lake City, Utah cit, to create ah endowment, and to ~neet costs associated

with expanding inter-mountain touring. 

Boston Ballet For sets and costumes fora new Nutcracker, ~na]or new 150,000 

Boston, Massachusetts productions, improved format for "Choreographer’s Showcase," and ed~¿cational services. 

Boston Symphony Orchestra To augment an endowment and to meet costs of increased 850,000 

Boston, Massachusetts orchestra salaries and program expansion. 

Carnegie Hall Society To augment ah endowmen~, to meet costs of an expanded 750,000 

New York, New York developmen~ office, and to operate and maintain the hall. 
276 Challenge Grants 

Chamber Music Society of Lincoln 

Center 

New York, New York 

Children’s Art Carnival 

New York, New York 

Cincinnati Institute of Fine Arts 

Cincinnati, Ohio 

City of Troy Community Building 

Troy, Alabama 

Columbus Symphony Orchestra 

Columbus, Ohio 

Council for the Arts in Westchester 

White Plains, New York 

Cresson Lake Playhouse 

Spangler, Pennsylvania 

Dallas Symphony Association 

Dallas, Texas 

Dance Theatre Foundation/Alvin

Ailey American Dance Theatre 

New York, New York 

Denver Symphony Orchestra 

Denver, Colorado 

Field Museum of Natural History 

Chicago, Illinois 

Film .~ociety of Lincoln Center 

New York, New York 

Fine Arts Museums of San Francisco 

San Francisco, California 

To augment ah endowment and to meet coste of e~panded 

programming. 

75,000 

To help eliminate a long-term debt, and to establieh a communications arte production program. 

76,000 

On behalf of: Cincinnati Art Museum--to augment ~ts endowment and 

eliminate an accumulated deficit; 

Cincinnati Ballet--to eliminate ah accumulated def!eit, 

and establish an endowment; 

Gincinnati Opera Association--to augment its endow­

 ̄ nent, eliminate its aecumulated defieit, and ~neet 

penses associated with expanded program¢ning; 

Cineinnati Playhouse in the Park--to renovate the Shelterhouse, enclose the "Marx Patio," expand and renovate administrative ol~ces, and provide aceessibility 

for the handicapped; 

Cineinnati Symphony Orchestra--to reduce its accu~nulated deficits and augment its endowment; 

Contemporary Arte Center--to retire the ~nortgage on 

the Genter’s facility, and augment its endowment; 

2,000,000 

Cincinnati Institute of Fine Arts--to meet inereased 

coste associated with the expanded drive and distribu­

¿ion of funde to ~nembers as par¿ of regular support. 

To help fund renovation and moderniza¿ion of the former 

Troy High Sehool auditorium to serve as the central featute of the arts center por¿ion of a multi-functional eo~nmunity complex. 

23,000 

To augment the endowment, and to ereate a development 

department. 

150,000 

To stimulate a county-wide development effort to raise 

funds for the benefit of these arts organizations: 

Caramoor Music Festival 

Neuberger Museum 

Wildcli~ Museum 

Katonah Gallery 

Youth Theatre Interaetions 

Film Workshop of Westehester 

Manhattanville Sumrner Dance Festival 

Rondo Dance Theatre 

Council for the Arte in Westchester 

Grants will be provided to ¿bese institutions to support 

current programs, new programs, and debt elimina¿ion. 

150,000 

To establish a cash reserve, to install ramps for the handicapped, and to nteet increased operating costs associated 

with expansion of summer productions, o~-season touring, 

and eommunity workshops. 

10,000 

To augment an endowment, to eliminate ah aeeu~nulated 

deficit, to purchase instruments, and to create new coneer$ 

serviees. 

450,000 

To help eliminate a deficit, to establish ah endowmcnt 

fund, to ezpand development e~orts, and to increase 

hearsal time. 

175,000 

To eliminate accumulated deficits, to establish a cash reserve, to augment ah endowment, and to expand trrogra¢nming. 

450,000 

To meet increased operating coste associated with regular 

programming. 

400,000 

To establish an endowment and to meet inereased opera¿­

ing coste. 

112,500 

To establish an endowment and to meet coste assoeiated 

with strengthening the development structure of the mu600,000 

seums. 
Challenge Grants 277 

Fogg Art Museum/Harvard 

University 

Cambridge, Massachusetts 

To augment an endowrnent and to rneet costa resulting 

from increased fundraising activities and expanded programming. 

170,000 

Ford’s Theatre Socíety 

Washington, D.C. 

To initiate a cash reserve and to meet costa of audience 

developrnent and increased fundrais~ng and promotion. 

200,000 

Fort Wayne Philharmonic/Fine Arts To retire the mortgage on the Cornrnunity Center for the 100,000 

Fund Arts, to elirninate the orchestra’s accumulated deficit, to 

Fort Wayne, Indiana establish a cash reserve for the orchestra, to augrnent the 

orchestra’a endowrnent, and to rneet increaaed costa of 

expanded programming. 

Fort Worth Symphony Association 

Fort Worth, Texas 

To augment a cash reserve, and to meet increased ezpenses 

asaociated with the chamber orchestra group. 

40,000 

G.A.M.E., Inc. (Growth Through Art To renovate a new space, construct new exhibits, and to 60,000 

and Museum Experience) meet costa associated with the more to the new loeation. 

New York, New York 

Grand Rapids Art Museum To renovate the historic federal building in downtown 250,000 

Grand Rapids, Michigan Grand Rapids which will provide a new home for the

rft~¿8e~lrn. 

Greater Akron Musical Association To augrnent an endowment and to rneet increased costa of 40,000 

Akron, 0ho expanded prograrnrning. 

Greater Portland Landmarks To eliminate the rnortgage on the Landmarka’ headquar­ 15,000 

Portland, Maine teta, to make long-term repairs to the headquarters, to 

augrnent the revolving ]und, and to rneet increased costa 

of fundraisi~g. 

Guggenheim (Solomon R.) Museum 

New York, New York 

To augrnent an endowment and to meet increased expenses 

associated with regular prograrnrning. 

1,000,000 

Guthrie Theatre Foundation To augrnent an endowrnent and to meet increased costa 800,000 

Minneapolis, Minnesota associated with regular programrning. 

Honolulu Symphony Society To elirninate accurnulated deficits, to augrnent an endow­ 100,000 

Honolulu, Hawaii rnent, and to rneet increased costa associated with regular 

programrning. 

Houston Ballet Foundation To support a new prornotion plan that will help increase 225,000 

Houston, Texas earned incorne, and to provide increased operating incorne 

to cover the costa asaociated with new productions. 

Indianapolis Museurn of Art To augment ah endowrnent. 500,000 

Indianapolis, Indiana 

Institute for Art and Urban Resources To slirninate ah accurnulated defieit, to establish a cash 150,000 

New York, New York reserve, and to meet increased costa of new programrning 

and building maintenance. 

INTAR (International Arts Relations) 

New York, New York 

To renovate a new space, to meet increased costa resulting 

from the new, larger space, to establish a cash reserve, 

30,000 

and to hirs a development ol~cer. 

International Center of Photography To elirninate a deficit, to retire the aecond mortgage on ¿he 200,000 

New York, New York buila~ng, ~o rnee: ~ncreasea costa of creating ah archive of 

20th-century docurnentary photography, and to expand 

prograrnming. 

Jackson Syrnphony Orchestra To meet increased costa of expanded touring programa, 40,000 

Association additional musicians, and children’s concerts. 

Jackson, Mississippi 

La JoIla Museurn of Contemporary 

Art 

To complete the renovation of the interior spaces of the 

rnuseurn and to augrnent ah endowrnent. 

375,000 

La Jolla, Calffornia 

Lake Agassiz Arts Council To meet increased operating expenses associated with 30,000 

Fargo, North Dakota audience development, on behalf of: 

Fargo/Moorhead Civic Opera Company 

Fargo/Moorhead Community Theatre 

Fargo/Moorhead Syrnphony Orchestra 

Plains Art Muaeum 
278 Challe_nge Grants 

Lewitzky (Bella) Dance Foundation 

Los Angeles, California 

Loretto-ttilton Theatre 

St. Louis, Missouri 

Lyric F(~undation, Inc. 

Baltimore, Maryland 

MacDowell Colony, Inc. 

Peterborough, New Hampshire 

Magic Thiatre 

San Francisco, California 

Manhattan Theatre Club 

New York, New York 

Media Study/Buffalo 

Buffalo, New York 

Michigan Opera Theatre 

Detroit, Michigan 

Minnesota Orchestral Association 

Minneapolis, Minnesota 

Minnesota Public Radio 

St. Paul, Minnesota 

Municipal Arts Society of New York 

New York, New York 

Museum of Fine Arts, Boston 

Boston, Massachusetts 

Museum of Fine Arts, Houston 

Houston, Texas 

Newark Community Center of the 

Arts 

Newark, New Jersey 

New York City Opera 

New York, New York 

New York Shakespeare Festival 

New York, New York 

92nd Street Young Men’s and Young 

Women’s Hebrew Association 

New York, New York 

North Carolina Museum of Art 

Raleigh, North Carolina 

O’Neill (Eugene)Memorial Theatre 

Center 

Waterford, Connecticut 

Opera Association of New Mexico 

Santa Fe, New Mexico 

To eliminate a deficit resulting from increased operating 150,000 expenses, to establish an endowment, and to cover the costs 

of upgrading salaries and benefits, facilities and equipment, personnel/administrative sta~, promotion budget, 

and fundraising budget. 

To augment an endowment, to purchase new lighting 100,000 

equipment, and to meet increased costs of additional productions. 

To renovate and expand the Lyric Theatre and to meet 300,000 

increased operating costs associated with the renovated 

theater. 

To augment ah endowment and to expand the fundraising 200,000 program of the Colony. 

To meet increased operating costs resulting from expanded 30,000 programming. 

To increase a cash reserve and to meet costs resulting 100,000 

]rom increased artist and administrative salaries, and 

expansion of the development o~ce. 

To retire an accumulated deficit, to establish an endow- 100,000 ment, and to meet costs resulting /roto new programs and 

services. 

To establish an endowment and to create a cash reserve. 150,000 

To augment an endow~nent. 750,000 

To purchase and adapta building in downtown St. Pau! to 500,000 provide additional space for production and administration, to provide a center for live and taped performances, 

to establish ah operating endowment for the new building, and to purchase a second channel to double MPR’s 

special service capability. 

To renovate the former Random House wing of the his­ 300,000 toric Villard House into a New York City Urban lssues 

Center. 

To augment ah endowment and to meet deficits arising 600,000 from three years of a construction program. 

To augment an endowment which will provide fund~ng for 750,000 

the construction of a School of Art and additions to the 

Bayou Bend American Decorative Wing. 

To cover increased operating expenses which will allow 40,000 continued quality programming at the center. 

To increase a cash reserve, to establish ah endowment, and 700,000 to meet costs associated with expanded development eff orts and increased labor costs. 

To complete renovation and restoration of the Public 450,000 Theatre and to establish ah endowment. 

To establish a cultural presentation endowment fund. 375,000 

To construct the Educational Wing and East Gallery 300,000 

to provide space for traveling and loan exhibitions. 

To eliminate an accumulated deficit, to establish a cash 100,000 

reserve, and to establish ah artistic discretionary fund for 

the development of new programming. 

To augment an endowment and to increase a cash reserve. 135,000 
Challenge Grants 279 

Opera Company of Philadelphia To eliminate a defici~ and to meet increased cos~s of tour­ 40,000 

Philadelphia, Pennsylvania ing and educational programs. 

Opportunity Resources for the Arts 

New York, New York 

To mee~ increased costs related to developmen~ oí field 

representation, publications, and workshops. 

40,000 

Orchestral Association/Chicago To augment an endowmen~ and to meet increased operar­ 1,000,000 

Symphony ing costs of regular programming. 

Chicago, Illinois 

Oregon Shakespeare Festival To augment an endowment which will ensure fir, ancial 200,000 

Ashland, Oregon stability. 

Original Ballets Foundation/Eliot To complete renovation of a new space providing studio 175,000 

Feld Ballet areas for the company and the New School of Ballet, and 

New York, New York for increased operating costs associated with the new 

space. 

Pennsylvania Ballet To eliminate a debt, to establish a cash reserve, and to 225,000 

Philadelphia, Pennsylvania increase the number of productions. 

Performing Arts Foundation of Long To eliminate a debt, to lease and renovate space fora 100,000 

Island/PAF Playhouse 500-sea~ theatre, and to establish ah endowmen~. 

Huntington Station, New York 

Philharmonic Symphony Society of To augment an endowment and to meet increased costs of 850,000 

New York regular programming and the expansion of the developNew York, New York ment 

Pierpont-Morgan Library 

New York, New York 

To meet the increased operating costs of regular museum 

programming. 

150,000 

Poets and Writers On behalf of: 30,000 

New York, New York Poets and Writers--to establish a cash reserve; 

New York State Poets in the Schools--to meet increased 

operating expenses of expanded programming ; 

Teachers and Writers Collaborative--to establish a cash 

reserve and eliminate ah operating deficit. 

Public Communication Foundation for To purchase eq~dpment for expansion of arts coverage in 200,000 

North Texas Texas. 

Dallas, Texas 

Ravinia Festival Association To augment ah endowment in order to protect the Festival 375,000 

Chicago, Illinois against unforeseen reductions in earned income. 

Rochester Philharmonic To augment ah endowment, to eliminate a deficit, and to 450,000 

Rochester, New York meet increased costs associated with the expansion of 

services. 

St. Louis Conservatory and School for To eliminate a debt, and to pz~rchase and renovate the 300,000 

the Arts former Temple Shaare Emeth. 

St. Louis, Missouri 

St. Nicholas Theater Company To eliminate a capital debt, to create ah endowment, and 75,000 

Chicago, Illinois to meet increased costs associated with increased school 

programming. 

San Francisco Ballet Association To purchase property and constr~tct a building ad]acen¿ to 340,000 

San Francisco, California the San Francisco Performing Arts complex, which will 

house the Ballet Company and School. 

San Francisco Museum of Modern Art To a~tgment ah endowment and to create new gallery 200,000 

San Francisco, Caliíornia space. 

San Francisco Opera To augment ah endowment and to meet increased operat­ 750,000 

San Francisco, California ing and programming costs. 

San Francisco Symphony Association To augment ah endowment, to eliminate a deficit, and to 750,000 

San Francisco, California ~neet increased operating cost~. 

San $ose Symphony Association To eliminate an accumulated deficit, to establish ah en­ 75,000 

San Jose, California dowment, and to meet increased operating costs. 

School of the Arts and Crafts Society To complete construction o] a new facility and to establish 200,000 

Portland, Oregon an endowment. 
280 Challenge Grants 

Seattle Art Museum 

Seattle, Washington 

Seattle Opera Association 

Seattle, Washington 

Seattle Repertory Theatre 

Seattle, Washington 

Southern Highland Handicraft Guild 

Asheville, North Carolina 

Springfield Orchestra Association 

Springfield, Massachusetts 

Syracuse Symphony 

Syracuse, New York 

Theatre Development Fund 

New York, New York 

Theatre Incorporated/Phoenix Theatre 

New York, New York 

United Performing Arts Fund 

Milwaukee, Wisconsin 

Vermont Public Radio 

Windsor, Vermont 

Visual Studies Workshop 

Rochester, New York 

Wadsworth Atheneum 

Hartford, Connecticut 

Washington (Booker T.)Foundation 

Washington, D.C. 

Washington Drama Society/Arena

Stage

Washington, D.C. 

White Mountain Center for the Arts 

Jefferson, New Hampshire 

Whitney Museum of American Art 

New York, New York 

Worcester County Mechanics 

Association 

Worcester, Massachusetts 

Yale University Art Gallery 

New Haven, Connecticut 

Young Concert Artists, Inc. 

New York, New York 

To augment ah endowment, to help cover oonstruetion 

costs fora mixed-use building, and to meet inereased 

operating cost8. 

600,000 

To establish a cash reserve, to augment ah endowm¢nt, 

to retire a mortgage, and to meet increased costs of audio 

ence development. 

350,000 

To augment ah endowment which will ¡rrovide support for 

a more in the 1980-81 season ¿o a new faeility designed 

and built for administrative and production purposes. 

175,000 

For construction and start-up costs to establish a new Folk 

Life Center. 

125,000 

To establish a cash reserve and to meet increased costs of 

e~panded programming. 

40,000 

To eliminate a deficit, to establish a cash reserve, and to 

augment ah endowment. 

225,000 

To increase the level of ticket and voucher subsidy and to 

meet increased operating eosts. 

100,000 

To reduce a deficit, to establish a cash reserve, and to meet 

increased costs of ah audience development campaign. 

75,000 

On behal~ of: Milwaukee Symphony Orchestra 

Milwaukee Repertory Theatre 

Chicago Symphony Association of Milwaukee 

Florentine Opera Company 

Bel ~anto Chorus 

Skylight Theatre 

Milwaukee Ballet Company 

Music for Youth 

United Performing Arts Fund 

570,000 

To meet increased operating costs resulting from expanded development. 50,000 

To renovate a building in a historic district to provide 

larger facilities for the workshop, and to establish ah 

endowment. 

125,000 

To establish an endowment. 375,000 

For projects of the media program, whieh will include 

community television and radio program distribution. 

500,000 

To augment ah endowment. 300,000 

To purehase lyroperty and buildings asa perraanent home 

for the center, and to establish a cash reserve. 

100,000 

To meet increased operating costs and to establish a reserve for the expansion of the facilities of the museum. 750,000 

To complete the res¿ora¿ion of the Mechanics Building, ah 

historic landmark, for use as an art center. 

190,000 

To establish ah endowment whieh will support ¢ontinued 

developmen$ in exhibition programa, the presenta¿ion and 

interpreta¿ion of the museum’s collec$ion, and the creative 

use of the colleetion. 

375,000 

To establish an endowment and to meet inereased opera¿­

ing costs. 

125,000 
Challenge Grants 281
 

G.A.M.E. (Growth through Art and Museum Experience), 

New York. 
282 

Evaluation
 

Catherine Freneh Evaluation Division Consultants Assistant Director 

Joan Briccetti American Symphony Orchestra 

General Manager League 

Richmond, Symphony Vienna, Virginia 

Richraond, Virginia 

Oleg Lobanov 

Managing Director Bayard Catron National Symphony Orchestra Professor of Public Administration Washington, D.C.
 George Washington University
 

Washington, D.C.
 Blue Wooldridge 

Professor of Urban Studies 

Robert Crawford Virginia Polytechnic Institute 

Arts Consultant Dulles Airport Campus

Mt. Holly, Verraont Chantilly, Virginia

Evaluation Grants Program funds: $314,281 

Evaluation:
 

Grants and Contracts
 

Crawford, Robert 

Mt. Holly, Vermont 

Finkelstein, Ahita 

Arlington, Virginia 

Institute for Studies in American 

Music 

Brooklyn, New York 

New Transcentury Foundation 

Washington, D.C. 

Newman and Hermanson Company 

Washington, D.C. 

Oetinger, Janet
 

Hanover, New Hampshire
 

Vignola, Leonard R., C.P.A.
 

Hackettstown, New Jersey
 

Wehle, Mary
 

Chicago, Illinois
 

Enlistíng support for the arts requires that the Endowment be able 

to demonstrate and document the impact and effectiveness of support 

for arts programs. These studies provide guidance and technical

assistance to the field and to other funders and managers of arts 

activities. 

This project brought to bear the views of experts ¿n the $20,000 

arts and in evaluation to help insure the eredibility, 

soundness, and technical appropriateness of the Endowment’s program evaluations. 

To gather and analyze information from the Endowment

preparatory to launching two studies oÍ fellowship pro3,500 

gratas. 

A study to determine the effectiveness of Íellowship sup­ 15,000 

port to eomposers and librettists. 

To evaluate the fundraising and management capability 149,026 

of up to 250 Round Three Challenge Grant applican~s and

to assess the Íundraising climate in up to 35 metropolitan 

areas. The information was used by the Challenge Grant 

Review Panels and was made available to Challenge Grant 

recipients. 

A study to determine the impact of the Endowment’s sup­ 96,420 

port to orchestras, the Music Program’s largest funding 

category. 

A study to determine the impact oÍ Special Project’s pilot 7,500 

category, Arts Centers and Festivals. 

To amend a previous contraer fora study determining the

e]ectiveness of the first round oÍ Challenge Grants. 

6,835 

An evaluation of the Challenge Grant Program’8 r~­ 16,000 

porting and grant monitoring systems. In ah e]ort to

improve clarity and e~ciency, reporting Íorms and 

counting guidelines were developed for grantees, and 

recommendations were made as to necessary correc¿ions 

in program structure. 
283 

Int ern ation al/F ello w s
 

International/Fellows Grants Programfunds= $556,531 

Fellowship Program 

Alley Theater 

Houston, Texas 

Allied Arts Foundation 

Seattle, Washington 

Araerican University 

Washington, D.C. 

Art Research Center 

Kansas City, Missouri 

Barnard College 

New York, New York 

Berkeley Stage Company 

Berkeley, California 

Biack Emergency Cultural Coalition 

New York, New York 

Boston University 

Boston, Massachusetts 

California College of Arts and Crafts 

Oakland, California 

California Symphony Orchestras, 

Association of 

Long Beach, California 

California, University of 

Berkeley, California 

California, University of 

Berkeley, California 

California, University 

Los Angeles, California 

Cincinnati, Institute of Fine Arts 

Cincinnati, Ohio 

Cincinnati, University of 

Cincinnati, Ohio 

Columbia University, Trustees of 

New York, New York 

Direct Theater 

New York, New York 

To acquaint arts administrators or potential arts administrators with 

the policies, procedures, and operations of the Endowment and to 

give them an overview of arts activities in this country. 

Program funds: $130,266 

To sponsor Susan Osterberg in the Endowment’s Fellow- $2,800 

ship Program. 

To sponsor Rebecca Fox in the Endowment’s Fellowship 2,914 

Program. 

To sponsor David J. Dower in the Endowment’s Fellow- 2,630 

ship Program. 

To sponsor Catherine Emily in the Endowment’s FeIlow- 2,730 

ship Program. 

To sponsor Victoria Saenger in the Endowment’s Fellow- 2,562 

ship Program. 

To sponsor Tena Achen in the Endowment’s Fellowship 2,916 

Program. 

To sponsor Hamilton Price in the Endowment’s Fellowship 2,730 

Program. 

To sponsor Sophia Truslow in the Endowment’s Fellow- 2,600 

ship Program. 

To sponsor Eve Zweben Chung in the Endowment’s Fel- 2,960 

lowship Program. 

To sponsor David Lichtenstein in the Endowment’s Fel- 2,930 

lowship Program. 

To sponsor Nancy L~~dmerer in the Endowment’s Fellow- 2,948 

ship Program. 

To sponsor Margaret Shaw in the Endowment’s Fellow- 2,960 

ship Program. 

To sponsor Ernest D. Dillihay in the Endowment’s Fellow- 2,920 

ship Program. 

To sponsor Marsha Semmel in the Endowment’s Fellow- 2,610 

ship Program. 

To sponsor David W. Lutz in the Endowment’s Fellowship 2,600 

Program. 

To sponsor Andy Biskin in the Endowment’s Fellowship 3,570 

Program. 

To sponsor Sue Knapp Steen in the Endowment’s Fellow- 4,302 

ship Program. 
284 International/Fellows 

Durham Arts Council
 

Durham, North Carolina
 

Fiskin, Bernie
 

Washington, D.C.
 

Friday Morning Mus[c Club
 

Washington, D.C.
 

George Washington University
 

Washington, D.C.
 

Georgetown University
 

Washington, D.C.
 

Guam, Insular Arts Council
 

Agana, Guam
 

Ibero-American Action League
 

Rochester, New York
 

Impression Five
 

East Lansing, Michigan
 

Kansas Arts Commission
 

Topeka, Kansas
 

Kennedy (John F.) University
 

San Francisco, California
 

Massachusetts, University of
 

Amherst, Massachusetts
 

Mazzola, John
 

New York, New York
 

Negro Ensemble Company
 

New York, New York
 

New Jersey State Council on the Arts 

Trenton, New Jersey 

New Orleans, City of
 

New Orleans, Louisiana
 

New School for Social Research
 

New York, New York
 

New York Renaissance Band
 

New York, New York
 

Ohio University
 

Athens, Ohio
 

Opera America
 

Washington, D.C.
 

Pennsylvania State University
 

University Park, Pennsylvania
 

Pittsburgh Opera
 

Pittsburgh, Pennsylvania
 

Princeton University
 

Princeton, New Jersey
 

Robbins, Warren
 

Washington, D.C.
 

Robeson (Paul) Players
 

Compton, California
 

Rutgers, the State University
 

of New Jersey
 

New Brunswick, New Jersey
 

To sponsor Caroline Hodgkins in the Endowmen¿’s Fel­ $2,480

lowship Program. 

150 To participate as a guest lecturer in the Endowment’s 

Fellowship Program. 

To sponsor Lydia Bernstein in the Endowment’s Fellow- 2,480 

ship Program. 

2,600 To sponsor Michael Darling in the Endowment’s Fellowship Program. 

To sponsor Janet Garvey in the Endowment’s Fellowship 2,480 

Progra~n. 

To spo’nsor William Gilluly in the Endowment’s Fellow­ 3,350

ship Program. 

2,574 To sponsor Gail Austin in the Endowmen¿’s Fellowship 

Program. 

2,618 To sponsor John Bellingham in the Endowment’s Fellowship Program. 

2,690 To sponsor Gloria Throne in the Endowment’s Fellowship 

Program. 

To sponsor Jane Barton in the Endowment’s Fellowship 2,916

Program. 

To spo~sor Beverly Kratochvil in the Endowmen¿’s Fel- 2,580 

lowship Program. 

235 To participa¿e asa guest lecturer in the Endowmen¿’s Fellowship Program. 

To sponsor Clinton Turner Davis in the Endowmen¿’s Fel­ 2,622

lowship Program. 

To sponsor Kate Merlino in the Endowme~¿’s Fellowship 2,514 

Program. 

To sponsor Karen Davis in the Endowmen¿’s Fellowship 2,694

Program. 

To sponsor Susan Alexander in the Endowment’s Fellow­ 2,564

ship Program. 

To sponsor Sally Logemann in the Endowment’s Fellow- 2,564 

ship Program. 

To sponsor Kenneth C. Frisch ¿n the Endowmen¿’s Fellow­ 2,580

ship Program. 

To sponsor Talmage Fauntleroy in the Endowmen$’s Fel- 2,694 

lowship Program. 

To sponsor Ina Sue Goldman in the Endowmen~’s Fellow­ 2,590

ship Program. 

3,283 To sponsor Craig M. Gallagher in the Endowment’s Fellowship Program. 

2,517 To sponsor James Hat¿ori in the Endowmen¿’s Fellowship 

Program. 

100 To participate asa guest lecturer in the Endowmen¿’s Fellowship Program. 

2,894 To sponsor Augus¿us Stone in the Endowmen¿’s F¢llowship Program. 

To sponsor Margaret J. Wyszomirski in the Endowment’s $2,564

Fellowship Program. 
International/Fellows 285 

Sangamon State University To sponsor Shimon J. P. Ramirez in the Endowment’s 2,664 Springfield, Illinois Fellowship Program. 

Smith College To sponsor Paulette Kessler in the Endowment’s Fellow­ 2,600 Northampton, Massachusetts ship Program. 

South Side Community Art Theater To sponsor Randson C. Boykin in the Endowment’s Fel­ 2,889 Chicago, Illinois lowship Program. 

Southeast Alaska Regional Arts Council To sponsor Marlene A. Lund in the Endowment’s Fellow- 3,171 Sitka, Alaska ship Program. 

Teacher’s College, Columbia University To sponsor Katherine Hay in the Endowment’s Fellowship 2,564 New York, New York Program. 

Texas, University of To sponsor Mauricio Gonzalez in the Endowment’s Fellow- 2,770 

San Antonio, Texas ship Program. 

Tulane University To sponsor Therese Forrester in the Endowment’s Fellow- 2,650 New Orleans, Louisiana ship Program. 

Wilson, Robert To participate asa guest lecturer in the Endowment’s
 

Stamford, Connecticut Fellowship Program.
 

Yale University To sponsor Robin Sabrina Golden in the Endowment’s 2,560 

New Haven, Connecticut Fellowship Program. 

Yale University To sponsor Todd Bethel in the Endowment’s Fellowship 2,591 

New Haven, Connecticut Program. 

To broaden the exposure of American artists and audiences to inter- International national arts activities. Activities 

Program funds: $426,265 

Arizona Commission on the Arts and For the development of a bi-national program involving $16,935 

Humanities cooperative relationships between the state arts agencies 

Phoenix, Arizona of the U. S. and arts agencies of Mexico. 

Baltz, Lewis For a United States/United Kingdom Exchange Fellow- 11,964 

Sausaleto, California ship. 

Frimkess, Michael For a United States/United Kingdom Exchange Fellow- 13,164 

Venice, California ship. 

Japan-United States Friendship For the United States/Japan Fellowship Program which 75,000 

Committee enables five American artists to work and study in Japan. Washington, D. C. 

Jost, .Ion For a United States/United Kingdom Exchange Fellow- 17,364 

New York, New York ship. 

McGrath, Toro For a United States/United Kingdom Exchange Fellow- 16,950 

Beverly Farms, Massachusetts ship. 

Meridian House International To amend a previous grant for "Mexico Today," a multi- 5,300 

Washington, D.C. faceted symposium. 

Miller, Heather For a United States/United Kingdom Exchange Fellow- 17,024 

Badin, North Carolina ship. 

National Endowment for the Humanities A transfer of funds to support "Japan Today," a multi- 250,000 

Washington, D.C. faceted educational and cultural program to enhance American awareness and understanding of contemporary 

Japan. 

255 
286 

Research
 

Research Division Consultants
 

D. Don Aufenkamp 

Senior Staff Associate 

Division of Mathematical 

and Computer Services 

National Science Foundation 

Washington, D.C. 

Robert Bednarzik 

Labor Economist 

Bureau of Labor Statistics 

Washington, D.C. 

Stephen Benediet 

Consultant 

New York, New York 

Richard Berry 

Study Director 

R&D Economic Studies Section 

Division of Science 

Resources Studies 

Washington, D.C. 

Morris Cobern 

a.ssociate Study Director 

Scientific and Technical Personnel 

Studies Section 

Division of Science Resources 

Studies 

National Science Foundation 

Washington, D.C. 

Stephen Couch 

Research Coordinator 

Research Institute on Immigration 

and Ethnic Studies 

Smithsonian Institution 

Washington, D.C. 

James Cowhig 

Deputy Division Director for 

Social Scíences 

National Science Foundation 

Washington, D.C. 

Sarah Fein 

Program Assistant 

Sociology Program 

Division of Social Sciences 

National Science Foundation 

Washington, D.C. 

Catherine French 

Assistant Director 

American Symphony Orchestra 

League

Vienna, Virginia 

Janet Gracey 

Director of Research Planning 

Theatre Development Fund 

New York, New York 

Robert Gray 

Director 

Southern Highlands 

Handicraft Guild 

Asheville, North Carolina 

Carolyn Hecker 

Director 

Greenwood Gallery 

Washington, D.C. 

.Ionathan Katz 

Program Director 

Community Arts Management 

Sangamon State University 

Springfield, Illinois 

Roland J. Liebert 

Program Director for Sociology 

Division of Social Sciences 

National Science Foundation 

Washington, D.C. 

Peggy Loar 

Assistant Director for Programs 

Institute of Museum Services 

Washington, D.C. 

Joseph V. Melillo 

Director of Field Services 

Foundation for the Extension 

and Development of the 

American Professional Theatre 

New York, New York 

Lou Moore 

Management Services Director 

Theatre Communications Group 

New York, New York 

Lois Moran 

Executive Vice President 

American Crafts Council 

New York, New York 

Dennis Schwanz 

Statistician 

Bureau of the Census 

Upper Marlboro, Maryland 
Research 287 

Research Grants Program funds: $619,237 

To assist the National Endowment for the Arts and the National 

Council on the Arts in planning and policy determination through 

the preparation of reports and presentations on the needs and conditions of the arts field. The Research Division also aids local and 

national organizations, public and private, by furnishing data, conclusions, and recommendations from research projects and maintains 

communication wit~ other organizations engaged in artsorelated 

research. 

Crawford, Robert* A study of artists, agents, and presentors of solo music $9,971 

Mt. Holly, Vermont recitals. 

Informatics* 

Rockville, Maryland 

To complete the final design and implemen~ the firs~ 1~ 

months of data collection in the Endowment’s Economic 

175,113 

Data Series for organizations that make applications Íor 

support. 

Mathematics Policy Research* To survey the U.S. crafts-artists who ate members of 149,342 

Princeton, New Jersey crafts membership organizations. 

Mathtech* 

Princeton, New Jersey 

To supplement the funds for Phase II of the study of 

Condition and Needs of American Theatre. 

8,341 

Meyer, Peter B. To develop and test models for studies of audienees. 160,218 

State College, Pennsylvania 

Northeastern University To supplement a study of folk crafts-artists by adding a 11,794 

Boston, Massachusetts sixth case study. 

Parklawn Computer Center To provide computer services for the Economi~ Data 5,000 

Rockville, Maryland Series pro]ect. 

Publishing Center for Cultural To disseminate research results to the arts and cultural 48,000 

Resources fields. 

New York, New York 

Vanderbilt University To support a mobility assignment for Richard A. Peterson 51,458 

Nashville, Tennessee under the Intergovernmental Personnel Act. 

* contraer 
288
 
289 

Special Constituencies
 

 ̄ Twenty-two inmates board a bus at Los 

Angeles’s Terminal Island Federal Prison en 

route to the Mark Taper Forum. There they will 

perform a play about life on the inside. Later, 

they’ll talk with their audience over cokes, 

 ̄ An arts discussion group sounds off about 

an old grievance; its audience of theater managers listens respectfully. The speakers, in 

wheelchairs, want to know why their needs 

relegate them to the orchestra section, with 

prices to match, 

 ̄ At a concert in Buffalo, New York, one 

section of the audience seems ecstatic. They 

have reason: They are hearing a live performance for the first time, thanks to a sophisticated 

new amplification device, 

The prisoner-actors, the arts discussion 

group, and the deaf concert-goers all benefit 

from the advocacy efforts of the Arts Endowmenffs Office for Special Constituencies. Created in 1977, the Office oversees programs for 

four major groups: handicapped individuals; 

older people; veterans; and those confined to 

hospitals, prisons, and other institutions, 

One of the Office’s first steps was to convene an arts advisory task force to help the 

Endowment’s General Counsel draft regulations 

in keeping with Section 504 of the Rehabilitation Act of 1973. This act requires that federal 

agencies make available to handicapped people 

some part of every program receiving federal 

funds. In the arts, this has meant making sure, 

for example, that those in wheelchairs can get 

into the theater, that the blind have tactile 

experiences of the visual arts, that the deaf have 

opportunities to understand dialogue, and that 

the mentally retarded make some actual contact with the arts. 

Photo: National Theatre of the Deaf
 

Section 504 is, however, not explicit about 

the ways federal grantees must avoid discrimination. The Endowment’s task force, recognizing that the design of accessible programs 

and facilities can be financially burdensome, 

recommended the path of voluntary compliance. 

The Endowment has focused on explaining the 

problem, consulting with handicapped groups, 

and identifying possible solutions. 

An experienced group of consultants, the 

Arts and Special Constituencies Project, has 

been brought into the Endowment to give detailed technical assistance. At the Endowment, 

the project has continued to produce its series 

of publications relating to access to the arts 

(six this year), has conducted seminars for 

state arts agencies--so that they can train their 

own staff memberswand provides a national 

educational and awareness seminar program. 

Through the Endowment’s íourteen programs, the Office for Special Constituences is 

financing demonstration projects like the Buffalo Philharmonic’s Phonic Ear, the cordless 

amplification system that makes ir possible for 

those with hearing impairments to listen to 

live music. Funds have also gone to Spectrum, 

Focus on Deaf Artists in Austin, Texas. Spectrum’s ~vriters, dancers, and artists, all of them 

deaf, and their interpreters will demonstrate 

to arts organizations in Houston, New York, 

and San Francisco how to make their programs 

work for deaf audiences. In fiscal 1979, $200,000 

was awarded to these and other innovative arts 

projects. 

Arts programs for older Americans, which 

have enjoyed a modest increase in Endowment 

support over the past few years, have emerged 

as a recent Congressional concern. In September the Endowment published proposed regulations prohibiting discrimination on the basis 
290 Special Constituencies 

Artist Jeanne Klinzing working with Willie Warren at Tallahassee 

Federa~. Correctional Institution. Photo: Mark Palmquist 

of age, as required by the 1975 Age Discrimination Act. 

Also in September, the Endowment and the 

Veterans Administration announced a new 

effort to bring the arts into veterans’ hospitals, 

The new plan will place artists in residence at 

four medical centers. A visual artist will join 

the staff of the VA Medical Center in tIines, 

Illinois. Three other residencies in drama, 

crafts, music, or creative writing, will follow, 

The agreement further established a cooperative program to commission works of art for 

new or renovated veterans’ medical centers, 

One-half of one percent of the construction 

costs will be earmarked for art. 

Inmates of hospitals, convalescent homes, 

and nursing homes--some 4.5 million persons, 

according to the National Institutes of Health-­

are beginning to ask for regular arts programs, 

and the Endowment is responding. About two 

dozen institutions with arts programs for patients are receiving its support. 

The Office for Special Constituencies continues to work closely with prison officials to 

make more arts programs available inside correctional institutions. Both artists-in-residence 

Also, inmates learn new skills, including stage 

lighting, set construction, costume design, writing, elocution, and commercial art. Asa result 

of these efforts, the Bureau of Prisons recommended to Congress in fall 1979 tha~ all federal 

prisons establish arts programs led by a professional artist. 

Each year a greater number of administrators in health and corrections realize how the 

arts may enhance the quality of life, stimulate 

mental growth, and foster creativity. At the 

same time, the arts world is realizing the value 

of making its programs accessible to those who 

are old, handicapped, or institutionalized. Arts 

audiences are increasing, more jobs are being 

created for artists, and, most important, arts 

administrators and artists are discovering that 

their special constituencies have a great deal 

to contribute to the arts. 

and prison officials believe that arts programs Paula Terry 

of all types may lessen tensions inside the walls. Coordinator, Office for Special Constituencies 
Special Constituencies 291 

Special Constituencies Grants Program funds: $143,000 

Molloy, Larry* 

Washington, D.C. 

Model Projects 

Amherst College, Trustees of 

Washington, D.C. 

Association of Science Technology 

Centers 

Washington, D.C. 

Atlanta Arts Alliance 

Atlanta, Georgia 

Buffalo Philharmonic Orchestra 

Buffalo, New York 

Center Theatre Group 

Los Angeles, Caliíornia 

Creative Time 

New York, New York 

Cunningham Dance Foundation 

New York, New York 

Georgia Institute of Technology 

Atlanta, Georgia 

Greater Columbus Arts Council 

Columbus, Ohio 

A contraer to provide information and technieal assistance $143,000 

for the Arts and Special Constituencies Project. This will 

consist of such activities as publishing booklets, creating 

slide presentations, and ~naking presentations at eonferentes of arts service organizations related to eompliance 

with federal regulations concerning nondiscrimination of 

the handicapped. 

The following model projects are designed to demonstrate ways of 

integrating handicapped individuals into arts activities, both as participants and as audiences. Organizations are encouraged to make 

handicapped individuals part of their regular programming, rather 

than to develop separate programs that segregate them. $179,094 in 

program funds have been transferred from the Office of Special 

Constituencies to other Endowment programs as indicated. 

Transferred to the Theater Program under "Services to 3,000
 

the Field."
 

Transferred to the Federal-State Partnership Program 5,140
 

under "Governmental Support Services."
 

Transferred to the Theater Program under "Services to 7,000
 

the Field."
 

Transferred to the Music Program under "Orchestra: 12,000
 

Related Orchestra Activities."
 

Transíerred to the Theater Program under "Services to 10,000
 

the Field."
 

Transferred to the Visual Arts Program under "General 7,000 

Programs." 

Transferred to the Dance Program under "Services to the 10,000
 

Field."
 

Transferred to the Design Arts Program under "General 5,000 

Programs." 

Transferred ¿o the Federal-State Partnership Program 12,500 

under "Governmental Support Services." 

International Museum of Photography Transferred to the Museum Program under "Museum 

at George Eastman House Education." 

Rochester, New York 

5,000 

Los Angeles Institute of Contemporary Transferred to the Visual Arts Program under "General 

Art Programs." 

Los Angeles, California 

5,000 

Museum of Fine Arts 

Boston, Massachusetts 

Transferred to the Museum Program under "Museum 

Education." 

4,870 

Museum of Modern Art 

New York, New York 

Transferred to ¿he Museum Program under "Museum 

Education." 

5,000 
292 Special Constituencies 

Copper molding, Iowa Arts Council--Arts and Older Americans 

program. 
Special Constituencies 293 

National Assembly of State Arts 

Agencies 

Washington, D.C. 

National Council on the Aging 

Washington, D.C. 

O’Neill (Eugene) Memorial Theatre 

Foundation 

Waterford, Connecticut 

OPERA America 

Washington, D.C. 

OPERA America 

Washington, D.C. 

OrchestralAssociation 

Chicago, Illinois 

Spectrum--Focus on Deaf Artists 

Austin, Texas 

Western Association of Art Museums 

Oakland, California 

Wisconsin, University of 

Milwaukee, Wisconsin 

Wisconsin, University of 

Milwaukee, Wisconsin 

Yale University 

New Haven, Connecticut 

Transferred to the Federal-State Partnership Program 

under "Governmental Support Services." -­ 20,000 

Transferred to the Special Projects Program under "Interdisciplinary: Services to the Field." 

15,000 

Transferred to the Theater Program under "Services to 

the Fiel&" 

5,000 

Transferred to the Special Pro]ects Program under "Interdisciplinary : Special Projects B." 

1,084 

Transferred to the Opera-Musical Theater Program under 

"General Services to the Field." 

9,000 

Transferred to the Music Program under "Orchestra: 

Related Orchestra Aetivities." 7,500 

Transferred to the Dance Program under "Services to the 

Field4" 

10,000 

Transferred to the Museum Program under "Museum 

Education." 5,000 

Transferred to the Design Arts Program under "General 

Programs." 5,000 

Transferred to the Design Arts Program under "General 

Programs." 5,000 

Transferred to the Design Arts Program under "General 

Programs." 5,000 
Office for 

Partnership
 
Executive Director’s Statement 

Ed~~ca t ion (A rt is ts- i n-s chools) 

Federal-State Partnership 

(State Programs) 

Intergovernmental A ctivities 

297 

Executive Director s
 

Statement
 

The stage was set in the summer months of 

1978 fora fiscal 1979 transition year for the 

Federal-State Program. A comprehensive reassessment of Fed-State’s purposes, goals, and 

operations resulted in a redesigned program, 

completed in June 1978 and approved at the 

August meeting of the National Council on the 

Arts. In fiscal 1979, the Endowment began to 

implement new operating policies based on a 

new definition of the states-Endowment relationship, 

In previous years, the state arts agencyEndowment relationship was primarily that of 

grantee to grantor. These agencies (SAA’s) 

were viewed as being essentially outside Endowment operations. But in 1979 the Endowment 

began to recognize SSA’s as colleagues in planning, policydevelopment, andprogramming for 

support of the arts. During this period, Chairman Livingston Biddle invited SSA’s to join 

the Endowment in deliberation and decisionthe states on arts-support priorities and programming. These guidelines encouraged multiyear planning and began consolidating multiple 

grant requests and approvals into a single 

application. A formula mechanism was introduced to allow the amount of financial support 

for the arts made available through each state 

arts agency to be decided objectively. Further, 

criteria were established íor the approval of 

state and regional applications and plans which 

identify substantive standards for Endowment 

support in such areas as planning, governance, 

decision-making, minority participation, artssupport programming and activities, public 

access and information, and evaluation. 

Numerous events and activities helped 

move the SAA/NEA partnership toward becoming an operating reality. A state arts 

agency director, Bernard Lopez (New Mexico), 

was named to the National Council on the Arts 

by President Carter to assure SAA perspective 

making "in ways that are integral to Endow- and experience in Council deliberations. The 

ment-wide operations." Furthermore, in this 

transition year, the state-Endowment partnership was recognized as the cornerstone for the 

future development of a broadening network 

of public-sector support for the arts, including 

federal, state, regional, and local (city, county) 

public arts agencies, 

These changes were expressed in three 

ways during fiscal 1979 : first, by new guidelines 

reflecting a redesigned Fed-State Program; 

second, by a series of activities meant to foster 

the SAA-NEA partnership in planning, policy 

development, and programming; third, by a 

reorganization of the Fed-State Program into 

an Office for Partnership located in the Chairman’s office, 

New guidelines, adopted on a "trial" basis 

for the transition year, reflected the Endowmenffs commitment to decentralize decisions to 

National Council/National Assembly of State 

Arts Agencies (NCA/NASAA) joint policy 

committee began to dig into difficult national 

issues, ranging from compliance regulations to 

policy development for community arts agencies. For the first time, SAA and Endowment 

program directors began planning together by 

identiíying arts-support priorities and sharing 

information and experience about what to do 

about them. The Endowment and the states 

began to cooperate in the development of computerized data processing systems to assure coherent and compatible information gathering 

and analysis. The Endowment and the states 

embarked on a joint "consultations" effort to 

find out how effective federal and state arts 

support programs were. State arts agencies 

helped the Endowment develop a pilot "arts 

impact survey" which showed how Endowment 
298 Executive Director’s Statement 

Visual artist Dawn Erickson works with children at the Iowa
 

School for the Deaf. Photo: Iowa Arts Council
 

and state support was working in the field of 

music. 

All of these and other fiscal 1979 activities 

have been vital in helping achieve the newly 

defined SSA/NEA partnership. They must be 

viewed as transitional steps because they are 

developmental and, in some cases, exploratory 

steps for both the Endowment and the states. 

In August 1979 the Federal-State panel reported to the Council that they were convinced 

we were heading in the right direction. There 

are still problems; we have a long way to go to 

achieve our partnership goals. The panel recommended, however, and the Council approved, 

that modified "transition guidelines" be 

adopted, 

A major reorganization of the Endowment’s structure was made by the Chairman. In 

April 1979 the Office for Partnership was set up 

within his office. Former Fed-State Director 

Henry Putsch was named Executive Director 

for Partnership, and at the close of fiscal 1979 

new directors were named for three Partnership Program areas. Bill Terry, former Assistant Director of the Fed-State Program, became 

Director for Partnership Coordination to assure 

states-wide, Endowment-wide, and arts-wide 

coordination of effort in planning, policy development, and programming. Anthony Turney 

became Director for State Programs to adminnizations. Joe Prince became Director of the 

Artists-in-Schools Program to assure development of a long-range plan for the AIS effort 

and to determine how future AIS programming 

can most effectively relate to the federal, state, 

and local public sector arts-support partnership. 

The Office for Partne~ship will work toward giving all artists and arts organizations 

access to public-sector support from local (city, 

county), state, regional, and federal levels of 

government. Thus, as we move towards fiscal 

1980, the Partnership Office is working intensively with the NCA/NASAA joint policy committee to identify the appropriate local link 

in the arts support network of the public sector. 

We will then recommend to the National Council on the Arts and the National Assembly of 

State Arts Agencies a plan to integrate local 

arts agency support efforts into the Endowment/state partnership. 

~ ~~ 

ister the Endowment’s support of the arts Henry Putsch 

through state arts agencies and regional orga- Executive Director for Partnership 
299 

Education 

(Artists-in- S chools ) 

Artists-in-Schools Advisory Panel 

Jack Stefany, Chairman Chuck Davis Gigi Ledkovsky 

Architect Artistic Director Maine State Commission 

Tampa, Florida Chuck Davis Dance Company on the Arts and ttumanities 

Bronx, New York	 Augusta, Maine 

Donald Aldrich 

Chairman Ruth Draper	 Ron Libertus 

Executive Director Rhode Island State Council on the	 Liaison Officer 

Arts	 Utah Arts Council Department of Natural Resources Salt Lake City, Utah Providence, Rhode Island	 St. Paul, Minnesota 

Jimmy C. Driftwood Juan M. Carrillo	 Raymond F. Sisneros Fiddler 

California Arts Council Timbo, Arkansas Principal 

Sacramento, California Bernalillo High School 

Bernalillo, New Mexico Richard B. Holzman 

Shirley Trusty Corey Superintendent 

Supervisor, Cultural Resources Cinnaminson Township/Board of Richard Taylor 

New Orleans Public Schools Education Artist-in-Residence 

New Orleans, Louisiana Cinnaminson, New Jersey Frankfort, Kentucky 

Education Grants Program funds: $5,639,477

Artists.in-Schools	 A national, state-based program ~vhich places professional artists in 

elementary and secondary schools. 

Program funds: $4,232,642 

Alabama State Council on the Arts and 90,355 Arizona Commission on the Arts and 75,500
 

Humanities Humanities
 

Montgomery, Alabama Phoenix~ Arizona
 

Alaska State Council on the Arts 108,960 Arkansas Arts Council 100,000
 

Anchorage, Alaska Little Rock, Arkansas
 

American Samoa Arts Council 25,000 Artists Foundation 78,000
 

Pago Pago, American Samoa Boston, Massachusetts
 
300 Education 

From "St. Francis Preaches to the Birds" by P¢ter Schumann-­

Vermont Council on the Arts. Photo: Andrew Kline 

California Arts Council 132,420 

Sacramento, California 

Colorado Council on the Arts and 65,000 

Humanities 

Denver, Colorado 

Connecticut Commission on the Arts 74,410 

Hartford, Connecticut 

D.C. Commission on the Arts and 29,232 

Humanities 

Washington, D.C. 

Delaware State Arts Council 47,200 Wilmington, Delaware 

Fine Arts Council of Florida 120,275 

Tallahassee, Florida 

Georgia Council for the Arts and 65,805 

Humanities 

Atlanta, Georgia 

Guam, Insular Arts Council of 18,300 

Agana, Guam 

Hawaii State Foundation on Culture and 67,860 

the Arts 

Honolulu, Hawaii 

Idaho Commission on the Arts 50,000 

Boise, Idaho 

Illinois Art Council 70,675 

Chicago, Illinois 

Indiana Arts Commission 78,325 

Indianapolis, Indiana 

Iowa State Arts Council 83,700 

Des Moines, Iowa 

Kansas Arts Commission 55,000 

Topeka, Kansas 

Kentucky Arts Commission 

Frankfort, Kentucky 

67,900 

Louisiana State Arts Council 

Baton Rouge, Louisiana 

84,700 

Maine State Commission on the Arts and 

the Humanities 

Augusta, Maine 

69,515 

i~Iaryland Arts Council 

Baltimore, Maryland 

50,000 

Michigan Council for the Arts 

Detroit, Michigan 

78,290 

Minnesota State Arts Board 

Minneapolis, Minnesota 

130,330 

Mississippi Arts Commission 

Jackson, Mississippi 

50,000 

Missouri State Council on the Arts 

St. Louis, Missouri 

48,400 

Montana Arts Council 

Missoula, Montana 

50,000 

Nebraska Arts Council 

Omaha, Nebraska 

109,000 

Nevada State Council on the Arts 

Reno, Nevada 

50,100 

New Hampshire Commission on the Arts 

Concord, New Hampshire 

68,400 

New Jersey State Council on the Arts 

Trenton, New Jersey 

67,765 

New Mexico Arts Division 

Santa Fe, New Mexico 

62,000 

New York Foundation for the Arts 

New York, New York 

177,300 
 

Education 301 

North Carolina Arts Council 66,300 Tennessee Arts Commission	 74,400 

Raleigh, North Carolina Nashville, Tennessee 

North Dakota Council on the Arts and 48,340 Texas Commission on the Arts and 121,000 

Itumanities Humanities 

Fargo, North Dakota Austin, Texas 

Ohio Arts Council 

Columbus, Ohio 

73,410 Utah Arts Council 

Salt Lake City, Utah 

68,795 

Oklahoma Arts and Humanities Council 

Oklahoma City, Oklahoma 

66,600 Vermont Council on the Arts 

Montpelier, Vermont 

53,000 

Oregon Arts Commission 

Salem, Oregon 

89,200 Virgin Islands Council on the Arts 

Christiansted, St. Croix, Virgin Islands 

15,000 

Pennsylvania Council on the Arts 

Harrisburg, Pennsylvania 

74,050 Virginia Commission of the Arts and 

Humanities 

60,000 

Puerto Rican Culture, Institute of 20,000 Richmond, Virginia 

San Juan, Puerto Rico Washington State Arts Commission 114,965 

Rhode Island State Council on the Arts 80,000 Olympia, Washington 

Providence, Rhode Island West Virginia Arts and Humanities 78,200 

Senahan, Inc. 

New York, New York 

240,000 Commission 

Charleston, West Virginia 

South Carolina Arts Commission 

Columbia, South Carolina 

137,910 Wisconsin Arts Board 

Madison, Wisconsin 

50,755 

South Dakota State Fine Arts Council 51,700 Wyoming Council on the Arts 49,300 

Sioux Falls, South Dakota Cheyenne, Wyomíng 

Artists.in-Schools	 National coordinators offer professional and technical assistance to 

specific components of the Artists-in-Schools Program.

Coordination Costs 

Program funds: $629,595 

Buki, Linda* 

Frenchtown, NewJersey 

For national coordination of the Folk Arts Component of 

the Artists-in-Schools Program for the 1978-79 school 

year, and fora national survey of folk artists and folio 

36,000 

arts programs. 

Educational Futures, Inc.* 

Philadelphia, Pennsylvania 

For national coordination of the arehitecture component 

of the Artists-in-Schools Program for the 1978-79 school 

year, including the costs for one national and three re226,788 

gional ~neetings. 

Harris, Jack M.* 

NewYork, New York 

For national coordination of the film/vídeo componen~ o] 

the Artists-in-Schools Program for the 1979-80 school 

25,000 

year. 

Lichtmann, Dean A.* 

Jackson, New Jersey 

For national coordination of the visual arts/crafts component of the Artists-in-School Program for the 1978-79 

school year, including development and production of a 

45,400 

visual arts handbook. 

Martin, Sister Kathryn* 

Terre Haute, In~liana 

For national coordination of the theater component of the 

Artists-in-Schools Program for the 1978-79 school year, 

including the development and p~’odue~ion of a theater 

92,000 

directory and handbook. 

Reinhart (Charles) Management* 

New York, New York 

For national coord~na$ion of the dance component of the 

Artists-in-Schools Program for the 1978-79 school year, 

including costs for one national meeting, and development 

174,407 

and production of the AIS Directory of Dance Companies 

and Dance Movement Specialists. 
302 Education 

Ridley, Larry* 

Englishtown, New Jersey 

Arts Administration 

California, Regents of the University of 

Los Angeles, California 

Sangamon State University
 

Springfield, Illinois
 

Sangamon State University
 

Springfield, Illinois
 

Utah, University of
 

Salt Lake City~ Utah
 

Wisconsin Foundation, University of 

Madison, Wisconsin 

Yale University
 

New Haven, Connecticut
 

Learning 

Through the Arts 

Art Resources for Teachers and 

Students 

New York, New York 

Center for City Building Educational 

Programs 

Los Angeles, California 

Children’s Art Carnival 

New York, New York 

Davis (Chuck) Dance Company 

New York, New York 

Growing Mind 

Bolinas, California 

Karamu House 

Cleveland, Ohio 

For national coordination of the muslo component of the 30,000 Artists-in-Schools Program for the 1978-79 school year,
 

including preparatory work on the pilot jazz program.
 

To aid universities with graduate level programs in arts administratíon in awarding fellowships to students. 

Program funds: $98,000 

For internships and fellowships given by the university’s 25,000 management in the arts program. 

For programs at the Sangamon Institute in Arts Adminis­ 10,000 tration. 

Stipends for participants in the university’s community 15,000
 

arts management program.
 

For graduate fellowships for the university’s Institute of 18,000 Arts Administration. 

For research fellowships and assistance in developing the 15,000 university’s master of arts program in arts administration
 

in the Graduate School of Business.
 

For fellowships to administration students for maintain- 15,000
 ing and developing the theater arts administration training programat Yale University School of Drama.
 

To involve people of all ages in arts activities beyond the traditional 

classroom. Generally, grants are awarded to community cultural centers, experimental schools, "schools without walls," and other public 

and private organizations, including state arts agencies. 

Program funds: $208,640 

For continuation during 1979--80 of a program of coopera­ 22,500 tion between artists and public school teachers which 

focuses on classroom pro]ects based in the arts. 

For continuation during 1979-80 of the City Building 43,140 Education Programs, which offer environmental arts curtitula to public schools. 

For creative arts workshops throughout New York City 22,500 during 1978-79. 

For continuation during 1979-80 of a residency at Roberto 10,000 Clemente State Park. 

For Full Circle’s crafts program during 1978-79, geared 20,000 especially for children with severe perceptual and learning disabilities. 

For the Pre-School Arts Program, a pilot pro]eet which 20,0~~0 provides experiences in dance/movement and the visual 

arts to children, ages Z~/2 to five. 

Learning About Learning Educational For an experimental pro]ect whieh enables professional 20,01]0 Foundation artists to work with children in transferring their creative 

San Antonio, Texas abilities into practical learning experiences. 
 

Education 303 

National Heritage Trust/Artpark For a dance company residency at Roberto Clemente State 10,000 

New York, New York Park. 

18,000 Palace of Arts and Sciences For artists-in-residence at the Exploratorium, a museum 

Foundation designed to investigate human sensory perception. 

San Francisco, Calffornia 

For ah education program which provides workshops and 7,500

Company special performances for handicapped children. 

Los Angeles, California 

R’Wanda Lewis Afro-American Dance 

Sculpture in the Environment	 For ongoing lectures and workshops on the environmental 15,000 

New York, New York arts and architecture ]of high school and college students.

(~eneral Programs To assist projects not included in other grant categories. 

Program funds: $470,600 

22,500 Art Resources for Teachers and
 For continuation during 1979-80 of a program of cooperaStudents
 tion between artists and public school teachers which 

New York, New York focuses on classroom pro]ects based in the arte.

For the Northeastern Regional Artists-in-Schools Pre- 7,500 Artists Foundation 

Boston, Massachusetts Residency Orientation Conference, designed to serve the

AIS personnel and sponsors from northeastern states. 

For a national "Advocacy for Action Program," des~gned 70,000 Arts, Education and Americans 

New York, New York to influence the nation’s leadership to provide better arts

education for all chiIdren. 

10,020 To enable public school students and teachers during
 

Washington, D.C. 1978-79 to develop and present original poetas, songs, and
 

dramatic scenes based on the history of Washington, D.C.
 

Associates forRenewalin Education 

10,020 To enable public school students and teachers during
 

Washington, D.C. 1979-80 to develop and present original poetas, songs, and
 

dramatic scenes based on the history of Washington, D.C.
 

Associates forRenewalinEducation 

10,000 Centrum Foundation For the "Experiences in Creativity" workshops at Fort
 

Port Townsend, Washington Worden State Park.
 

22,770 Community Arts Services---Hawaii	 To provide Hawaiian communities during 1978-79 with 

Hilo, Hawaii ah Arts in Education Program for school students, a

summer enrichment program, and creative movement 

workshops. 

22,770 Community Arts Services--Hawaii	 To provide Hawaiian communities dur~ng 1979-80 with ah
 

Hilo, Hawaii Arts in Education Program for school students, a summer


enrichment program, and creative movement workshops. 

5,000 Educational Testing Service For support of a conference on a National Artistie Merit 

Princeton, New Jersey Program. 

50,000 George Washington University	 For the Workshops for Careers in the Arte which supports

Washington, D.C. progams during 1978-79 at Duke Ellington School of the

Arts. 

5,000 Knoxville School Corporation For Laurel School’s art program, which inc~udes workKnoxville, Tennessee shops, classes, extension programs conducted by local

artists, and community arts services. 

30,000 Learning Guild	 For the Intergenerational Arte Program, which pairs
 

Boston, Massachusetts school children with senior citizene.


15,000 Media Study	 For a community center which offers facilities for arte
 

Buffalo, New York programs and activities.

304 Education 

Minnesota State Department of 

Corrections 

St. Paul, Minnesota 

Montana Arts Council 

Missoula, Montana 

Montana Repertory Theatre
 

Missoula, Montana
 

Music Performance Trust Funds 

New York, New York 

National Assembly of State Arts 

Agencies 

Washington, D.C. 

New Orleans Public Schools 

New Orleans, Louisiana 

North Carolina Arts Council
 

Raleigh, North Carolina
 

Opera Company of Boston
 

Boston, Massachusetts
 

Seattle Repertory Theatre
 

Seattle, Washington
 

Utah, University of
 

Salt Lake City, Utah
 

Workshops for Careers in the Arts 

Washington, D.C. 

* ¢ontract 

For "Arte in Correetions," a projeet designed to make 

use of the arte asa rehabilitative reeouree. 

26,600 

Fora potter-¿n-residence ¿n the schools and commun~ty of 

a small town on Crow Indian Reservation. 9,000 

For a program using aetors to conduet theater workshops 

and lecture/demonstrations for teachers and students in 

publie sehools throughout Montana. 

10,000 

For live ~nusical performances, free to the publie. 17,500 

For support of three meetings for diecussion of proposed 

revisions in the Artists-in-Schools Program. 13,000 

For guest artists-in-residenee at the New Orleans Center 

for Creative Arte, a facility for talented secondary publie 

sehool students. 

10,000 

To amend a previous gran~ to cover an additional two 

months salary for the coordinator of North Carolina’s 

Visiting Artist Program. 

3,720 

For the Children’s Opera Program, a pilot program initiating students into the various aspects of an operatie 

production, culminating in an actual operatie presentation. 

17,000 

For the Vanguard program, which provides actors to 

orient students and teachers prior to in-sehool performances of the theater ensemble. 

8,200 

For support of a film, Virginia Tanner and Children’s 

Creative Dance. 10,000 

For programs during 1979-80 at Duke Ellington School 

for the Arte, which includes the Stree~ Theatre Company, 

Living Library series, in-school productions, artists-inresidene,e and visiting gues~ artists and lecturers. 

50,000 
 

 

3O5 

Federal-State 

Partnership

{State Programs) 

Federal-State Partnership Panel 

Aifredo Gutierrez David E. Nelson Lida Rogers, Chairman Executive Director, Montana Arts State Senator Executive Director Council Mississippi Arts Commission Phoenix, Arizona Missoula, Montana Jackson, ~Iississippi 

Michael Lomax Marvin Oliver

John Blaine Commissioner, Fulton County Visual Artist, Professor Executive Director	 Atlanta, Georgia Bainbridge Island, Washington Houston Arts Council
 

Houston, Texas Dorothy Olson
 

Chairman
 Sister Kamryn Martín, S.P. Richard Contee	 Chairman, Indiana Arts Commission Vermont Council on the Arts

President/Executive Director Terre Haute, Indiana Battleboro, Vermont
 

Dayton Hudson Foundation


Minneapolis, Minnesota Wallace A. Richardson
 

Robert Mayer Chairman, Nebraska Arts Council
 

Ann Farris Darling Executive Director Lincoln, Nebraska
 

Executive Director New York State Council on the Arts
 

OPERA America	 Stephen Sell New York, New York Washington, D.C.	 Manager, Atlanta Symphony


Atlanta, Georgia
 

Rick George	 Henry Moran 

Executive Director	 Yen Lu Wong Executive Director 

Mid-America Arts Alliance
 Dancer, College Faculty

Columbia, South Carolina Kansas City, Missouri La Jolla, California
 South Carolina Arts Commission 

Federal-State Partnership Grants 

Program funds: $22,758,058 

To provide basic funding for state plans for support of the arts. Basic State 

Operating Grants Program funds: $15,244,500 

For support of arts projects identified as priorities by the Endow- State and National ment and/or the states.

Priorities Grants 

Program funds: $4,109,930 

Basic State

State and 

Operating National 

Grants Priorities

Alabama State Council on the Arts and Humanities 	 275,000 51,870 

Montgomery, Alabama 
306 Federal-State Partnership 

Photo: Charlotte Nature Museum, North Carolina 

Alaska State Council on the Arts 

Anchorage, Alaska 

American Samoa Arts Council 

Pago Pago, American Samoa 

Arizona Commission on the Arts and Humanities 

Fhoenix, Arizona 

Arkansas State Arts and Humanities, Office of 

Little Rock, Arkansas 

California Arts Council 

Sacramento, Caliíornia 

Colorado Council on the Arts and Humanities 

Denver, Colorado 

Connecticut Commission on the Arts 

Hartford, Connecticut 

D.C. Commission on the Arts and Humanities 

Washington, D.C. 

Delaware State Arts Council 

Wilmington, Delaware 

Fine Arts Council of Florida 

Tallahassee, Florida 

Georgia Council for the Arts and Humanities 

Atlanta, Georgia 

Guam, Insular Arts Council of

Agana, Guam 

Hawaii State Foundation on Culture and the Arts 

Honolulu, Hawaii 

275,000 183,150 

275,000 20,000 

275,000 35,520 

275,000 57,590 

275,000 228,190 

275,000 43,320 

275,000 62,270 

275,000 20,000 

275,000 31,110 

275,000 89,740 

275,000 67,680 

275,000 20,000 

275,000 130,360 
Federal-State Partnership 307 

Basie 

State 

Operating 

Grants 

State 

and 

National 

Priorities 

Idaho Commission on the Arts 

Boise, Idaho 

275,000 20,000 

Illinois Arts Council 

Chicago, Illinois 

275,000 124,880 

Indiana Arts Commiss[on

Indianapolis, Indiana 

275,000 79,150 

Iowa State Arts Council 

Des Moines, Iowa 

275,000 41,270 

Kansas Arts Commission 

Topeka, Kansas 

275,000 31,300 

Kentucky Arts Commission 

Frankfort, Kentucky 

275,000 65,930 

Louisiana State Arts Council 

Baton Rouge, Louisiana 

275,000 43,380 

Maine State Commission on the Arts and the Humanities 

Augusta, Maine 

275,000 41,710 

Maryland Arts Coun¢il 

Baltimore, Maryland 

275,000 57,000 

Massachusetts Coun©il on the Arts and Humanities 

Boston, Massachusetts 

275,000 103,250 

Michigan Council for the Arts 

Detroit, Michigan 

275,000 149,810 

Minnesota State Arts Board 

Minneapolis, Minnesota 

275,000 113,985 

Mississippi Arts Commission 

Jackson, Mississippi 

275,000 41,510 

Missouri State Council on the Arts 

St. Louis, Missouri 

275,000 136,380 

Montana Arts Council 

Missoula, Montana 

275,000 24,970 

Nebraska Arts Councii 

Omaha, Nebraska 

275,000 46,320 

Nevada State Council on the Arts 

Reno, Nevada 

New Hampshire Commission on the Arts 

Concord, New Hampshire 

New Jersey State Council on the Arts 

Trenton, New Jersey 

New Mexico Arts Division 

Santa Fe, New Mexico 

New York State Council on the Arts 

New York, New York 

275,000 

275,000 

275,000 

275,000 

275,000 

27,980 

27,870 

90,210 

33,530 

424,210 

North Carolina Arts Council 

Raleigh, North Carolina 

275,000 78,220 

North Dakota Coun¢il on the Arts and Humanities 

Fargo, North Dakota 

275,000 23,470 
308 Federal-State Partnership 

Basic 

Regional 

Operating 

Grants 

Regional 

Priorities 

Grants 

Northern Mariana Islands, Commonwealth of the 

Saipan, Northern Marianas 

119,500 m 

Ohio Arts Council 

Columbus, Ohio 

275,000 139,085 

Oklahoma Arts and Humanities Council 

Oklahoma City, Oklahoma 

275,000 47,280 

Oregon Arts Commission 

Salero, Oregon 

275,000 39,260 

Pennsylvania Council on the Arts, Commonwealth of 

Harrisburg, Pennsylvania 275,000 137,350 

Puerto Rican Culture, Institute of 

San Juan, Puerto Rico 

275,000 20,000 

Rhode Island State Council on the Arts 

Providence, Rhode Island 

275,000 67,170 

South Carolina Arts Commission 

Columbia, South Carolina 

275,000 80,730 

South Dakota State Fine Arts Council 

Sioux Falls, South Dakota 

275,000 35,470 

Tennessee Arts Commission 

Nashville, Tennessee 

275,000 58,830 

Texas Commission on the Arts and Humanities 

Austin, Texas 275,000 124,480 

Utah Arts Council 

Salt Lake City, Utah 275,000 155,740 

Vermont Councii on the Arts 

Montpelier, Vermont 275,000 38,800 

Virgin Islands Council on the Arts 

Christiansted, St. Croix, Virgin Islands 275,000 20,000 

Virginia Commission of the Arts and Humanities 

Richmond, Virginia 275,000 57,520 

Washington State Arts Commission 

Olympia, Washington 275,000 49,290 

West Virginia Arts and Humanities Commission 

Charleston, West Virginia 275,000 95,400 

Wisconsin Arts Board 

Madison, Wisconsin 

275,000 53,350 

Wyoming Council on the Arts 

Cheyenne, Wyoming 275,000 23,040 

Basic Regional	 To support arts programming planned and implemented by state arts 

agencies on a multi-state basis. Under this category $40,000 were Operating Grants made available to each state to be used for regional programs. 

Program funds: $1,930,000 
 

--

Federal-State Partnership 309 

Regional Priorities To suppo~t regional arts projects identified as priorities by regional

organizations of state arts agencies. Grants 

Program funds: $712,295 

Basic 

Regional	 Regional 

Operating Priorities 

Grants	 Grants 

Affiliated State Arts Agencies of the Upper Midwest 200,000 117,400 

Minneapolis, Minnesota 

Arts Alaska 120,000	 -­

Anchorage, Alaska 

Arts Exchange m	 15,000

Concord, New Hampshire 

40,000	 m Delaware State Arts Council 

Wilmington, Delaware 

Great Lakes Arts Alliance 160,000 35,000

Columbus, Ohio 

Maryland Arts Council 40,000 ~ 

Baltimore, Maryland 

Mid-America Arts A1Hance	 160,000 231,150

Kansas City, Missouri 

New England Foundation for the Arts	 240,000 77,880

Cambridge, Massaehusetts 

New Jersey State Council on the Arts 40,000 m 

Trenton, New Jersey 

~ New York State Council on the Arts	 40,000 

New York, New York 

Pennsylvania Council on the Arts	 40,000 

Harrisburg, Pennsylvania 

Southern Arts Foundation	 400,000 82,065 

Atlanta, Georgia 

~ Texas Commission on the Arts and Humanities	 10,000 

Austin, Texas 

West Virginia Arts and Humanities Commission	 40,000 m

Charleston, West Virginia 

Western States Arts Foundation 400,000 153,800 

Denver, Colorado 

Governmental	 For projects that assist state and community arts agencies in their 

efforts to support and promote the arts.

Support Services 

Program funds: $761,333 

American Council for the Arts To amend a previous grant to a8sist the National A8so­ 72,000 

New York, New York ciation of Community Arts Agencies with establishing 

a national o]~ce, plus expenses for a national ¢onferenc8 

and ¿ravel. 
310 FederaloState Partnership 

Association of Science-Technology 

Centers 

Washington, D.C. 

California Arts Council 

Sacramento, California 

D.C. Commission on the Arts and
 

Humanities
 

Washington, D.C. 

Draper, Ruth 

Salt Lake City, Utah 

Fain, Kenneth* 

Washington, D.C. 

Greater Columbus Arts Council 

Columbus, Ohio 

Lippett, Gordon L.* 

Washington, D.C. 

Mississippi Arts Commission 

Jackson, Mississippi 

Napier, Rodney* 

Philadelphia, Pennsylvania 

National Assembly of Community Arts 

Agencies 

Washington, D.C. 

National Assembly of State Arts 

Agencies 

Washington, D.C. 

National Assembly of State Arts 

Agencies 

Washington, D.C. 

National Assemb]y of State Arts 

Agencies 

Washington, D.C. 

NationalAssemblyofState Arts 

Agencies 

Washington, D.C. 

National Assembly of State Arts 

Agencies 

Washington, D.C. 

National Assembly of State Arts 

Agencies 

Washington, D.C. 

National Assembly of State Arts 

Agencies 

Washington, D.C. 

National Assembly of State Arts 

Agencies 

Washington, D.C. 

Nellum (A. L.) and Associates* 

Washington, D.C. 

Nelson, David 

Missoula, Montana 

For a tour of the traveling exhibir "Accessible Arts" to 5,140 seven locations during 1979-80. 

To support administrative costs oÍ the California Con­ 17,500 Íederation oÍ the Arts, a statewide umbrella arts service
 

organization.
 

To provide assistance to the commission in developing a 17,500 planning and decision-making process. 

Fellowship support for private study and research de­ 5,000 signed ¿o improve professional leadership skills. 

To write, edit and complete the publication Music in the
 

States.
 

For a program to serve asa model Íor other communities 12,500 ¿n assisting arts organizations in complying with the federal regulations on nondiscrimination of the handicapped. 

For a rcview of the Endowment’s State Plan formar. 6,100 

For administrative support of the first U.S.A. Interna­ 17,500 tional Ballet Competition. 

For a review of the Endowment’s State Plan formar. 6,300 

For a technical assistance program to improve the effec­ 25,000 tiveness oÍ local arts agencies. 

For support services to local arts agencies, including tech­ 85,000 nical services and information services. 

For support of Partnership Consultations, a ]oint venture 44,850 with the Endowment to assess the impact of public funds 

on the arts. 

For support services to state arts agencies, including in­ 144,465 formation services and leadership development. 

To assist the expenses of the NASAA/Federal-State 6,930 Partnership Transition Committee. 

For continued support fora project to develop pIanning 103,025 models for members to use in improving state arts progratas. 

To amend a previous grant to cover expenses of directors 25,000 of state arts agencies and regional arts organizations for 

attending a two-day seminar on new federal regulations 

concerning nondiscrimination of handicapped individuals. 

For a joint project between the Endowment and state arts 12,500 agencies to assess and improve their information systems. 

To support costs of an orientation mceting for new state 15,915 arts agency directors and chairmen. 

For a study of the participation of minorities in policy 24,993 and funding decisions in state, regional and local arts 

agencies. 

Fellowship support for private study and research designed 10,000 to improve professional leadership skills. 

700 
Federal-State Partnership 311 

John Young with his rock scu|pture for Morgan Community Co||ege0
 

Fort Morgan, Colorado. Photo: David Struthers
 

New England Foundation of the Arts	 For a nationa[ pilot projec~ to develop computerized 75,000
 

Cambridge, Massachusetts	 in/ormation systems for 56 state arts agencies and tire 

regional organizations. 

To amend a previous grant to provide travel and per diem 1,815 

San Juan, Puerto Rico expenses fora Puerto Rican etaff ~nember to become a 

special internat the Endowment. 

Puerto Rican Culture, Institute of 

Sheets, Robert N. Fellowship support for private study and research designed 20,000 

Denver, Colorado to improve leadership skills. 

Spencer, June* To funda review of the Endowment’s State Plan formar. 6,600 

Madison, Wisconsin 
312 

In te rgo v e mm en tal 

Activities 

Intergovernmental
 

Activities Grants
 Program funds: $937,467 

Iniergovernmental 

Activities 

American Institute for Municipal 

Research, Education, and Training 

Washington, D.C. 

Council of State Governments 

Lexington, Kentucky 

Council of State Governments 

Lexington, Kentucky 

Cultural Council Foundation 

New York, New York 

Frontczak, Diedre* 

Washington, D.C. 

Frontczak, Diedre* 

Washington, D.C. 

International City Management 

Association 

Washington, D.C. 

United States Conference of Mayors 

Washington, D.C. 

For programs conducted in cooperation with state, regional and local 

governments. 

Program funds: $239,022 

For the National League of Cities’ Task Force on the Arte $25,000 

which advisee local government o1~cials about the use 

the arte by cities, and which seeks to establish the arte

asa priority concern Íor government agencies at local, 

statc and national lcvels. 

To establish ah Advisory Taek Force on the Arte which 25,000 seeks to encourage interstate and interagency communication on programs and issucs related to the arte. 

For arte events at the council’s annual board meeting. 1,252 

Fora three-day scminar for municipal arts admini8trators. 8,470 

A contract to establish the Public Alternatives for the 52,500 

Arte Pro]ect, an ol~ce which will scrvc local, regional and 

national arte organizations and o~cials in developing 

more effectivc arte programs for the public. The contractor will establish a data bank, communications 

works, inforrnation systems, and engagc resource persons 

---all of which will foster more coordinated and widespread 

professional growth of the arte. 

A contraer ¿o plan, administer and coordinate the Task 100,000 

Force on Community Program Policy which seeks to 

examine, clarify and suggest needed changes in the 

relationship between the National Endowment and locallybased community arte agencies. 

For the association’s 6$th annual coníerence held in 1,800 

Cincinnati. 

To support the U.S. Conference of Mayors’ Taek Force 25,000 

on the Arte in it~ efforts to encourage greater municipal 

develop’ment oí cultural resources. 
Intergovernmental Activities 313 

Regional 

Representatives 

To enable regional representatives to provide assistance and information to state arts agencies, cultural organizations, artists, and the 

Endowment. 

Program funds: $698,445 

Boston Foundation 

Boston, Massachusetts 

For Rudy Nashan to scrve us a regional representative to 

Conncetieut, Maine, Massachusetts, New Hampshire, 

$67,495 

Rhods Island and Vermont. 

Cultural Council Foundation For John Wessel to serve as a regional representative to 75,339 

New York, New York Delawarc, Maryland, New Jersey, New York and Penno 

sylvania through July 1979 at which time he was appointed regional rcprcsentative of New York, Puerto Rico 

and Virgin Islands. 

Cultural Council Foundation For Gerald Ness to serw asa regional representative 73,453 

New York, New York to Virginia, Distriet of Columbia, North Carolina, South 

Carolina, Tennessee, Kentucky and West Virginia. 

Cultural Council Foundation For Eduardo García to serve asa regional representative 23,766 

NewYork, New York to Delaware, Maryland, New Jersey, New York and 

Pennsylvania as of August 1979. 

Kansas City Association of Trusts For Charles Springman to serve us a regional representa­ 32,652 

and Foundations tive to Alabama, Florida, Georgia, Louisiana, Mississippi, 

Kansas City, Missouri Puerto Rico and the Virgin lslands. 

Kansas City Association of Trusts For Franees Poteet to serve as a regional representative 75,821 

and Foundations to Arkansas, Kansas, Missouri, Oklahoma and Texas. 

Kansas City, Missouri 

Oregon Arts Foundation For Dale Kobler to serve asa regional representative to 72,746 

Salero, Oregon Caliíornia, Hawaii, Nevada, American Somoa and Guam. 

Sangamon State University 

Springfield, Illinóis 

For Bertha Masor to servc asa regional representative 

to Illinois, Indiana, Michigan, Ohio and Wisconsin. 

67,743 

Siouxland Iuterstate Metropolitan

Planning Council 

For Joann~ Soper to serve us a regional representative to 

Iowa, Minnesota, Nebraska, North Dakota and South 

66,131 

Sioux City, Iowa Dakota. 

Western States Arts Foundation For Bill Jamison to serve as a regional representative to 71,968 

Denver, Colorado Arizona, Colorado, New Medico, Utah and Wyoming. 

Western StatesArts Foundation For Terry Melton to serve asa regional representativo 71,331 

Denver, Colorado to Alaska, Idaho, Montana, Oregon and Washington. 

* ­ontra­t; 
--

--

--

--

--

--

314 

Financial Summary
 

Summary of Funds Available 

Appropriation, Regular Program Funds
 

Appropriation, Treasury Funds (to match nonfederal gifts)
 

Appropriation, Challenge Grant Funds (to match nonfederal gifts)
 

Total, Federal Appropriations
 

Nonfederal Gifts (of which $37,500,000 was to release federal
 

appropriation) 

Transferred írom Other Agencies 

Recovery of Prior Year Obligations 

Unobligated Balance, Prior Year 

Total Funds Available 

1 Not less than 20 percent for support of state arts agencies and regional groups. 

Fiscal 

Year 

Funds Obligated 1979 2 

Dance $ 8,120,905 

Design Arts 4,343,532 

Education 5,639,477 

Evaluation 314,281 

Expansion Arts 8,223,679 

Federal-State Partnership 22,758,058 

Folk Arts 2,443,858 

Intergovernmental Activities 937,467 

International/Fellows 557,216 

Literature 3,903,110 

Media Arts 9,387,468 

Museum 11,551,582 

Music 16,375,408 

Opera-Musical Theater 6,617,800 

Research 619,237 

Special Constituencies 143,000 

Special Projects 3,316,448 

Theater 8,251,341 

Visual Arts 4,715,808 

Program Development and Evaluation 301,000 

Miscellaneous 8,212 

Total Funds Obligated $118,528,887 

~ Includes $818,000 transferred from other agencies. 

Fiscal
 

Year 1979
 

$102,160,000 

7,500,000 

30,000,000 

$139,660,000 

$ 37,508,000 

818,000 

1,088,000 

560,100 

$179,634,100 

1979 

Challenge 

Grant 3 

$	 5,380,000 

1,656,000 

996,548 

1,655,978 

500,000 

p 

p 

60,000 

1,925,500 

14,237,974 

13,120,000 

4,250,000 

9,920,000 

5,160,000 

1,100,000 

$ 59,962,000 4 

~ Funds íor Challenge Grants are not allocated by program areas, rather, Challenge Grants ate awarded on a 

grant-by-grant basis. 

’ Includes $29,981,000 in nonfederal matching gifts and d onations which released $29,981,000 in indefinite Challenge 

Grant funds. 
 

315 

History of Authorizations

and Appropriations 

Fiscal 1966
 

Program Funds
 

Treasury Funds**
 

Total Funds for Programmlng
 

Fiscal 1967
 

Program Funds
 

State Arts Agenc~es (bloc)
 

(Subtotal--Program Funds)
 

Treasury Funds**
 

Total Funds for Programm~ng
 

Fiscal 1968
 

Program Funds
 

State Arts Agencies (bloc)
 

(Subtotal--Program Funds)
 

Treasury Funds**
 

Total Funds for Programmmg
 

Fiscal 1969
 

Program Funds
 

State Arts Agencles (bloc)
 

(Subtotal--Program Funds)
 

Treasury Funds**
 

Total Funds for Programm~ng
 

Fiscal 1970
 

Program Funds
 

State Arts Agencles (bloc)
 

(Subtotal--Program Funds)
 

Treasury Funds**
 

Total Funds forProgramm~ng
 

Fiscal 1971
 

Program Funds
 

State Arts Agencles (bloc)
 

(Subtotal--Program Funds)
 

Treasury Funds**
 

Total Funds for Programmlng
 

Fiscal 1972 

Program Funds 

State Arts Agenc~es (bloc) 

(Subtotal--Program Funds) 

Treasury Funds** 

Total Funds for Programm~ng 

Arts 

Authorization 

$ 5,000,000 

2,250,000 

$ 7,250,000 

$ 5,000,000 

2,750,000 

(7,750,000) 

2,250,000 

$ 10,000,000 

$ 5,000,000 

2,750,000 

(7,750,000) 

2,250,000 

$ 10,000,000 

$ 6,000,000 

2,000,000 

(8,000,000) 

3,375,000 

$ 11,375,000 

$ 6,500,000 

2,500,000 

(9,000,000) 

3,375,000 

$ 12,375,000 

$ 12,875,000 

4,125,000 

(17,000,000) 

3,000,000 

$ 20,000,000 

$ 21,000,000 

5,500,000 

(26,500,000) 

3,500,000 

$ 30,000,000 

Arts 

Appropriation Administrative 

$ 2,500,000 $ 727,000" 

34,308 

$ 2,534,308 

$ 4,000,000 $ 1,019,500" 

2,000,000
 

(6,000,000)
 

1,965,692
 

$ 7,965,692 

$ 4,500,000 $ 1,200,000" 

2,000,000 

(6,500,000) 

674,291 

$ 7,174,291 

$ 3,700,000 $ 1,400,000" 

1,700,000
 

(5,400,000)
 

2,356,875
 

$ 7,756,875 

$ 4,250,000 $ 1,610,000" 

2,000,000
 

(6,250,000)
 

2,000,000
 

$ 8,250,000 

$ 8,465,000 $ 2,660,000* 

4,125,000
 

(12,590,000)
 

2,500,000
 

$ 15,090,000 

$ 20,750,000 $ 3,460,000* 

5,500,000
 

(26,250,000)
 

3,500,000
 

$ 29,750,000 
--

--

--

--

--

--

--

--

--

--

--

--

316 History of Authorizations and Appropriations 

Fiscal 1973
 

Program Funds
 

State Arts Agencies (bloc)
 

(Subtotal--Program Funds)
 

Treasury Funds**
 

Total Funds for Programming
 

Fiscal 1974
 

Program Funds
 

State Arts Agencies (bloc)
 

(Subtotal--Program Funds)
 

Treasury Funds**
 

Total Funds for Programming
 

Fiscal 1975
 

ProgramFunds***
 

Treasury Funds**
 

Total Funds for Programming
 

Fiscal 1976
 

ProgramFunds***
 

Treasury Funds**
 

Total Funds for Programming
 

Transition Quarter 

July 1, 1976-September 30, 1976 

ProgramFunds***
 

Treasury Funds**
 

Total Funds for Programming
 

Fiscal 1977
 

Program Funds***
 

Treasury Funds**
 

Challenge Grants**
 

Photo/Film Project
 

Total Funds for Programming
 

Fiscal 1978
 

Program Funds***
 

Treasury Funds**
 

Challenge Grants**
 

Photo/Film Project
 

Total Funds for Programming
 

Administrative Funds
 

Fiscal 1979
 

Program Funds***
 

Treasury Funds**
 

Challenge Grants**
 

Administrative Funds
 

Total Funds for Programming
 

Fiscal 1980
 

Program Funds***
 

Treasury Funds**
 

Challenge Grants**
 

Administrative Funds
 

Total Funds for Programming
 

Arts 

Authorization 

$ 28,625,000 

6,875,000 

(35,500,000) 

4,500,000 

$ 40,000,000 

$ 54,000,000 

11,000,000 

(65,000,000) 

7,500,000 

$ 72,500,000 

$ 90,000,000 

10,000,000 

$100,000,000 

$113,500,000 

12,500,000 

$126,000,000 

$ 93,500,000 

10,000,000 

12,000,000 

4,000,000 

$119,500,000 

$105,000,000 

12,500,000 

18,000,000 

2,000,000 

$137,500,000 

such sums as 

necessary 

such sums as
 

necessary
 

such sums as 

necessary 

Arts 

Appropriation 

$ 27,825,000 

6,875,000 

(34,700,000) 

3,500,000 

$ 38,200,000 

$ 46,025,000 

8,250,000 

(54,275,000) 

6,500,000 

$ 60,775,000 

$ 67,250,000 

7,500,000 

$ 74,750,000 

$ 74,500,000 

7,500,000 

$ 82,000,000 

$ 33,437,000 

500,000 

$ 33,937,000 

$ 77,500,000 

7,500,000 

9,000,000 

$ 94,000,000 

$ 89,100,000 

7,500,000 

18,000,000 

$114,600,000 

8,900,000 

$102,160,000 

7,500,000 

30,000,000 

9,925,000 

$149,585,000 

$ 97,000,000 

18,500,000 

26,900,000 

12,000,000 

$154,400,000 

Administrative 

$ 5,314,000" 

$ 6,500,000* 

$ 10,783,000" 

$ 10,910,000" 

$ 2,727,000* 

$ 11,743,000" 

8,200,000 

* These funds were jointly provided to the National Endowment for the Arts and the National Endowment for


the Humanities until the two agencies were administratively separated in 1978.
 ** Federal funds appropriated by Congress to match nonfederal donations to the Endowment. 

*** Not less than 20 percent of Program Funds are required to go to state arts agenc,es and.regional arts groups. 

~ U. S. GOVERNMENT PRINTING OFFICE : 1980 310-917/4