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, 1980. 

Respectfully, 

Livingston L. Biddle, Jr. 

Chairman 

The President 

The White House 

Washington, D.C. 

February 1981 
 

 

 

 

 

 

 

 

Contents
 

Chairman’s Statement 2
 

The Agency and Its Functions 4
 

National Council on the Arts 5
 

Programs 6
 

Deputy Chairman’s Statement 8
 

Dance 10
 

Design Arts 32
 

Expansion Arts 52
 

Folk Arts 88
 

Inter-Arts 104
 

Literature 118
 

Media Arts: Film/Radio/Television 140
 

Museum 168
 

Music 200
 

Opera-Musical Theater 238
 

Program Coordination 252
 

Theater 256
 

Visual Arts 276
 

Policy and Planning 316
 

Deputy Chairman’s Statement 318
 

Challenge Grants 320
 

Endowment Fellows 331
 

Research 334
 

Special Constituencies 338
 

Office for Partnership 344
 

Artists in Education 346
 

Partnership Coordination 352
 

State Programs 358
 

Financial Summary 365
 

History of Authorizations and Appropriations 366
 
Chairman’s
 

Statement 

The Dream... The Reality 

"The arts have a central, fundamental importance to our daily lives." When those phrases 

were presented to the Congress in 1963--the 

year I came to Washington to work for Senator 

Claiborne Pell and began preparing legislation 

to establish a federal arts program--they were 

far more rhetorical than expressive of a national 

feeling of reality. 

They were expressive of a vision of an 

unprecedented but uniquely American experiment in developing cultural growth and progress. 

As in visions, dreams, ideas which are possible of 

fulfillment, there was a core of truth. But it was 

distantly perceived. Words like "far-fetched," 

"impractical," "eccentric" were applied--and 

even, at critical moments, ridicule. 

But the vision persisted. The dreams, the ideas 

became part of a fledgling program enacted into 

law 15 years ago. And today the vision is 

perceived closer at hand. The arts in the United 

States are gaining a national significance, a new 

sense of priority. They are recognized for the gift 

of enrichment which, in such a special manner, 

they provide. 

So on this 15th anniversary, I express my own 

particular admiration for those early Congressional leaders, of both parties, who in choosing a 

road, "took the one less traveled by," who 

pioneered and blazed a trail which is becoming 

more and more a broad avenue toward the 

future. 

As a nation we are mobilizing funding 

resources--at federal, state, and local governmental levels, among corporations, foundations, 

and private philanthropists--on behalf of the 

arts and the abiding talents they represent. We 

are moving toward goals which once seemed 

impossibly beyond reach. 

The enriching qualities of the arts can 

profoundly affect the uplifting of the human 

spirit. That has been true in leading civilizations 

throughout history. It is becoming true in our 

own country--at all economic levels of society. I 

see growing numbers of examples. It is not a 

renaissance of the arts. It is birth; it is a new 

beginning. We have never witnessed its like 

before. 

In the 15 years since 1965, the arts have begun 

to flourish all across our country, as the 

illustrations on the accompanying pages make 

clear. In all of this the National Endowment 

serves as a vital catalyst, with states and 

communities, with great numbers of philanthropic sources. The agency’s role, increasing in 

meaning year by year, is wholly in keeping with 

the original legislation’s design, and the ideals of 

my two predecessors as Endowment chairman, 

Roger Stevens and Nancy Hanks. 

Special safeguards to ensure that government 

would not dominate or threaten the free development of the arts were carefully written into our 

basic law. Unlike most federal agencies, our 

staff members do not make the crucial decisions 

about which projects and which artists receive 

support. My job really is to bring together the 

experts in each field, to discuss the merits of our 

25,000 applicants and determine those best 

qualified. Competition is enormous. Only one 

applicant in four on average, with the funding 

now available, is successful. 

The panel system of peer review is at the core 

of the Arts Endowment. Extending the concept 

are the 26 private citizens, appointed by the 

President with the advice and consent of the 

Senate, who serve as members of the National 

Council on the Arts. The Council guides the 

agency’s overall policies and reviews panel 

recommendations for final action. 

The law also includes a firm injunction against 

interfering in the policies of our grantees, a 

provision basic to freedom of expression. 

The Endowment has had some controversial 

moments; and yet controversy is the yeast that 

makes the creative loaf rise. If we tried to be 

forever safe in our grant-making, we would not 

be fostering the free expression of ideas on which 

the arts thrive. In fact, if you compare the 

Endowment’s grants over the years to arts 

support in the private sector, you will find that 

the Endowment is more likely to fund the new, 

the sometimes experimental, the less immediately 

visible work--the lone composer or poet, the 

small press which gives opportunity to talent in 

literature, the off-off Broadway theater at the 
Chairman’s Statement 

cutting edge of the theater arts. 

In the ageny’s budget for the current year, we 

emphasize access--that is, making the best in the 

professional arts available to the widest number-­

with emphasis on television and touring. Our 

support for such series as Dance in America and 

Live from Lincoln Center demonstrates how 

television reaches beyond the large cities and 

presents major arts events to all parts of our 

country. It also has the special potential for 

educating Americans in the immense diversity 

of the arts. 

During the last two years, for example, 34 

million people have seen Metropolitan Opera 

performances on Live from the Met. In terms of 

our assistance, that works out to a cost of less 

than t~vo cents a viewer. We are planning now to 

emphasize other art forms which have not yet 

appeared frequently on television--jazz, the 

visual arts, and the design arts such as 

architecture--and to support important new 

efforts in theater and opera. 

We have discovered that television, far from 

undermining live performances, whets the 

viewer’s appetite for more. After appearing on 

Dance in America, the Joffrey Ballet learned 

that 59 percent of those attending for the first 

time during the company’s next New York 

season were there because they had seen the 

Joffrey on television. Arts audiences are not 

satisfied to be mere passive observers. Inevitably, 

new dance companies spring up in communities 

which have seen a great performance, whether it 

be on television or through touring by an 

excellent company. 

A second important model for the long-term 

future of the arts is a city like Savannah, 

Georgia, or San Antonio, Texas, or WinstonSalem, North Carolina, where the arts are 

serving as the focal point, the driving force in 

revitalizing the city. Winston-Salem, for example, 

had been losing population to its suburbs. 

Several years ago the Arts Endowment gave a 

small planning grant to the local arts council to 

move into a deteriorating section of the center 

city. 

From that beginning has come a coalition of 

cultural, political, and business leaders who are 

now rebuilding the downtown around a special 

arts enclave, including a theater, a center for the 

arts, a park, and artists’ studios. The combined 

efforts, including historic restoration and pride 

in the past, have stimulated $3 million in grants 

from other federal agencies and over $100 

million in private investment. 

More important in my view is that in another 

ten years, Winston-Salem could emulate an 

Athens of old, a city where the arts are indeed 

exemplified as of central, fundamental importance to daily life. And the same emphasis could 

develop across the country. 

As in the story of Winston-Salem, I believe it’s 

legitimate to discuss the economic impact of the 

arts, their often proved value in attracting 

tourism and in rebuilding cities. We can discuss 

their social benefits, their values to the handicapped, the aging, or those in prisons. Art, in a 

special way, does furnish such benefits; and 

businesses, large and small, have a relevance to 

the arts--all the way from a photographic 

flashbulb to the bricks and mortar of a cultural 

center. 

But let us stress the intangible values of the 

arts above all--their gifts to the eye and ear and 

mind, to the imagination, to the questing spirit, 

to the revelation of new horizons, An Appalachian 

folk singer of indigenous American music, a 

Metropolitan Opera star, a painter, poet, choreographer.., all the myriad art formsl those from 

ethnic backgrounds, those from the deepest traditions of our Native Americans... each adds to 

the multifaceted riches of the arts. 

For the large arts organization, and the small 

ones, survival remains the single most descriptive 

word .... But survey the road traveled in 15 

years .... Then look toward mountains yet to 

scale .... Remember the individual artist as the 

surest guide. 

And remember, too, that when a society 

emphasizes the arts, it emphasizes the value of 

individuality. Where the arts flourish, so does 

that consummate political system centered on 

the individual--democracy. 

Livingston Biddle, Chairman 

National Endowment for the Arts 
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 for the Arts, the 

National Endowment for the Humanities, and a 

coordinating council of federal officials called 

the Federal Council on the Arts and the 

Humanities. The Foundation has no administrarive 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. 

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. The 

Council is mandated by law to advise the 

Chairman on policies, programs, and procedures. 

It also must review and make recommendations 

on applications for grants. 

The National Endowment for the Arts 

The National Endowment for the Arts is, in 

effect, an independent federal agency, with its 

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

Both legislatively and by Council policy, the 

Arts Endowment was conceived as a 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 Endowment’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 direct or interfere in the 

creative activities of individual artists or cultural 

organizations. 

Endowment Panels 

The panels serve the individual Programs of the 

Endowment much as the National Council on the 

Arts serves the Endowment as a whole. Together 

the Council and panels provide a system of 

professional peer review to evaluate applications, 

identify problenqs, and develop the policies and 

programs through 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 

matched on a three-to-one basis. 
National Council
 

on the Arts
 

Members with terms expiring in 1980: 

James E. Barnett 

Arts Patron/Trustee 

Van Cliburn 

Concert Pianist 

Leonard L. Farber 

Arts Patron/Trustee 

Sandra J. Hale 

Arts Administrator/Trustee 

Gunther Schuller 

Composer/Educator/Conductor 

George C. Seybolt 

Corporate Executive 

Museum Official 

Harry M. Weese 

Architect 

Dolores Wharton 

Arts Patron/Trustee 

Members with terms expiring in 1982: 

Martina Arroyo 

Concert and Opera Singer 

Theodore Bikel 

Actor, Singer 

Willard Boyd 

University President 

J. C. Dickinson, Jr. 

Museum Director 

William H. Eells 

Corporate Executive 

Arts Patron/Trustee 

Harold Prince 

Director/Producer 

Franklin J. Schaffner 

Film Director 

Geraldine Stutz 

Corporate Executive 

Fashion Leader 

Members with terms expiring in 1984: 

Thomas P. Bergin 

Educator 

Norman B. Champ, Jr. 

Arts Patron/Trustee 

Maureene Dees 

Community Theater 

Martin Friedman 

Museum Director 

Jacob Lawrence 

Painter 

Bernard Blas Lopez

State Arts Agency Director 

James Rosenquist 

Painter 

Robert Shaw 

Conductor 

Jessie A. Woods 

Arts Administrator 

Rosalind Wiener Wyman 

Arts Patron/Administrator 

Members with terms expiring in 1986: 

Kurt Herbert Adler 

Opera Company Director/Conductor 

Margo Albert 

Performer/Arts Administrator 

Robert Joffrey 

Ballet Company Director 

Dancer/Choreographer 

Erich Leinsdorf 

Conductor 

Toni Morrison 

Author/Editor 

I. M. Pei 

Architect 

Lida Rogers 

State Arts Agency Director 
Programs
 
Deputy Chairman’s 

Statement 

Dance 

Design Arts 

Expansion Arts 

Folk Arts 

Inter-Arts 

Literature 

Media Arts: 

Film/Radio/Television 

Museum 

Music 

Opera-Musical Theater 

Program Coordination 

Theater 

Visual Arts 
Deputy Chairman
 

Statement
 

In the pages that follow, the reader will find 

descriptions of more than 5,000 grants awarded 

in fiscal 1980~and not a sinKIe reference to 

19,000 rejected applications. For this silence 

about rejections there are excellent reasons. The 

g~,~d R~’p,,’t is concerned with what the 

Endowment did with its approt)riated funds~ 

not what it almost did or considered doing. 

Nevertheless, there is a certain irony in ignorin~ 

a subject as important as rejections~iml)ortant 

not only because the Endowment staff spends so 

much time dealing with applications that have 

not been funded, explaining to the apl.licants 

what went wrong, defending the decisions when 

controversies develop, but also because an 

understandin~ of rejections sheds so much liffht 

on the way the Endowment operates. So it seems 

apl)ropriate here to remedy this lacuna in the 

A,,,~d lS’p~,’[ and to discuss why some apl)lications are chosen to be funded and some are 

rejected. 

First, the fact that an application is not funded 

does not automatically mean that it has little 

merit. In fiscal 1980 the number of applications 

rose by 15.6 percent (from 20,600 in fiscal 1979 

to 23,800): available funds for ~rants, however, 

rose only g.2 percent. As a result, comt)etition for 

grants was more intense than ever. All too often 

we found ourselves in the unhappy position of 

rejectin~ ~ood projects that could very well have 

been funded. 

This situation was most acute when it came to 

selecting fellowship winners. Competition for 

available fellowship money is ahvays brisk, the 

odds always greatly against an applicant’s 

getting an award. In the spring of 1980, for 

example, panelists for the Visual Arts Program 

reviewed 5,003 applications and recommended 

119 grants at $10,000 each and !97 grants at 

$3,000. Often I’ve suggested to the Programs 

that the dollar amounts of the fellowships be 

substantially increased. Generally, though, panels 

want to keel) the awards at modest levels in 

order to give more grants to more artists, since 

so many are worthy. 

Despite the inevitable difficulties of choosing 

one artist over another or one artistic project 

rather than another, I believe our panels’ 

decision-making: process this year was more 

equitable than ever before. Fiscal 1980 was the 

first year in which the panels had the advantage 

of using the results of two activities begun 

earlier~increasin~ the number of on-site visits 

to apl)licants and broadening the composition of 

panels to include the widest possible ranffe of 

aesthetic viewpoints. From the on-site visits, the 

Endowment received fresh information from the 

field: from the new t)anelists, new perspectives 

and new approaches to the arts. 

Naturally, however, not everyone whose application is turned down by the Endowment 

accepts the rejection with good ~race. And, of 

course, everyone has a right to question the 

rejection of his application. We try to answer the 

questions as specifically as possible. Notes are 

token at every panel meeting, and most meetings 

are tape recorded. If an applicant questions a 

decision, we check throug’h these records and 

~ive an accurate summary of the reasons for the 

application’s rejection. 

Then, too, when circumstances warrant it, we 

do make an honest effort to reconsider applications. This year we established an appeals 

process, a formal method of scrutinizing how an 

application came to be rejected, to determine 

whether the l)rocedures were completely fair. In 

fiscal ’80 about a dozen rejections were reviewed 

under the apl)eals process: one decision was 

changed. The Endowment has been very careful 

not to allow outside pressure to alter a decision. 

It reverses a judgment only when it determines 

that the decision-makin~ 1)rocess was flawed in 

some way and, therefore, the application was not 

treated as fairly as it might have been. 

Many people have su~este(t changes that they 

believe would make the application process 

fairer, more impartial. The most frequent 

suggestion is that .judging should be anonymous~ 

that is, that panelists shouht make their 

recommendations on applications without knowinff the names of the applicants. In many ways, 

this is an appealing" idea, and the Endowment 

has taken ~ome steps in that direction. Thi~ year, 

for example, the Visual Arts t’roKram started a 

system whereby panelists did not know the sex of 

fellowship applicants. 
Judging that is "blind," or totally anonymous, 

however, presents real problems. There is. first 

of all, the logistical nightmare of keeping track 

of thousands of slides and manuscripts from 

which the names have been removed. To reduce 

the possibility of error, we ~vould need a more 

complex record-keeping system and a larger 

staff to handle it--a real problem, given the 

constraints of the Endowment’s administrative 

budget. Another objection is that the system 

appears to work against the younger, less 

established artists. Panelists in both literature 

and visual arts believe that the work of betterknown artists is immediately recognizable and 

that this puts the less established artists at a 

disadvantage. Anonymous judging also would 

make it impossible for the Visual Arts Program 

to continue its polley of awarding a small 

number of large grants ($12,500 for fiscal ’82) to 

established artists and many more smaller 

grants ($4,000 for fiscal ’82) to emerging artists. 

Without the names and information on the 

application forms, panelists cannot make these 

distinctions with certainty. Finally, panelists 

point out that the present system has not worked 

to the advantage of the ~vell-known artist over 

the lesser-known. 

These problems with blind judging do not 

mean that the Endowment has decided not to 

pursue the idea at all--only that it intends to 

pursue it cautiously and to evaluate the results to 

be sure any steps taken do indeed mean a gain in 

fairness and objectivity. 

Another suggestion often heard is that all 

panel meetings should be open to the public. The 

Endowment continues to feel that open meetings 

put persons far from the Washington-East Coast 

corridor at a severe disadvantage. Open meetings 

have other disadvantages: By law, the National 

Council on the Arts must review and act upon 

panel recommendations; the Council may--and 

sometimes does--overturn panel decisions. If the 

panel meetings were open and word of their 

recommendations already out, the Council would 

be in a most awkward position in trying to carry 

out its review function. In addition, open 

meetings would multiply the amount of hearsay 

that inevitably follows a panel meeting. These 

bits of information, out of context and often 

inaccurately reported, have immense potential 

for creating misunderstanding. Then, too, we 

are concerned about protecting the reputations 

of the artists whose work is evaluated at panel 

meetings. We do not want one panel’s verdict to 

become common knowledge, with the potential 

for influencing decisions made at other times. 

And, finally, we want to protect the integrity of 

the panel process. Panelists are experts whose 

knowledge and understanding of the arts are 

essential in helping the Endowment in its 

central role of grant-making. When panelists 

gather, often at the cost of considerable personal 

inconvenience, they must feel free to express 

their honest opinions about the material before 

them. The Endowment always makes sure, 

ho~vever, that part of every panel meeting is 

open to the public. During this time, anyone may 

ask questions of the panel and staff. 

We recognize, of course, that the system for 

awarding grants is imperfect. Doubtless, every 

year mistakes are made; and surely this A ~t~tt~al 

Report, like all its predecessors, lists grants that 

never fulfilled their promise. That’s inherent in 

the business of grant-making. But the system is 

under constant review and, we believe, getting 

better. Ironically, rejections play a real part in 

improving that system. They pressure the 

Endo~vment continually to evaluate its procedures, to remain responsive to the field, and to 

keep alert to the possibility and the value of 

change. 

Mary Ann Tighe 

Deputy Chairman for Programs 

11 

Dance
 

During much of the Dance Program’s first 15 

years, the needs of the dance community were 

immediate and obvious. By the mid-1960s the 

United States claimed many of the world’s 

outstanding dance artists. Few Americans, 

ho~vever, knew they were here. Their appearances all too often were brief and erratic. (If you 

missed the Martha Graham Company’s onenight stand, you might have to wait five years for 

the company to return to your town.) Dance 

artists were rarely paid for their work. And 

perhaps worst of all, the public did not know 

what to make of dance. Unlike the established 

worlds of the opera, the symphony, or the 

museum, dance in America had very quickly 

transformed classical traditions by kicking off 

its shoes and creating its own innovative styles. 

Of all the performing arts, dance certainly 

appeared to be the least understood and least 

accepted. 

In short, the American dance scene resembled 

a beautiful but sketchy mosaic. The key elements 

of the design--the artists and their work--were 

in place, but the missing tiles were of a variety of 

shapes and sizes: money, management, audiences, 

and public awareness and understanding. Joining forces with the foundations, individuals, and 

agencies already supporting dance, the Dance 

Program set out to help fill in the grand design. 

In the last 15 years the status of dance has 

changed more dramatically than that of any 

other art form. Audiences have grown by the 

tens of millions. High-quality professional dance 

companies of all sizes and styles tour regularly 

throughout this country and abroad. Professional dance artists, though still underpaid, have 

begun to support themselves through their art. 

More than the other live performing arts, dance 

has conquered both commercial and public 

television. Dance company management has 

become considerably more sophisticated. Finally, 

the public has come to embrace dance for its art, 

for its discipline, and for the sheer joy of 

watching it. 

The mosaic is slowly filling in. Yet some tiles, 

the financial ones in particular, must be 

constantly refurbished. While we recognize that 

this basic financial support will always be 

fundamental to the Dance Program, in the last 

year it has become clear that we must look 

beyond the immediate funding needs of dance to 

larger issues--some of which may not be within 

the immediate bounds of our grant-making. 

No one can question the overall quality of 

American dance; the Dance Program is now 

trying to improve the quality of its setting. Most 

dance performances still take place in high 

school auditoriums or gyms, lecture halls, 

alternative spaces, concert halls, and theaters 

designed for drama or opera. For years dancers 

have danced on hard floors and shallow stages 

that are too dangerous for the full range of their 

choreographed movement. And while dance 

companies are performing more than ever 

before, many still do not have enough performance opportunities, particularly in their own 

communities. The reason: Few companies have 

access to a home at home--a theater designed for 

dance and available on a regular basis. 

This year the Dance Program, in collaboration 

with the Design Arts Program, has funded the 

Design Coalition to produce a publication on 

dance facilities. Rarely have the needs of 

dance--in terms of stage floors, sight lines, wing 

space, and dressing rooms--been considered 

early enough in the process of designing 

theaters. The results have often been beautiful 

spaces, ill-suited to dance. By helping dance 

artists explain exactly what they need to the city 

planners, architects, and patrons involved in a 

cultural facility, this publication should encourage more communities to add dance centers to 

their cultural landscapes. 

We realize that the Dance Program will never 

have enough money to fund the large-scale 

construction or renovation of dance theaters. 

However, this year, again in conjunction with 

the Design Arts Program, we did make a pilot 

grant ($105,000 in a $1.5 million project) for the 

renovation of the Elgin Theater in New York 

City. More important, though, the Program 

acted as an advocate for the concept of the Elgin 

in its efforts to secure funding from other federal 

agencies, such as the Commerce Department 

and the Department of Housing and Urban Development. In a similar way, we helped the Bella 

Lewitzky Dance Company convince local officials 

of the importance of including a medium-size 

dance theater as part of Los Angeles’ downtown 

redevelopment plan. While single dance companies are developing both these projects, each is 

intended to serve dance companies from all over 

the country by providing a theater specifically 

designed for dance. 

This kind of project is vital because a company 

that can appear regularly in the same dance 

theater establishes a more permanent relationship with its audience. Building audiences and 

financial support becomes much easier. We 

foresee that in the 1980s dance companies of all 

sizes and types--modern, post-modern, and 

ethnic as ~vell as ballet companies, which have 

something of a head start in this area--will 

become much more aggressive in developing their 

local audiences and extending their home 

seasons. 

During the 1960s and ’70s, the Dance Program 

measured growth quantitatively. New dance 

companies and choreographers came into being 

with frightening speed. We counted touring by 

the number of engagements, not their length; we 

totaled up sponsors by how many presented 

dance, not by how much dance each presented. 

The Dance Program feels that dance ~vill 

continue to expand in the 1980s, but the relevant 

ways of measuring growth must be qualitative. 

We ~vish to help companies obtain longer, as well 

as more, engagements. We hope to help them 

develop ongoing ties with certain presenters in 

certain communities. We plan to encourage 

sponsors to expand their programming to 

include more companies and styles of dance than 

their audiences are accustomed to seeing. The 

development of solid sponsorship, however, is not 

a task the Dance Program can address on its 

own. For the past two years we have been 

~vorking with the Inter-Arts Program and the 

state and regional arts agencies in an effort to 

upgrade both the quality and quantity of dance 

presentation. 

Da~ce 13 

Meanwhile, the numerical growth of new 

dance companies has started to level off. This 

does not indicate a decline in the number of 

professionals entering .the dance field. Rather, it 

is a very understandable response to the 

economics of the ’80s when fewer choreographers 

can take on the financial and moral responsibility 

of starting a company of their own. What we see 

instead is the emergence of more choreographers 

who choose to work independently and of dance 

collectives that share a group of performers. 

These artists, along with some who have their 

own companies, want to create works for the 

existing repertory dance companies. The problem at the moment lies in establishing the 

communication link between companies and 

choreographers. In our choreography applications from dance companies, we see that there 

are a handful of known choreographers, names 

in great demand. Our policy panel currently 

is grappling with ways to help the repertory 

companies learn more about other talented 

choreographers and to help the choreographers 

gauge which companies might be receptive to 

their work. 

In some ways I believe that what ~ve know as 

the "dance boom" of the last 15 years--namely, 

the expansion of dance performances and the 

consequent growth in audiences--was really a 

flowering of the art form before it had a chance 

to put down solid roots. During the 1980s xve in 

the Dance Program expect dance to solidify its 

status and extend those roots in the form of 

longer home seasons in true dance theaters, 

cooperative gro~vth efforts led by presenting 

organizations, a mutually beneficial connection 

between independent choreographers and repertory dance companies, and increasingly sophisticated dance company management. 

Rhoda Grauer 

Director, Dance Program 
14 Do,we 

Dance Advisory Panel
 

Policy Panel 

David Gordon, Co-Chairman

Choreographer 

New York, New York 

Ann Smith, Co-Chairman 

Dance company board member 

Cleveland, Ohio 

Arlene Croce 

Dance critic 

New York, Nexv York 

Margaret Jenkins 

Artistic director, choreographer 

San Francisco, California 

Claude Kipnis 

Mime 

New York, New York 

tlarvey Lichtenstein 

Dance presenter 

New York, Ne~v York 

Bruce Marks 

Artistic director, choregrapher

Salt Lake City, Utah 

Arthur Mitchell 

Artistic director, choregrapher 

New York, New York 

Donald McKayle

Choregrapher 

Sherman Oaks, California 

Mary Regan 

Arts administrator 

Raleigh, North Carolina 

Jorge Rigau 

Dance sponsor 

San Juan, Puerto Rico 

Allen Robertson 

Dance writer 

Minneapolis, Minnesota 

Laura Shapiro 

Dance critic 

Seattle, Washington 

Edward Villella 

Dancer 

New York, New York 

Madelyn Voigts

Dance Touring Program Coordinator 

Kansas City, Missouri 

David White 

Dance presenter 

New York, New Yor~ 

Dance Touring Program 

Long Term Dance 

Engagements 

Bob Berky 

Mime 

Rochester, New York 

Ron Colton 

Artistic director, choregrapher 

Augusta, Georgia 

Arlene Croce 

Dance xvriter, critic 

New York, New York 

Carol Egan 

Dance professor

Berkeley, California 

Robert Lindgren 

Choregrapher, teacher 

Winston-Salem, North Carolina 

Bruce Marks 

Artistic director, choregrapher

Salt Lake City, Utah 

Marcia Preiss 

Dance presenter 

Poughkeepsie, New York 

Mary Regan 

Arts administrator 

Raleigh, North Carolina 

Jorge Rigau 

Dance sponsor 

San ,Juan, Puerto Rico 

Allen Robertson 

Dance writer, critic 

Minneapolis, Minnesota 

Laura Shapiro 

Dance writer, critic 

Seattle, Washington 

Ann Smith 

Dance company board member 

Cleveland, Ohio 

Madelyn Voigts

Dance Touring Program Coordinator 

Kansas City, Missouri 

Choreographers’ Felh)\vships 

I.aura Shapiro, CImirman 

Dance writer, critm 

Seattle. Washington 

I)avid (~ortlon, Co-Clmirman

Choregraphcr, dancer 

New York, New York 

Sally Banes 

l)ance writer, critic 

New York, New York 

Talley Beatty

Choregraphcr 

New York, New York 

AlMa Caster 

Dauce luana~eI~lent consultant 

Chicago, I lhnois 

Arlene Croce 

Dance writer, critic 

Nexv York, New York 

Beate (;ordon 

Director, performing arts program 

New York, Nexv Ynrk 

Mary ttinkson 

1)aueer, teacher 

New York, New York 

Chtu,le Kipnis 

Artistic director 

New York. New York 

Sali Ann Kriegsman 

l)ance writer, historian

Washington, D.C. 

Ted Morea 

Dancer, Spanish dance ext)ert 

Bellingham, Washington 

,Joe Na,~b 

Ilistorian 

New York, New York 

l)uncan Noble


Choreographer, teacher"
 

Winston-Salem, North Carolina
 

Naima Prcvnts
 

I)irectnr, university dance [)rogran~
 

Washington, I).C.
 

Allen R,,bcrtson
 

Dance writer, critic
 

.31 inneat)olis, M inne.~ota
 

David Vaugban 

Choreographer, dance writer, former 

dancer 

New York, New York 

David \Vbite 

Dance t)re,~eoter 

New York. New York 

Grants to Dance Companies 

I)avid Gordon, Co-Chairman

Choreographer, dancer 

New York, New York 
Dance 15 

Ann Smith, Co-Chairman 

Ballet company board member 

Cleveland, Ohio 

Arlene Croce 

Dance xvriter, critic 

New York, Nexv York 

Carol Egan 

Former dancer, teacher

Berkeley, California 

Charles France 

Dance press and public relations 

specialist 

New York, New York 

Joe Nash 

Dance historian 

New York, New York 

Claude Kipnis 

Artistic director, mime 

New York, New York 

Darlene Neel 

Dance company manager

Los Angeles, California 

Duncan Noble 

Choreographer, teacher 

Winston-Salem, North Carolina 

Marcia Preiss 

Dance sponsor

Poughkeepsie, New York 

Mary Regan 

Arts administrator 

Raleigh, North Carolina 

Allen Robertson 

Dance writer, critic 

Minneapolis, Minnesota 

David White 

Dance presenter 

New York, New York 

Dance/Film/Video 

David White, Chairman

Dance presenter 

New York, New York 

Emile Ardolino 

Television producer, director 

New York, New York 

Sally Banes 

Dance critic 

New York, New York 

Talley Beaty

Choreographer 

New York, New York 

Mary Hinkson 

Choreographer, dance teacher 

New York, New York 

Sali Ann Kriegsman 

Dance writer, historian 

Washington, D.C. 

Duncan Noble 

Choreographer, teacher 

Winston-Salem, North Carolina 

Allen Robertson 

Dance writer, critic 

Minneapolis, Minnesota 

Dance Grants
 

Dance Touring 

Program 

Small Companies 

Affiliated State Arts Agencies of the 

Upper Midxvest 

Minneapolis, Minnesota 

Laura Shapiro 

Dance writer, critic 

Seattle, Washington 

General Services to the Field 

Sponsors of Local Companies 

David Gordon, Co-chairman 

Choreographer, dancer 

New York, New York 

Ann Smith, Co-chairman 

Dance company board member 

Cleveland, Ohio 

Alida Caster 

Dance management consultant 

Chicago, Illinois 

Bruce Hoover 

Dance administrator 

New York, New York 

Harvey Lichtenstein 

Dance presenter 

New York, New York 

Mary Regan 

Arts administration 

Raleigh, North Carolina 

Madelyn Voigts 

Dance Touring Program 

Coordinator 

Salt Lake City, Utah 

David White 

Dance presenter 

New York, New York 

Program funds: $7,355,967 

Treasury funds: $ 637,800 

Private gifts: $ 637,800 

Includes three subcategories: Small Companies grants are awarded 

to state or regional arts agencies which, in turn, give grants to local 

sponsors of dance companies eligible for touring support for engagements of at least two-and-one-half days. Large Companies grants aid 

groups that wish to sponsor an engagement by American Ballet 

Theater, New York City Ballet, or the Joffrey Ballet. Long-Term 

Engagements grants support sponsors engaging 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: $3,892,919 

$151,946 Arts Alaska 13,675 

Anchorage, Alaska 
California Arts Council 

Sacramento, California 

I).C. Commission on the Arts

and Itumanities 

Washington, D.C. 

Fine Arts Council of Florida 

Tallahassec, Florida 

Georgia Council for the Arts 

and tlumanitics 

Atlanta, Georgia 

tIawaii State Foundation on Culture 

anti the Arts 

ttonolulu, tIawaii 

Illinois Arts Council 

Chicago, Illinois 

Indiana Arts Commission 

Indianapolis, Indiana 

Louisiana State Arts Council 

Baton Rouge, Louisiana 

Maryland State Arts Council 

Baltimore, Maryland 

Michigan Council for the Arts 

Detroit, Michigan 

Mid-America Arts Alliance 

Kansas City, Missouri 

Middlesex County Arts Council 

Edison, New Jersey 

Large Companies 

Ballet Theater Foundation 

New York, New York 

Ballet Theater Foundation 

New York, New York 

City Center of Music and Drama 

New York, New York 

Cornish Institute 

Seattle, Washington 

Dance Concert Society 

St. I~)uis, Missouri 

1)enver Symphony Orchestra 

Denver, Colorad<) 

Joffrey Ballet, Foundation for the 

New York, New York 

Keunedy (John F.) Center for the 

Performiu~ Arts 

Washington, D.C. 

Minnesota, University of 

Minneapolis, Minnesota 

Music Center Presentations 

Ix)s Angeles, California 

212,993 

g1,791 

96,939 

31,185 

29,28O 

95,9,12 

32,153 

70,981 

6,080 

102,222 

127,313 

42,36O 

New England Foundation for the Arts 

Cambridge, Massachusetts 

New York State Council on the Arts 

New York, New York 

North Carolina Arts Council 

Raleigh, North Carolina 

Ohio Arts Council 

Columbus, Ohio 

Pennsylvania Council on the Arts, 

Commonwealth of 

Ilarrisburg, Pennsylvania 

Southern Arts Federation 

Atlanta, Georgia 

Texas Commission on the Arts 

and Humanities 

Austin, Texas 

Virginia Commissiou on the Arts 

anti Humanities 

Richmond, Virginia 

West Virginia Arts anti Itumanities 

Commission 

Charleston, West Virginia 

Western States Arts Foundation 

Denver, Colorado 

139,620 

287,393 

94,928 

88,614 

87,116 

121,238 

54,695 

15,097 

16,142 

285,390 

$36,000 

171,370 

75,875 

21,~)0 

24,000 

21,000 

202,721 

139,S00 

36,000 

72,000 
Dance 17 

Natural Heritage Trust/Artpark 

Lewiston, New York 

Palm Beach Festival 

West Palm Beach. Florida 

Roosevelt University

Chicago, Illinois 

San Francisco Opera Association 

San Francisco, California 

San Francisco Symphony 

San Francisco, California 

Saratoga Performing Arts Center 

Saratoga Springs, New York 

Society for the Performing Arts 

Houston, Texas 

Society for the Performing Arts 

Houston, Texas 

Virginia Festival for the 

Performing Arts 

Norfolk, Virginia 

Wolf Trap Foundation for the

Performing Arts 

Vienna, Virginia 

Long-Term Engagements 

Arkansas, University of 

Little Rock, Arkansas 

Aspen Foundation for the Arts 

Aspen, Colorado 

Ballet West in Aspen 

Aspen, Colorado 

Boston University 

Boston, Massachusetts 

Maryland, University of 

College Park, Maryland 

New York, State University of 

Brockport, New York 

Triangle Dance Guild 

Raleigh, North Carolina 

Walker Arts Center 

Minneapolis, Minnesota 

West Virginia Department of Culture 

and History

Charleston, West Virginia 

West Virginia Fine Arts Camp 

Morgantown, West Virginia 

For a o~w-week residency by the Joffrey Ballet. 24,000 

For one week of the New York City Ballet. 43,500 

For two weeks of the Joffrey Ballet and two weeks of the New York 91,500 

City Ballet, 

For ta’o weeks of the American Ballet Theater. 72,000 

For a two-week residency by the Joffrey Ballet. 48,000 

For a three-week residency by the New York City Ballet. 130,500 

For a half-week residency in Houston by the Joffrey Ballet. 12,000 

For a half-week residency in San Antonio by the Joffrey Ballet. 12,000 

For a half-week residency by the Joffrey Ballet. 12,000 

For a one-week residency by the Joffrey Ballet. 24,000 

To sponsor the Rachel Lampert Dance Compangfora nine-month $49,960 

period beginning September 1981, d~tring which the company will 

perform exte~sively in Arkansas and the mid-America region. 

For a six-week residency by Ballet West in 1980. 50,000 

To prescott Ballet West in Aspen/Snowmass for six weeks daring 45,000 

the summer of 1981. 

For a six-a’eek residency by the Twyla Tharp Dance Foundatio~t. 45,000 

For a four-week residency by the Lar Luboritch Dance Company. 40,000 

For a four-week residency by the Viola Farber Dance Company. 14,000 

For a three-week residency by the Phyllis Lamhut Dance 6,700 

Company. 

For a fire-week residency by Merce C~tmd~lgham Dance 4%000 

Company. 

For a three-week residency by Dan Wagoner and Dancers. 14,000 

For a three-week residency by the Piltsb~rgh Ballet Theater. 20,000 
Choreographers’	 Includes txvo sub categories: Ca tegory I assists developing and experienced choreographers of demon,~trated merit |)y providing time and Fellowships	 money for artistic growth. Categor!! II assists established choreographers of national or international stature by providing time and

money to explore any aspect of dance significant to them. 

Category I 

Anastos, Peter 

New York, New York 

Bergmann, Elizabeth 

Ann Arbor, Michiffan 

Berky, Robert

Rochester, New York 

Bethel, Pepsi

New York, New York 

Blunden, Jerahlyne

Dayton, Ohio 

Bowyer, Robert 

New York, New York 

Byrd, l)onahl 

Los Angeles. California 

Clarke, Martha 

Washinffton, Connecticut 

Conrad, Gall

New York, New York 

De Groat, Andrew

New York. New York 

I)iamond, Matthew 

New York, New York 

Dunn, Douglas 

New York, New York 

Fleming, Lit)by K. 

Chica~o, Illinois 

Frank, l)iane

New York, New York 

Glassman, Jeff

Chaml)aign, Illinois 

Gohlston, Gregff 

Salt Lake City, Utah 

llalmsohn, Jana 

New York, New York 

Hay, I)cborah 

Austin, Texas 

llo(les, Stuart 

New York, New York 

Hodson, Millicent 

New York, New York 

ttoule, Bert and Sophie

Wil)aux 

New York, New York 

Program funds: 

$2,500 

2,500 

5,000 

2,500 

2,500 

2,500 

2.500 

2,500 

2,500 

5,000 

2,500 

5,000 

2,500 

5,000 

2,500 

2,500 

2,500 

5,000 

2,500 

5,000 

5,O0O 

$208,500 

llrul)y, Patricia 2,500 

Champaign, Illinois 

.laroslow, Risa 2,500 

New York, New York 

Jones, William 2,500 

New York, New York 

Kahn, tlannah 2,500 

New York, New York 

Kayc, Pooh, Susan Rclhorst, 2,500 

and Yoshiko (~huma 

New York, New York 

Leabhart, Thumas	 2.500 

AIlendale, Michigan 

Lee, Sun-()ck 2,500 

New York, New York 

McCandless, Dee 2,500 

Au,~tin, Texas 

McCusker, Daniel 2,500 

New York, New York 

Murphy, Robert Stuart 2,51)0

San Francisco, California 

Murray, Tyrone 2,500 

Washinffton, I).C. 

Nadel, h’ini 2.500 

l~erkeley, California 

Neville, l)hocbe 2,500 

New York, New York 

I)inska, Klarna 2,500 

San Francisco, (’alifornia 

Raffir, .ludith 2,500 

Chicago. Ilhnois 

Reitz, Dana 2,50(I

New York, New York 

Renzi, Marta 2.500 

New York, New Y<>rk 

Richman, Camden 2.500 

Oakland, California 

Rinker, Kenneth 2,500 

lh’ooklyn, New York 

Robinson, Clco Parker 2,500 

I)enver, Colorado 

Rose, Mitchell 2,500 

New York. New York 
Dance 19 

Scott, William 

New York, New York 

Slayton, Jeffrey

Los Angeles, California 

Solomons, Gus 

New York, New York 

Turocy, Catherine 

New York, New York 

Vaughn, Deborah 

Oakland, California 

Vesak, Norbert 

Hillsborough, California 

Category II 

Childs, Lucinda 

New York, New York 

Dunham, Katherine 

East St. Louis, Illinois 

Forti, Simone

New York, New York 

Grants to 

Dance Companies 

Choreography 

Ballet Theater Foundation 

New York, New York 

Ballet West 

Salt Lake City, Utah 

2,500 Weiner, Nina

New York, New York 2,500 

2,500 Wilson, Sallie 2,500 

New York, New York 

2,500 Wong, Yen Lu 2,500 

Delmar, California 

5,000 Woodard, Stephanie 

Oberlin, Ohio 2,500 

2,500 Zamir, Batya 5,000 

New York, New York 

5,000 Zompakos, Stanley 

Atlanta, Georgia 2,500 

Nagrin, Daniel 5,000 

New York, New York 

Paxton, Steve E. 6,500 

7,500 Charleston, Vermont 

Primus, Pearl 7,500 

9,000 New York, New York 

Taylor, Paul 8,000 

5,000 New York, New York 

Includes six subcategories: Choreography grants help professional 

companies expand their repertoire by enabling them to commission a 

new work by a resident or guest choreographer or by contracting for 

the restaging of an existing dance. Professional Companies in Residence provides assistance for such activities as regular tours in surrounding communities, self-produced home performance seasons, 

and extended performance seasons in home cities in order to gain 

greater financial stability and visibility. Rehearsal Support provides 

funds for dancers and rehearsal personnel salaries at union scale for 

up to eight weeks or 200 hours of rehearsal time per individual. 

Artistic Personnel may be added to a dance company’s staff on either 

a full-time or a part-time basis for one year. Management and Administration grants help companies to hire professional management 

personnel or to improve existing management. Dance/Film/Video 

grants make possible the preservation and documentation of major 

works, experimentation in extending the art of dance, or the recording of repertory for publicity. 

Program funds: $1,941,197 Treasury funds: $ 519,800 Private gifts: $ 519,800 

For a new full-length production of La Bayadere staged for TF $40,000
 

American Ballet Theater by Natalia Makarova. PG 40,000
 

For the restaging of Billy the Kid by Eugene Loring. 40,000 

Bella Le~vitzky Dance Foundation For a new work choreographed by Bella Lewitzky. 17,543 

LOs Angeles, California 
Body-Voice Theater Foundation 

New York. Nmv York 

Chimera Foundation for I)ancc

New York, New York 

Chorcog’raphics

Berkeley, California 

Choreographies

Berkeley, California 

Cleveland Ballet 

Cleveland, Ohio 

Connecticut Ballet 

New tlaven, Connecticut 

Contemporary Dance Theater

Atlanta, Georgia 

Cunningham Dance Foundation 

New York, New York 

I)anee Theater of Harlem 

New York, New York 

lgth Street l)ance Foundation 

New York, New York 

5 I)y 2 Dance (’ompany 

New York, New York 

Friends of Olympia Station

Santa Cruz, California 

Fusion Dance Company

Miami, Florida 

Harvest Dance Foundation 

New York, New Y<wk 

lhmston Ballet Foundation 

Houston, Texas 

.Io.~ Limon Dance Foundation 

New York, New York 

Kathryn Posin l)ance COral)any

New York, New York 

Kinetikos Dance Foundation 

Los Angeles, California 

Kipnis Mime Theater 

New York, New York 

Nikohds lhtm’e The.for. 

1Pot ~t ~,
’!~’ tPoH: h*l IVemt!l t~oflcrs.for the |ITmh! Roqvrs Ihtm’c 

["~" t].’ rvstaqi,~q ~*1" (;m~rfle fhth~m’him’~ (’oncert Barocco b~t 

re~is~eur K(cl,’]/ Shinto. 

For the’ rcstm.li,lq qf P(tul 7"m!lor’,s Aureole. 

mid h~ the relwrtm 

.lht**!.’l Alum, ~mt to resl~t.qe Paul 7’m.tl¢n"s Aureole. 

["or the (Mditimt t~* thP rrpcrtOrtl qf .tour ll~htm’him’ 

Symphony in C, Pa~ de Dix, Tarantella m,d Paquita. 

~" ~t m’m ~P~r/." hq N~tF~t Rmlm’r.Mr 11.’ Sm’a Rudm’r l)e~:lbrm­

~mw 

bbr ~t m’," .’o*’1: b?t qm’M (’h~n cogt’~U)].’*" I).~£H Willim*.s (;rossIPoFA" t~t 7"mMq IS’~d .!}~r the 7"m~d*l Hr~d lh~m’c 

/"m" Preludium, . ,~P.’ u’m’l, b!! (;Ic~ 7’cllc!l. 

For th~ rPshtqim.I of tu’o sol..’orl,’s MI l)¢~tiH .\’¢tqri~ .rot tim 

rrri,’~d of (7.~,’h’.~ WHdm.u~ Flickers. 

t"or ~ .full-h’*~(.ltlt m’m u’ml: 1.t K~ttttr*t*! 

mid Dmmht 

For tl. crc~ttim! o.l (t ~c.’ u’,n’/," MI (’Dtmtc [~qmis. 

Lola Montes Foundation for l)anccs ofb’m’ Danza (iitana. a ttc*l’ ~cm’/," c]to, CO!lrapl~(’d b!t L~d(~ 

Spain and lhc Americas 

Los Angeles, California 

Lynn I)ally Dance Company 

Los Ansreles. California 

Margaret ,lenldns Dance Studio 

San Franci.aco. California 

Maria Benitez Sl)anish 1)ance

Coral)any 

New York. New York 

Martha (h’aham Center nf

Contemporary l)ance 

New York, New York 

Merle Marsicano I)ance Company 

New York. New York 

4.250 

2g,(X)0 

5.000 

11.200 

8,000 

15,(X)O 

,15,(X)0 

9,400 

5.200 

4,000 

I0.000 

.1,200 

25.(~)0 

1 I,(X)O 

6,800 

10.(;00 

7.000 

5.090 

5,000 

19,800 

12,000 

TF 50.000 

t}G 50,000 

8.50O 
Da~we 21 

Morca Foundation for Spanish Dance

Bellingham, Massachusetts 

Ne~v York Baroque Dance Company 

New York, New York 

New York Hispanic-American Dance 

Company 

New York, New York 

North Carolina Dance Theater 

Winston-Salem, North Carolina 

Oregon Mime Theater 

Lake Oswego, Oregon 

Original Ballets Foundation 

New York, New York 

Original Ballets Foundation 

New York, New York 

Pacific Northwest Ballet 

Seattle, Washington 

Pantomine Circus Foundation 

New York, New York 

Paul Taylor Dance Foundation 

New York, New York 

Pick-Up Performance Company 

New York, New York 

Pittsburgh Ballet Theater 

Pittsburgh, Pennsylvania 

Ram Island Dance Company 

Portland, Maine 

Repertory Dance Theater 

Salt Lake City, Utah 

Rod Rodgers Dance Company 

New York, New York 

San Francisco Ballet Association 

San Francisco, California 

San Francisco Moving Modern Dance 

San Francisco, California 

Solaris Dance Theater 

New York, New York 

Trisha Brown Company 

New York, New York 

Viola Farber Dance Company 

New York, New York 

Wagoner Dance Foundation 

New York, New York 

For Flamenca in Concert, a new work by Teo Morca. 

To support the research and re-creation of baroque dance by the 

company ~ artistic director, Catherine Turocy, with set designs by 

Christopher Cade. The dances will be performed in "A French 

Baroqne Entertainment" at the American Theater Laboratory. 

For two new works by Talley Beatty. 

For the staging of Women by guest choreographer Oscar Ariaz. 

For the development of new mime material by Francisco 

Reynders. 

For two revivals and one new ballet entitled Circa @ Eliot Feld. 

For tu’o neu, ballets choreographed by Eliot Feld for the Eliot 

Feld Ballet. 

For a new work by guest choreographer Choo San Gob. 

For a new work by Lotte Goslar. 

For three new works by Paul Taylor. 

For a new work for six dancers by David Gordon. 

For a new ballet by Patrick Frantz. 

For restaging Panl Taylor’s Three Epitaphs. 

For eight dances to be used in "Historical Retrospective of Modern 

Dance," and for a new work choreographed by company member 

Linda Smith. 

To add to the repertory a new u’ork by Rod Rodgers and a new 

work @ guest choreographer Aria Sokolow. 

To add to the repertory a new work by Michael Smnin, a new 

work by William Christensen, and to restage Balanchine’s 

Divertimento 15. 

For a new work choreographed @ John McFall for the San 

Francisco Moving Company. 

To hire performers for the Solaris Lakota Sioux Indian Project 

to create an inter-cnltztral dance-theater piece using traditional 

Native American dancing, drumming, singing, and legends. 

For a new work choreographed by Trisha Brown. 

For a neu, work by Viola Farber. 

For a new work by Dan Wagoner. 

7,700 

5,500 

16,300 

6,050 

12,000 

TF 19,000 

PG 19,000 

TF 21,000 

PG 21,000 

12,000 

7,500 

54,000 

18,199 

24,168 

5,000 

13,800 

13,500 

90,000 

4,700 

15,000 

9,000 

8,000 

7,500 

Professional Companies in Residence 

Albuquerque Dance Theater For the 1979-80 season at Kimo Theater in Albuquerque. $5,000 

Albuquerque, New Mexico 
22 Da m’e 

Aman Folk Ensemble 

Los Angeles, California 

Arve Connection Dance Company

Chicago, Illinois 

Atlanta Ballet 

Atlanta, Georgia 

Ballet Folk of Moscow 

Moscow, Idaho 

Ballet West 

Salt Lake City, Utah 

Beila Lcxvitzky Dance Company

Los Angeles, California 

Boston Ballet 

Boston, Massachusetts 

Chiang Ching Dance Company 

New York, Ne~v York 

Chicago Choreographers’ Workshop 

Chicago, Illinois 

Chicago City Theater Company

Chicago, Illinois 

Cincinnati. Ballet Company 

Cincinnati, Ohio 

Cleveland Ballet 

Cleveland. Ohio 

Columbia College

Chicago, Illinois 

Concert Dance Company 

Watertown. Massachusetts 

Concert Dance Company 

Watertown, Massachusetts 

Connecticut Ballet 

New Haven, Connecticut 

Contemporary Dance Theater 

Atlanta, Georgia 

Contemporary Dance Theater 

Cincinnati, Ohio 

Dance Associates Foundation 

Los Angeles. California 

Dance Collective 

Lexington, Massachusetts 

Dances We Dance 

Honolulu, tIawaii 

Dances We Dance 

tlonolulu, Hawaii 

Dayton Civic Ballet 

Dayton. Ohio 

Eglevsky Ballet Company of 

Long Island 

Huntington, New York 

5 hy 2 Dance Company 

New York, New York 

For art audietwe developmv,t prqiect thrmqlho.t so,ther?t Otlifornia d.ring wkiclt Amau .’il! gire eigkt corn,errs i. sercral 

different theaters. 

For additiomtl kome pet:foFma~lccs, i~itiatim~ qf an a!.tience 

decelolmt(,ttl campafgu itt the metropolitatt Allauta area, and 

petformance.~ with tke Alhoda S!tmpkon!l. 

For pe~:[ormam’(,s witk the Spokat : Sympltotql. 

To e.Clmml the rt’g,lar svaso, to im’h.te )n’t~formam’e.~ in a 

n,m bet" of corn m im itic.~ lk ro.!Ikont Ulal!. 

To e.rpaml tke home p(’~formance seam), and to dereh)tt fonudatio~t am! fl~,d-raL~im.! actiriti(’.~. 

For an i,rreasvd ~t,mb(.r of pctforma,c(.s in the Bo.~to, area. 

For a serfes qf pe~form(tnces for Ck im’s(.-American a ,d ienc(’.~ o~1 sereral college c(lmpuses iu l] : New Y.rk Citg arem 

For perfornlatwcs in tlw Chicago area b!t the Cki(’~go .lbtt’i~tg 

Co m pan !1. 

To assist die .hwl Hall Dam’ers i~ s,b.~rriptio, corn.errs 

Hie 1979-80 

For an audience dcrHopmvut ttFOfl?’am itt tlw (’im’inmtti ttrt’a. 

For a series of tw~foFma~we,s ̄ and a?~ e.Clm~uled markcti?tg and 

promotioua[ program. 

For a tour bg 3lordine aml (~)mpauy to a uumher qf pe~formi.g 

arts centers in tlw s.rrottndi~tg 

To increase the ~.mber qf m’gimml 

dm’i~.q the 1979-80 

For tt (h’celopme~tt campaig~t tluri~q the comt)a~tq~ 1979-,s’o 

iwtforma~tces from tk(’ ret~erlor?l. 

To ,~upport A tla nta Co. tern pot a ry Da 

b’or a tour to a number o.f commmdtics i~t t~5’~ttm’#tt, I.diamt, 

aml Ohio. 

For a?t tm’r(’ascd number qf rcqional ctmcert.~, u’or].s]mps, attd 

da.ce demo.,~trations 5!t ll : Bella Lewitzk!! D~m’e Compar!!. 

For "Q,ilt. ’" a rcsidem’q program tlmt euabh..s" Mass 

perform itt m.arh.q 

I~)," a self-prodlwed kome seasott at Hie .kme.~-Lmti~ Dam’e 

(¥nter. 

To kelp rite compa~t!t acttiece grcater.fim~.cial slabditq (~nd ri.~ibilil!! tkronqk t)(’t:formttttce.~ i. ltte m,i.qltt>ori~tg isla.d.~. 

1;’or "Ballet at Noou." a seri(’s qf twt:formam’cs t.1 tt,’ Da!thm 

Balh’t. 

For a .~.bscriptiou seasml qf pct:fiw,t(tttces in tlw L(mq I.~html 

refliou. 

For a scl.f-prod!,’t’d t,’tforma ,cv .~easo, i, New )%rk Cit!! d. rim.I 

Hie 1979-.~’0 seamm. 

TF 30,0O0 

PG 30,000 

8,500 

25,000 

3,500 

TF 35,000 

PG 35,000 

9,900 

25,800 

5,0O0 

8,500 

TF 5,0O0 

PG 5,0O0 

21,250 

TF 30,00O 

PG 30,000 

2,500 

10,000 

10,000 

6,0O0 

8,000 

4,000 

7,962 

2,500 

5,260 

TF 5,0O0 

PG 5,0O0 

21,400 

TF 10,0O0 

PG 10,000 

7,400 
Gloria Ne~vman Dance Theater 

Orange, California 

Hartford School of Ballet 

Hartford, Connecticut 

Ile-Ife Black Humanitarian Center 

Philadelphia, Pennsylvania 

Kentucky Dance Council

Louisville, Kentucky 

Kipnis Mime Theater 

New York, New York 

Los Angeles Ballet Company

Los Angeles, California 

Nevada Dance Theater 

Las Vegas, Nevada 

North Carolina Dance Theater 

Winston-Salem, North Carolina 

Oakland Ballet Association 

Oakland, California 

Oberlin Dance Collective 

San Francisco, California 

Ohio Chamber Ballet 

Akron, Ohio 

Repertory Dance Theater 

Salt Lake City, Utah 

San Francisco Ballet Association 

San Francisco, California 

Viola Farber Dance Company 

New York, New York 

Washington Ballet 

Washington, D.C. 

Rehearsal Support 

Atlanta Ballet 

Atlanta, Georgia 

Ballet Folk of Moscow 

Moscow, Idaho 

Ballet Theater Foundation 

New York, New York 

Berkshire Civic Ballet 

Pittsfield, Massachusetts 

Cleveland Ballet 

Cleveland, Ohio 

Dance Associates Foundation 

Los Angeles, California 

Dance Theater Foundation 

New York, New York 

Dance Theater of Harlem 

New York, New York 

For a subscription series and increased number of performances 

in the Los A~geles area. 

For" a self-produced seri’es of performances by the Hartford Ballet 

at B~tshnell Memorial Hall in Hartford. 

For performances and a regional tour of neighboring communities by the Arthur Hall Afro-American Dance Ensemble. 

To support the Louisrille Ballet in its second season, and for an 

audience development campaign while on tour in neighboring 

communities. 

For performar~ces ir~ New York City during the 1979 Christmas 

season, 

For the company’s first self-produced subscription season in Los 

Angeles. 

For more performar~ces in Las Vegas during the 1979-80 season. 

For a longer home season for the Company. 

For a subscription series and promotional program, and to

extend the Oakland Ballet’s home performance season. 

For the company’s 1979 season of performances in the San Francisco Bay area. 

To assist the Ohio Ballet in an extensive media campaign in 

nearby communities during the company’s 1979-80 season. 

For the seasons in Salt Lake City, Ogden, and Provo, and for 

touring rural communities in Utah. 

For a development campaign, and for regional performances 

during the 1979-80 season. 

For residencies in the New York metropolitan area. 

For a regional tour in Virginia, Maryland, and Washington, 

D.C. during the company’s 1979-80 season. 

For eight weeks of repertory rehearsal in preparation for the 

touring season. 

For three weeks of rehearsal in preparation for spring touring 

and the Christmas season. 

For a creative rehearsal period for American Ballet Theater to 

work on new productions, revivals, and repertory works in preparation for the spring season at the Metropolitan Opera House. 

For a repertory rehearsal period. 

For a rehearsal period in preparation for the company’s 1979 

Christmas home season. 

For eight weeks of repertory rehearsal during the company’s 

1979-80 season. 

For a creative rehearsal period during the Alvin Ailey Dance 

Company’s 1979-80 season. 

For eight weeks of repertory rehearsal. 

Dance 23 

TF 10,400 

PG 10,400 

16,000 

TF 5,000 

PG 5,OO0 

6,250 

8,000 

TF 10,000 

PG 10,000 

10,OO0 

TF 10,100 

PG 10,100 

7,500 

4,OO0 

10,OO0 

TF 12,000 

PG 12,OO0 

TF 25,000 

PG 25,000 

7,150 

12,900 

TF $10,OO0
 

PG 10,000
 

5,500 

50,000 

5,000 

TF 14,300
 

PG 14,300
 

10,564 

TF 18,000 

PG 18,000 

30,000 
24 l)ancc 

Dance Theater Seattle 

Seattle, Washington 

Daniel Nagrin Theater and 

Film Dance Foundation 

New York, New York 

Eglevsky Ballet Company of 

Long Island 

Huntington, New York 

Foundation for Ethnic Dance 

New York, New York 

Frank Holder Dance Company 

Greensboro, North Carolina 

Gloria Newman Dance Theater 

Orange, California 

Hartford School of Ballet 

tiartford, Connecticut 

House Monkey 

New York, New York 

Houston Ballet Foundation 

Houston, Texas 

Joffrey Ballet, Foundation for the 

New York, New York 

Jose Limon Dance Foundation 

New York, New York 

Kei Takei’s Moving Earth 

New York, New York 

Lola Montes Foundation for Dances 

of Spain and the Americas

Los Angeles, California 

Lubovitch Dance Foundation 

New York, New York 

Margalit Oved Total Media Theater 

Dance Foundation 

Los Angeles, California 

Martha Graham Center 

New York, New York 

Maryland Ballet Company

Baltimore, Maryland 

New York City Ballet 

New York, New York 

North Carolina Dance Theater 

Winston-Salem, North Carolina 

Ohio Chamber Ballet 

Akron, Ohio 

Pard Taylor Dance Foundation 

New York, New York 

Pennsylvania Ballet Association

Philadelphia, Pennsylvania 

Portland Dance Theater 

Portland, Oregon 

For a rehearsal period for the Bill Ecans Dam’e Compang in 

preparation for a~ im’~ eased ~! umber of pe~:forma~lees in Seattle. 

For <~ treat!re rchcar.~al period for Daniel Nagrim dam’e s.oloist. 

For a rehearsal period to prepare the works lhat .’ill form the 

eore of lhe companq~ 1979-80 reperh>r!l. 

For a rehearsal period i~ preparatio,~ fin" Matteo’s" New 

season a~d wi*tler tourinq. 

IV’or six weeks rehearsal. 

I~, ̄ a rehearsal period fi)r repertor?l deeelopme++t amt mai+~­

t~?ta 

For a rehearsal period f!>r the Hartford Balh’t i~ preparation f!)r 

a Repertor!l Fest~l’al b~ Feln’uarg 1980 at Bl~sh~wll Memorial 

Ha rtfo rd. 

For a rehearsal period .for the Meredith Mo~lk Repertor!! 

pony to reconstruct works that have bce++ ab.s’e+d.from the actb’e 

touring repertory. 

For Preludium, a new work bg Glen Tetleq. 

For a treat!re rehearsal period for the Jo.ffre!t Balh, t prior to its 

1980 louri~g 

For a rehearsal period p riot to the Jose Limon Da ~we Compa n It’s 

New York season. 

For a rehearsal period for rcpertorg de+’eh>pment and 

tella ~e(’. 

For a rehearsal period ft." six dancers. 

For a rehearsal period .for ten da~wers. 

For a rehearsal period prior to the eompa~lg’s East Coast tour 

and first local season. 

For a rehearsal period +n preparatio++ ft." pe@>rma+tces at the 

Mctropolita+~ Opera House in gu+w 19~’o. 

eight weeks o.f rehearsal. 

For a rehearsal period fi)r the New York Cit!! Ballet, to he used 

for the maintenance of current works bg George Balam’hine and 

Jerome Robbins <trot .for the recm~struction of works long absent 

from the repertorq. 

For a rehearsal period to re,’iee aml restage the eompan!l+,full 

rel>e rio rg. 

For a <’teat!re rehearsal period .for the Ohio Balh’t. 

For two weeks qf rehearsal prior to the comp<tnIl+ sprinq 1980 

New York Citg season. 

For a creative rehearsal period duri+ig the compa++q’s 1979-80 

[sot (~ rehearsal peri+M prior to the comlmn!f.+" fall amt spri++g 

hoDl(’ ])(~)’foFFIIflH(’(~ 

15,000 

2,880 

10,O00 

4,O00 

6,000 

8,O00 

7,O00 

5,600 

25,000 

45,O00 

19,025 

6,300 

2,000 

13,000 

6,200 

40,000 

5,000 

100,O00 

TF 50,000
 

PG 50,000
 

12,200 

5,900 

7,000 

34,615 

10,000 
Raymond Johnson Dance Company Kingston, Kentucky 

San Francisco Dance Spectrum 

San Francisco, California 

Theater Flamenco of San Francisco 

San Francisco, California 

Twyla Tharp Dance Foundation 

New York, New York 

United Mime Workers 

Chicago, Illinois 

Artistic Personnel 

Chicago Contemporary Dance Theater

Chicago, Illinois 

Eglevsky Ballet Company 

of Long Island 

Massapequa Park, New York 

Jose Limon Dance Foundation 

New York, New York 

Kentucky Dance Council

Louisville, Kentucky 

Kinetikos Dance Foundation 

Los Angeles, California 

Martha Graham Center of 

Contemporary Dance 

New York, New York 

Minnesota Dance Theater 

Minneapolis, Minnesota 

New England Dinosaur 

Newton, Massachusetts 

Oakland Ballet Company 

Oakland, California 

Pacific Northwest Ballet 

Seattle, Washington 

Management and Administration 

Boston Repertory Ballet 

Boston, Massachusetts 

Carl Ratcliff Dance Theater 

Atlanta, Georgia 

Chiang Ching Dance Theater 

Atlanta, Georgia 

Coming Together Festival of Dance 

and Music 

New Paltz, New York 

Community Care and Development 

Services 

Los Angeles, California 

For an eig]~t-week re]~earsal period for the fidl company.
 

For a reI~earsal period in preparation for the company~ 1979-80
 

season. 

For a rehearsal period prior to the company’s 1980 home se~on. 

For a six-week re]warzal period to restage and remonnt a,orks for 

the company’s national tours in t~e spriug and fall of 1980. 

For an intensice rehearsal period in p~paration for t~e company~ 1980-81 seaso~. 

For the ~ea’ positio~ of assistant artistic director. 

For the position of artistic director. 

For study periods with Hanya Holm, Annabelle Gamson, and
 

Lucas Horing.
 

For a repetiteur for the Loniscille Ballet Company, who u,ill
 

rehearse the company, coach individ~als in classical roles, and
 

collaborate with t~e artistic director.
 

For a part-time teclmical director for Dance/LA.
 

For a part-time director to organize revivals and reconstr~wtions
 

and to maintain tt~e works once they enter the repertory.
 

For the new position of principal ballet master.
 

For a full-time artistic director.
 

For the new position of ballet mistress.
 

For a p~vdnction/stage manager and a ballet master.
 

For a director of development to expand the cu~’ent activities of 

the company. 

For an assistant manager. 

For a full-time company manager to handle the organizational 

and financial affairs of the company. 

To hire a booking manager for Vanaver Caravan. 

For a management consnltant to develop the administration and 

booking struct~tre for the Korean Classical Music and Dance 

Company. 

Da~we 25 

7,800 

15,000 

10,000 

24,000 

4,000 

$3,700 

TF 10,000 

PG 10,000 

5,000 

5,000 

3,500 

5,000 

8,160 

4,300 

4,500 

13,000 

$4,500 

6,000 

5,000 

5,000 

2,000 
26 Da ~ce 

Cunningham Dance Foundation 

New York, New York 

Dance Collective/Mass Movement 

Boston, Massachusetts 

Dance Consort Foundation 

New York, New York 

Dance Exchange

Washington, D.C. 

Dance Theater Seattle 

Seattle, Washington 

Dancentral 

Boston, Massachusetts 

Dancers’ Repertory Theater 

Oakland, California 

Dances and Drums of Africa 

New York, New York 

Dayton Civic Ballet

Dayton, Ohio 

Dean Dance Foundation 

New York, New York 

Eglevsky Ballet Company 

of Long Island 

Huntington, New York 

18th Street Dance Foundation 

New York, New York 

Foundation for Modern Dance 

New York, New York 

House Monkey 

New York, New York 

Ile-Ife Black ttumanitarian Center 

Philadelphia, Pennsylvania 

Joffrey Ballet, Foundation for the 

New York, New York 

Kentucky Dance Council 

Lousiville, Kentucky 

Ko-Thi Dance Company 

Milwaukee, Wisconsin 

Lost and Foundation for the Arts 

New York, New York 

Louis Faico Dance Company 

Ne~v York, New York 

Lubovitch Dance Foundation 

New York, New York 

Margalit Oved Total Media Theater 

Dance Foundation 

Los Angeles, California 

Maria Benitez Spanish Dance

Company 

New York, New York 

Milwaukee, Ballet Foundation of 

Milwaukee, Wisconsin 

To hire a booki~g age*~t f!~r the comtmu!]. 

For a gv~leral malinger for the Pauliue Ko~wr Dam’s" Consort. 

For a publicitg coordi’m~tor to ma~mge the petforma~wes of Liz Le~w~an a~ul her compa~uI. 

To hire a fldl-time derelopmv~lt coordim~tor fi.’ the Bill Da~we Compam.t. 

For the ~tew position of eoIt~pa~g 

For a mam~ger.for the Jea~lmle t[erst Da uce Compa~ly. 

For a compare!! mamlger.for Charles Moore Dam’es aml Drums 

o] Africa. 

For a fldl-time tmblicity mam~ger. 

For a~ administratire direetor fi)r the Laura Dealt Da~wers attd 

Musieiam~. 

For a .full-time marketi~g a~ut andiem’e developme~t director. 

b)~r a co~tsultattt to assist with the promotio~t am! flmd-raisMg 

actirities of the Sara Rudt!er Performa~wv Ensemble. 

To hire a eompan!! mamtger for the Eriek ttawkitm Datwe 

Co m pa ~t y. 

For a~t admMistrator aml a manager for the Meredith Monk 

Da~we Compa~y. 

For a deveh)pme~t consulta ttt aml a public relatbms co~tsulla~tl to 

assist the ArtMo" Hall Afro-Ameriea~t Datwe Iz;msemble i~t a 

ittajor .fuml-,ra ising effort. 

To improi’e ma~tageme~tt by redesignMg lhe fim~wial reporti~tg 

mecha~ti,s’m a~td strengthe~i~tg the Board qf Directors, aud to 

~naintai~t artistic stamlards through emergencg fu~uli~tg for 

da~wers’ salaries. 

For a~t audietwe developme~tt eoordi~mtor for the LouisNlle 

Ballet. 

support a fldl-time e.cecntive director. 

For the serNces of admittistrative amt pnblic relatimts co~tsultants for Jem~ifer Muller a~td the IVm’ks. 

To hire an e.ree¢dire director. 

To hire a ge~wral ma~tager. 

To hire a earn pa t~?! ma ttager for the Ma rgalit Da ~lce Compa ~ty. 

To support the ~eu’ position of admiuistralor. 

To hire a p.blic relations director a~td a ho,r office mamtger for 

the Milwat&ee Ballet. 

5,000 

4,500 

5,500 

5,000 

5,000 

3,000 

2,300 

8,900 

5,300 

7,000 

10,000 

3,300 

6,000 

9,100 

10,000 

50,000 

TF 100,000 

PG 100,000 

3,010 

5,000 

5,000 

5,00O 

10,000 

5,300 

10,000 

5,090 
Dance 27 

Minnesota Dance Theater 

Minneapolis, Minnesota 

MoMing Collection

Chicago, Illinois 

Philadelphia Dance Company 

Philadelphia, Pennsylvania 

Theater Flamenco of San Francisco 

San Francisco, California 

Theater Flamenco of San Francisco 

San Francisco, California 

Trisha Brown Company 

New York, New York 

To hire a marketing director for the Minnesota Dance Theater. 9,210 

For a promotional manager and a director of fund-raising and 

publicity. 11,500 

For a general manager. 8,000 

To maintain a full-time fund-raiser. 6,900 

For a new fund-raising position. 5,400 

For a company manager. 8,500 

Zivili: Songs and Dances of Yugoslavia For a company manager and a booking manager. 2,700 

Granville, Ohio 

Dance/Film/Video 

Chimera Foundation for Dance 

New York, New York 

Cunningham Dance Foundation 

New York, New York 

Dayton Civic Ballet 

Dayton, Ohio 

Oregon Mime Theater 

Lake Oswego, Oregon 

Pearl Lang Dance Foundation 

New York, New York 

Dance/Film/Video 

American Dance Festival 

Durham, North Carolina 

Belle, Anne 

Remsenburg, New York 

Blackwood, Michael 

New York, New York 

Chopra, Joyce 

Kent, Connecticut 

Collective Black Artists 

New York, New York 

Collective Black Artists 

New York, New York 

For a film documenting the majority of the solo works choreo- $22,000 

graphed and performed by Murray Louis from 1953 to the 

present. 

For the collaboration between Merce Cunningham, choreographer, 20,000 

and Charles Atlas, film-video director and media artist-inresidence with the Cunningham Dance Company. 

To transfer existing film footage of company u’orks to video 850 

cassette for documentation and preservation~ 

To produce a 16ram color film which will record the mime works 14,000 

of Francisco Reynders and the new mime works of the Oregon 

Mime Theater Trio. 

To film three works in the repertory of the Pearl Lang Dance 7,800 

Company. 

To help individuals and organizations other than dance companies

serve and document major works or extend the art of dance through 

the use of film and videotape. 

Program funds: $256,600 Treasury funds: $ 50,000 

Private gifts: $ 50,000 

To enable choreographer Senta Driver to participate in the festi- $6,000 

val’s 1980 Dance Television Workshop. 

To complete a documentary film on Alexandra Danilova. 10,000 

To produce a 90-minute documentary entitled New Ideas and 9,000 

Faces in American Dance. 

To complete a film in collaboration with choreographer Martha 10,000 

Clarke. 

For salaries of dancers to tour with the film, No Maps on My 6,000 

Taps. 

To produce six 10-to-5 minute 16ram films to record the styles of 35,000 

traditional tap dance artists Jimmy Slyde, Jimmy Smith, Steve 

Condos, Paul Draper, and John Bubbles. 
Cowles, Sage

Minneap<)lis, Minnesota 

I)ance Theater Workshop 

New York, New York 

Educational Broadcasting Corporation 

New York, New York 

lialeakala 

New York, New York 

Itaneoek, William anti Jmnes I)ilts

Washington, D.C. 

.laroslow, Risa 

New York, New York 

New York Public Library 

New York, New York 

Traditional Jazz Dance Company 

New York, New York 

Van Scott, Glory 

New York, New York 

\VGBIt Education Foundation 

Boston, Massachusetts 

Sponsors of 

Local Companies 

(Pilot) 

Asia Society 

New York, New York 

Brooklyn Academy of Music

New York, New York 

Bureau of Cultural Affairs 

Atlanta, Georgia 

California, Regents of University of 

Los Angeles, California 

City College 

New York, New York 

Community Services College 

Ne~v York, New York 

North Carolina Arts Council 

Raleigh, North Carolina 

Oberlin Dance Collective 

San Francisco, California 

Private Arts Foundation 

Washington, D.C. 

To produce a 16,t m tda(’k-(~ mt-.’h ih’ l.’~jbrma,ce piece i~t colhd~­

oration u’ith j)’h,,ttd.’cr 3I.llg 

For "Dam,c/Vidvo Arcess," ~ pr@x’t to rrrm’d lhr work of imh’­

prmh’~tt (’hop(’O(.lraldwrs. 

For the fifth ,~cas,m of WAWT’,~ "I)tt.c(, i. A mt,rica" .~crics. 

To (hwume,t t]w worI:s of It; Htorroqr~tphvrs prvseuted iu the 

"l)~Hwr i, the’ Kitclw," s(’~’i~ s. 

To comph’tv a doc.mcntar!t fil,t ~g" the lift’ ,!’jazz Lawrt’m’c I)omdd .Iacl::~o~t ("I]abq 

To .fih, sHc(’h’d .~c(’tio,s of a, outdoor tm~:/brmance b!! f~im~ 

aml prcserratitm. 

(’.ntph4c The Spirit Moves--Part II, ~ jazz dam.e dm’umeM(~ rq qf socird da.ces cFc(th,d [fl! bhu’]: A.ter/c~Htsj)’om 1950 

1975. 

To ameml a pm’rious !Ira,tj’or com tdcti.n costs of a rideo hum of
 

K~therim’ l)..ht~m’s clmpt’oUrol;]t!t amt tu’t:fop~t(tlt(’(’ (.lala.
 

the Dam’e Project of the WGBH New 7"Het’isimt .’orkslmp, 

cmtbli,g chorcographe~w to b’ar, It,u" to crvat(’ m’w pieces rspecially j).’ h’h’t’isio~t. 

5,000 

2 i, 500 

TF 50,000 

PG 50,000 

6,700 

2,900 

2,500 

70,000 

30,000 

7,000 

35,000 

To assist sponsors who xvisb to present dance companies based in the 

sponsor’s own city or community. 

Program funds: $110,550 

Treasury funds: $ 50,000 

Private gifts: $ 50,000 

the pre.wntatio, of ..tsia~t-A merica, artists ttu H. rig- Yrn 

Sachigo lto, amt Sun Ocfl Lee. 

present fire dam’c c.mpa~tics dt¢~ [rig the" 1979-80 season: 

L.cimla (V~d(ls, Laur~ Dcun, Dan IIqVlom’r, Scnta Drirer, and 

thtlh’t Hispanico: aml to pr,,sent three compauies on the Academrs Dau(’e Africa I)roqram. 

To tn’e.sent the AthHtta Dam’e b~,stb’a!, a seri(’s of ece,im.l com’erts 

highlightl,q local pr@,ssiomtl dam.v cm~ii>aut(’s. 

To spo.sor the appe(traIwe of loc~tl comtmnie.~ iI~ the UCLA 

Dam’e Series. 

To t.v~ent eight da m’c et’vnts a t Aa rmt l)a r is Hall.fo r thv Ha HemIlhrshi.gton HHghts comm.mtie,~ i~ m. th 3IaMmttan. 

To pro.sent.fire local dance COmlm ~t ies o~t the (;m’.~t Artist Series 

at Brookl!tn Odh’ge: 3h.tropolita, Opera Balht. thtlh’t Repertor!! 

COmlmn!h Paulim, Kom, r, L~tis Rirera, and the ,loffre!! [I. 

To t.’ese~tt.fire .\forth Caroli~ut (htuce com tmnles." Notqh Carolina 

Dance Thvater, Frank Holder, IOtsg 3fi;H.g (’Oral;ally, New 

R<fh’ctio.,~, and New t’e~jbrming Co~ltprtlty. 

7)) prescott the Performi,9 Arts For.m, 20 pc~:formances b!t te~t
 

Hay Area groups or imtii’idltuls.
 

To prese~d fife iV~tshingto, dance a~ tists: ,hut Van Dqkc, Beth 

Bit H:ha rdt, Liz Lerm a ,, lVemt!! |Voodsom a mt tto.ff.ta ~! D(~tre 

Consort. 

$12,750 

TF 50,000
 

PG 50,000
 

12,000 

20,000 

15,000 

10,000 

4,500 

6,800 

4,400 
Dance 29 

Queens Cultural Association

New York, New York 

Rodeo ex Machina Dance Company 

Santa Monica, California 

Washington Performing Arts Society

Washington, D.C. 

Winston-Salem Civic Ballet 

Winston-Salem, North Carolina 

General Services 

to the Field 

American Dance Festival 

Durham, North Carolina 

American Dance Festival 

Durham, North Carolina 

American Dance Festival 

Durham, North Carolina 

Archdiocesan Communication Center 

San Francisco, California 

Articulture 

Cambridge, Massachusetts 

Arts Alaska 

Anchorage, Alaska 

Association of American Dance 

Companies* 

New York, New York 

Association of American Dance 

Companies 

New York, New York 

Association of American Dance 

Companies 

New York, New York 

Association of Ohio Dance Companies 

Cleveland, Ohio 

Baltimore Theater Project 

Baltimore, Maryland 

Brooklyn Academy of Music 

Brooklyn, New York 

Changing Times Tap Dancing 

New York. New York 

Clark Center for the Performing Arts 

New York, New York 

To present three dance events during the winter and spring of 6,800 

1980: Bowyer and Bruggeman, Ballet Repertory Company, and 

Louis Falco Dance Company. 

To present Rodeo ex Machina Dance Company in the Morgan 4,000 

Theater, the company’s permanent home. 

To present three Washington Dance companies: Washington 8,000 

Ballet, African He~qtage, and Raquel Pena. 

To present the North Carolina Dance Theater’s tenth anniversary 6,300 

season in January 1980. 

To assist organizations and individuals who provide services to dance 

companies, dancers, and choreographers on a national or regional 

level, or who help make dance more visible in their communities or

regions. 

Program funds: $946,201 Treasury funds: $ 18,000 

Private gifts: $ 18,000 

To support the 1981 Dance Critics’ Conference which serves to $10,000 

stimulate interest, expand knowledge, and develop skills in the 

technique of dance criticism. 

For artists’fees for the 1980 Emerging Generation Project which 25,300 

enables talented young choreographers to gain public exposure by 

having the opportunity to experiment and to create new uvrks. 

For the 1980 Dance Telerision Workshop, the Archival Video 27,000 

Project, and the Dance Critics’ Conference. 

For videotape recording, playback, and video dance workshops. 6,000 

For Boston’s second annual festiral of dance, "Dance/New 10,000 

England ’80," and to expand Dance Exchange, a technical assistance program. 

For the Aman Folk Ensemble to tour the state during 1980. 17,500 

To amend a previous contract to provide for the administration of 70,500 

site visit funds for the evaluation of profession!! dance companies, 

service organizations, and indicidual choreographers in the 

United States. 

For the American Dance Directory, a publication containing 9,000 

profiles of professional dance companies. 

To hold conferences, sponsor National Dance Week in 1980, and 24,500 

provide other services to the dance field. 

For a bimonthly newsletter and for professional services to Ohio ~ 3,000 

dance constituency and sponsors. 

For two dance festirals in the IVashington, D.C. and Baltimore 5,250 

areas. Dance companies from different parts of the country will 

provide performances and master classes. 

To present a series of tap-dancing programs featuring several of 7,500 

the nation’s finest tap masters. 

For a program to preserve and promote jazz tap-dancing through 15,714 

workshops, master classes, and live performances. 

To present dereloping artists and dance companies in New York 20,000

City. 
Clark, VeVe A. 

Boston, Massachusetts 

Columl)ia College Dance Center

Chicago, Illinois 

Cunningham Dance Foundation 

New York, New York 

Dance Advisory Council 

Seattle, Washington 

Dance Ilerald 

New York, New York 

Dance Notation Bureau 

New York, New York 

I)ance Theater Workshol)

New York, New York 

l)anee Theater Workshop

New York, New York 

Dance Theater Workshol)

New York, New York 

Danee\vorks 

New York, New York 

Foumlation for the Extension and 

I)evelopment of the American

Professional Theater 

New York, New York 

Ilaleakala 

New York, New York 

Jacob’s Pillow I)anec Festival

Lee, Massachusetts 

Jacob’s Pillow Dance Festival 

Lee, biassachusetts 

Los Angeles Area Dance Alliance

Los Angeles. California 

Los Angeles Area Dance Alliance

Los Angeles, California 

Margaret Jenkins Dance Studio 

San Francisco, California 

Massachusetts Contemporary Dance

Association 

Boston, Massachusetts 

Mime Workshop

Rochester, New York 

MoMing Dance and Arts Center

Chicago, Illinois 

Murray Spahting Movement Arts

Washington. D.C. 

National Association for 

Regional Ballet

New York, New York 

National Association for 

Regional Ballet 

New York, New York 

O’Neill (Eugene) Theater Center

Waterford, Connecticut 

T~ csl~ddish ~t lhc" Kolhcrim’ Du,tttam Archires a 3, 000 

resource o.f Dmdt,,t’s 

3.500 

To stU~port ,llmstcrs qf Am(,rica~l Da,~(’e i,~ its sccmtd .~’c,mm o.f 25,000 

Cit!/. 

To proridc ~t~t oatst~tmli~9 l.’@’ssio~tal arls ¢tdmi~istr~th,’ with 32,738 

lh(" ~plmrt~¢~ilg t~) serrc lcmpor~trilq i,~ the Ig~tdo~cmc,tt~ I)a~we 

I)r~grom reamer the [~tergorcrm~c~tHtl l)¢’rmmm’l Act.
 

For Dance Herald, a qt¢o,tetl!! ~wwsh,llcr ahoul bhtck da,we 2,000
 

. rt i.st s.
 

bS.’ ~t pilot project to dcmo,zstr~tte the cost q/j~,cti,’cm’,~s 20,000 

T~ ~uld a s~.ries qf m ime cmwcrls to llw lOXO 3.200 

,12,500 

40,000 

14,500 

60,000 

I,)n" lhc 19,S’l l)¢t,we tS"mh,’tim~ Pr@’cl. which spin,sots ortisls 

pr@’ssimml do*~ce cm*~p,~des i*~ all ,dmi~d.~t,’~tire 

For "D~t ~,(’i~g ill llw Kitclwm "~ series o.f co,tcerts h!! e.,’pcri,leM~d 7,000 

chorcogr~tphers ~tt llw Kilchct~ Ce,tler. 

fS." .rti.sts’ j’e~,s ft." the lO,S’l .~eamm qf the fi’stlc.l. 30,000 

the s!~,tm~,r lg,s’o semsm~ o.f lhe.fc.stiral, im.lmli~g tootle.shops 24,000 

5,000 

ill so*~ttler~ Cal(for,tim 

Fbr the imhlic~ttio~ ~lmt distritmtim~ o.f Dance Flash i~ 19,S’l, a 6.000 

soltlhctgl C(tlif!~r~i~ d(lm’c commlt~tit!t r~,.~(mrc(’ ptddic~ttiom 

8,000 

To lmbli.~h Contemt)orary Dance News i,t I981. st hi,mmthl!l 3,000 

tmblicotio~l o.f the Massachusetts Co~ttempor(~r!l Da~l(’e Associ~ttiom 

7,500 

10,000 

3,000 

For progronts im’l,di<q risiti,tg ortists. MoMi~lg cttorcografS)r the Craft o.f ChoreowaphI! C(m.f!,rem’es hdd i*~ the ..um.tvr of 34,000 

1980. 

For the Natiomtl Clmrcoqrap/tq I)la~l, the Craft of Choreogr~u)h!l 50,000 

Co,~j’ere~wes, the Board Member Handbook, the Artistic Phu’cme~t .%trice. ,ml the T(,clt~dcal Assist~m’e Netwm’l:. 

For (1 24,000 
Dance 

Performing Artservices 

New York, New York 

Philadelphia Dance Alliance

Philadelphia, Pennsylvania 

Riverside Church of Nexv York City 

New York, New York 

St. Marks-in-the-Bo~very Church 

New York, New York 

San Francisco Bay Area Dance 

Coalition 

San Francisco, California 

San Francisco Bay Area Dance 

Coalition 

San Francisco, California 

San Francisco Dance Theater 

San Francisco, California 

TAG Foundation 

New York, New York 

TAG Foundation 

New York, New York 

TAG Foundation 

New York, New York 

TAG Foundation 

New York, New York 

Theater Development Fund 

New York, New York 

Walker Art Center 

Minneapolis, Minnesota 

Walker Art Center 

Minneapolis, Minnesota 

Young Audiences of Oregon

Portland, Oregon 

For consultation and intern training programs. 

For the 1980 showcase, which promotes professional dance performances in the Philadelphia area. 

For the annnal Dance Festival, which presents free concerts of

choreographers and companies from throughout the United States. 

For Danspace, n’hich provides a free space and technical assist­ ance for modern dance performances. 

For the coalition’s Dance Resource Center and Dance Calendar. 

For the California Dance Critics’ Symposium on Dance. 

To furnish technical services to companies renting the theater: 

For the New York City Dance Festival held at the Delacorte 

Theater in Central Park, which presents free dance concerts. 

For the service project intern program, a’hich provides the dance 

community with technical and management services. 

To amend a previous grant for the 1979 Dance Umbrella, a 

season of dance erents. 

For TAG~ 1981 Dance Service Program, which provides technical and management services to the dance community in production and presentation of dance. 

For the dance voucher program, which develops new and wider 

audiences for the dance eommnnity. 

For a festival in 1981 of "post-modern"choreographers to inclnde 

performances, workshops, discussions, and other erents. 

To sponsor three residencies of at least one week each invoh’ing 

experimental choreographers whose companies do not participate 

in the Dance Touring Program. 

To sponsor the Oregon Mime Theater in one major performance 

for the 9eneral public and ten ehildre~Fs performances. 

15,000 

4,500 

12,000 

4, 000 

7,500 

7, O00 

3,000 

35, 000 

20, 000 

37,500 

20,000 

TF 18,000 

PG 18,000 

36,000 

12,000 

5,000 

*contract; PG - Program Fund~; TF - Treasury Funds 
32 D(’sig~ Art.~ 

An e×h~b~t~on of ong~nal drawings orgamzed by the American lnsbtute of Architects Foundation, Wash~nSton, DC 

and sponsored by Ph,hp Morris Incorporat~’d on behalf of V~rg~n~a 

and the Nat~ona’ f_ndowment for the Arts, Dcs~n Arts Program, 1080-81 
Design Arts
 

Of all the art forms supported by the National 

Endowment for the Arts, design is at once the 

most pervasive and the least acknowle.dged. 

Most pervasive in that it affects every one of us 

every day in the utensils we eat with, clothes we 

dress in, and buildings we live in. Least 

acknowledged in that its aesthetic value is often 

overshadowed by the social, economic, and 

utilitarian aspects that give design its peculiar 

place among the arts, allying it with both science 

and the humanities. To isolate the aesthetic 

component would place design strictly in the 

arena of the visual arts. To deal only with its 

utilitarian virtues would be to identify it with 

engineering. Thus, the activities that the Design 

Arts Program supports in the many fields that 

make up the design professions--architecture; 

landscape architecture; and interior, industrial, 

urban, fashion, and graphic design--necessarily 

amalgamate pragmatism with creative vision. 

In 1980 the Design Arts Program completed 

the First Annual Grants Recognition Program 

to acknowledge the accomplishments of the 

projects Design Arts had supported in its first 15 

years. We are proud that our grantees often 

achieved not only high artistic quality but 

embodied inventiveness and creativity which 

were often seminal in their influence on the 

direction of design in America. As architecture 

critic William Marlin put it: "The Design Arts 

Program of the National Endowment for the 

Arts, that Johnny Appleseed-style federal agency 

founded 15 years ago, has been a key factor in 

trying to help America find itself again. 

Sprinkling its seed-money grants across varied 

urban, suburban, and rural terrain, it has 

yielded bumper crops of professional creativity, 

community participation, local investment, and 

a renewed concern for the design of the public 

realm. In a period like our own, when there are 

also bumper crops of scarcity--energy, material 

resources, capital, confidence--the Design Arts 

Program has shown that a lot of things, 

including money, can grow on trees, and they 

can indeed bloom in places where until recently, 

there appeared to be only blight at the end of the 

tunnel." 

This intensive review of past grants has led to 

the initiation of different categories of support 

for prospective applicants. There has been a 

shift from the use of thematic grant categories 

(like Livable Cities, City Options, City Edges) to 

categories which define the activity of design 

(like Design Communication, and Demonstration and Exploration) without tying them to 

particular topics. Through this new approach we 

mean to open the door to a more inclusive array 

of proposals and creative ideas. At the same 

time, the Design Arts Program has identified a 

set of topical concerns which we believe the 

design fields, their clients, and the general 

public should be made aware of. These areas of 

special concern are: 

 ̄ Facilities for the Arts: Since the Endowment’s 

founding 15 years ago, there has been an 

extraordinary increase in the nunlber of organizations that present art. This growth has created 

an urgent need to provide well-designed facilities 

to house the performing arts and all of our other 

art forms. This need does not end with the design 

and construction of an individual facility, but 

extends to the quality of a facility’s setting as 

well--the transportation and parking, parks and 

open space, restaurants, shops, and artists’ 

housing. Properly designed settings should 

create lively, livable, and exciting environments 

for the arts. It is also important to note that, as 

city officials recognize the arts as a necessary 

part in urban revitalization, planning for the 

arts is becoming an important issue for urban 

policymakers as well as designers. 

 ̄ Civic Design: The general quality of our 

nation’s spaces, places, and buildings is not as 

good as it could be. The land given over to 

streets, sidewalks, and public buildings of all 

types in most urbanized areas is greater than the 

land under private development. (In fact, the 

public sector is the largest single builder in the 

United States.) What makes a community 

livable is more often a product of the total 
34 Desi.q~ Arts 

environment and its component parts than any 

single piece of private architecture that inhabits 

it. The design of street furniture, outdoor 

lighting, signage, bus shelters, paving materials, 

mini-parks, plazas, and public buildings, as well 

as the broader systems of transportation and 

public utilities form the collage of our public 

environment and give definition to our civic 

pride. 

The question we must ask ourselves as a 

society is whether we will continue to treat our 

civic environment as a kind of"no-man’s land" or 

whether we are prepared to exert as much 

energy in the design of public spaces as we have 

given to our private architecture. 

 ̄ De,~i~.t~er/Visu~l Artist Coll(~boratimc In recent years, innovations like one-percent-for-art 

budgets have provided what seem to be 

wonderful opportunities for sculptors and environmental artists to create pieces for new public 

buildings and open spaces. But all too often the 

original planning does not make room for art. So 

the commissioned artists find themselves struggling to create works for unsuitable spaces. And 

the designers--architects, urban designers, landscape architects--are surprised to discover that 

their works are to be the settings for art in 

public spaces. The result is an atmosphere of 

antagonistic isolation between artistic disciplines. The artist sees his work as after-the-fact 

adornment; the architect sees his work as 

compromised by unanticipated art. 

Obviously, we have to explore ways in which 

artists and designers can work together at the 

earliest stages of a project. Though trends 

suggest that the disciplines are moving together 

in practice and philosophy (with post-modernist 

architects attending to the aesthetic implications 

of form, and sculptors and environmental artists 

incorporating architectonic elements in their 

creations), institutional barriers need to fall and 

entrenched attitudes need to change before 

artist-designer collaborations can become commonplace. 

 ̄ Puhlic Polio!/~m! Desi~.l~c Over the past halfcentury, Americans have seen how well-intentioned public policies aimed at curing one soeia! 

ill have often caused unexpected problems in 

other areas. This paradox has been particularly 

true in the relationship of public policy to the 

design of the built environment: One has only to 

look at how federal highway and mortgageassistance programs have affected the rural 

landscape. 

Yet the design and planning professions are 

seldom consulted before policies rife with design 

implications become law and regulation. Instead, 

they’re called in after the fact to deal with 

adverse consequences. It is ironic that those who 
develop public policy are often called "architects 

of policy." 

Of course, the responsibility lies not only with 

the policy makers, but also with the design 

professions themselves. They must make their 

voices heard at the earliest phases of policy 

development. If the design professions are to 

contribute to policy formulation, they must 

create the opportunities to bring about the 

dialogue. 

* E~ergy-Co~scio~s De.~ig~: As our nation has 

become more aware of the depletion of its energy 

supplies and feels the impact of energy scarcity 

on our lifestyles, enormous sums of public and 

private money are being spent on alternative 

energy sources. The public sector’s response has 

been principally to seek out technological 

solutions--better solar collectors, heal pumps, 

windmills. Little attention has been focused on 

"passive" design solutions to this problem. 

Increased sensitivity to building orientation, 

micro-climate, settlement patterns, materials 

usage, natural ventilation, and solar access can 

profoundly alter the energy consumption of our 

homes and ~vorkplaces. The design and planning 

Design Arts 35 

fields can play a major role in showing 

alternatives to inefficient energy practices and 

expensive ne~v technologies. 

This agenda addresses many of the central 

questions that will continue to confront the 

design fields over the next decade. It is also clear 

that the National Endo~vment for the Arts’ small 

resources can only begin to raise public 

awareness about these issues. Continuing its 

historic "Johnny Appleseed" role, the Design 

Arts Program hopes that new and innovative 

design solutions to these pervasive problems will 

emerge. Certainly the small grants and advocacy 

activities listed on the following pages indicate 

the depth of concern in the design community 

and the potential for significant contributions by 

that community to a more livable America. 

Michael Pittas 

Director, Design Arts Program 
36 Desig~t Arts 

Design Arts Advisory Panel
 

Susan Amory 

Researcher 

Chicago,Illinois 

Alma C. Armstrong 

Urban planner 

Roxbury, Massachusetts 

Saul Bass 

Filmmaker 

Los Angeles, California 

Stephen Bostic

State arts agency administrator 

Christiansted, St. Croix, 

Virgin Islands 

Sara tI. Boutelle 

Architectural historian
 

Santa Cruz, California
 

Michael Brill
 

Architect, researcher
 

Buffalo, New York
 

Catherine Broxvn 

Landscape architect, urban designer 

San Francisco, California 

Ralph Caplan

Program communications consultant 

New York, New York 

Bonnie Cashin 

Fashion designer, writer
 

New York, New York
 

Ching Yu Chang 

Architect, editor, educator
 

Halifax, Nova Scotia
 

Adele Chatfield-Taylor 

Historic preservationist
 

New York, New York
 

John P. Clarke 

Architect, planner
 

Trenton, New Jersey
 

Jeffrey Cook 

Architect, energy consultant
 

Tempe, Arizona
 

Peggy Cooper 

Arts Administrator
 

Washington, D.C.
 

Warren J. Cox 

Architect
 

Washington, D.C.
 

Lois Craig 

Writer, planning consultant


Cambridge, Massachusetts
 

Ida Margaret Daniels 

Planner. environmentalist
 

Butte, Montana
 

Louis Danziger 

Graphic designer

Los Angeles, California 

Barbaralee Diamonstcin 

Writer, editor, television interviewer 

New York, New York 

Nicls Diffrient 

Industrial designer 

New York, New York 

Louis Dorfsman 

Graphic designer 

New York, New York 

John R. Eberhard 

Architectural researcher 

Bethcsda, Maryland 

Darrell Fitzgerald 

Architect 

!Iouston, Texas 

Harrison Fraker 

Architect, urban planner 

Philadelphia, Pennsylvania 

Mildred Friedman 

Editor, designer 

Minneapolis, Minnesota 

Carroll Gantz 

Industrial designer
 

Towson, Marland
 

Karen Gates 

Editor, publisher, arts administrator, 

educator 

Seattle, Washington 

Bennie M. Gonzalcs 

Architect
 

Phoenix, Arizona
 

Joan Goody 

Architect
 

Boston. Massachusetts
 

Reginahl Griffith 

Architect, city planner, educator


Washington, D.C.
 

Thomas H. Holmes 

Televison producer, communications 

consultant 

Toronto, Ontario 

Sandra Ho~vell 

Psycologist, educator


Cambridge, Massachusetts
 

Barry Jackson 

Architect, educator
 

Newark, New Jersey
 

Allan B. Jacobs 

City and regional planner, educator

Berkeley, California 

Fred I. Kent III 

Geographer 

New York, New York 

Ralph L. Knowles 

Architect, educator 

Los Angeles, California 

Panos Koulermos 

Architect, educator, critic 

Los Angeles, California 

Federick Krimgold 

Architect
 

Washington, D.C.
 

Florence C. Ladd 

Environmental psycologist

Wellesley, Massachusetts 

5I. David Lee 

Architect, urban designer 

Boston, Massachusetts 

Jerome W. Lindsey, Jr.
 

Architect, educator
 

Washington, D.C.
 

Fcdel Lopez
 

Architect
 

Highland Park, Illinois
 

Weiming Lu 

Urban planner, designer
 

St. Paul, Minnesota
 

Robert P. Madison 

Architect
 

Cleveland, Ohio
 

William Mason 

Television producer, communications 

consultant 

Washington, D.C. 

Mary McFadden

Fashion designer
 

Nmv York, New York
 

Mary Means
 

Urban designer


Chicago, Illinois 

Sandra V. Moore 

Architect, environmental designer 

Tallahassee, Florida 

William Morgan
 

Architect
 

Jacksonville, Florida
 

Sherric S. Cutler 

Architect, urban designer


Cambridge, Masmchusetts
 

Doreen Nelson 

Educator, Designer
 

Los Angeles, California
 
Jeffrey E. Ollswang 

Architect, Educator 

Milwaukee, Wisconsin 

Laurie D. Olin 

Landscape architect, planner 

Philadelphia, Pennsylvania 

Joe A. Ouye 

Architectural research programmer 

Berkeley, California 

Norman Pfeiffer 

Architect 

New York, New York 

Arthur J. Pulos 

Industrial designer 

Syracuse, New York 

Raquel Ramati 

Architect, urban designer

New York, New York 

Jaquelin Robertson 

Architect, planner, urban designer,
 

educator
 

New York, New York
 

Robert G. Shibley 

Architect 

Washington, D.C. 

Rita St. Clair 

Interior designer

Baltimore, Maryland 

Barbara Stauffacher Solomon 

Graphic designer, landscape architect 

San Francisco, California 

Susan Southworth 

City designer 

Boston, Massachusetts 

Paul Specht Industrial designer 

Chicago, Illinois 

Design Arts Grants
 

Design Arts 37 

John H. Spencer
 

Architect, landscape architect
 

Hampton, Virginia
 

Bernard P. Spring 

Architect 

New York, New York 

Louis Viramontes
 

Architect
 

San Antonio, Texas 

Tim Vreeland 

Architect 

Los Angeles, California 

Margot Wellington 

Arts administrator 

New York, New York 

Peggy Woodring 

Architect, planner 

San Rafael, California 

Program funds: $3,619,906 Treasury funds: $250,000 Private gifts: $50,000 

Design Demonstration For organizations that need innovated design services to initiate

Amigos del Museo del Barrio 

New York, New York 

Amoskeag Neighborhood Association 

Manchester, New Hampshire 

Anderson Ranch Arts Federation 

Aspen, Colorado 

Architect’s Community Center 

Newark, New Jersey 

Arizona Commission on the Arts 

Phoenix, Arizona 

Artspace Reuse Project 

Minneapolis, Minnesota 

Athens, City of 

Athens, Georgia 

Blue Island, City of 

Blue Island, Illinois 

Carnegie Hall Society 

New York, New York 

a specific project that demonstrates the practical value of good 

design. 

Program funds: $809,238 Treasury funds: $50,000 Private gifts: $50,000 

For renovation plans to include new offices, a children’s musenm, $10,000 a pre-Colnmbian enrironment, and a contemporary gallery. 

To derelop a cnltural district plan and to create a nonprofit de­ 30,000 relopment corporatim~ composed of arts groups, bnsinesses, and 

residents to implement the plan. 

Far a planning and design study for the renoration of the 10,000 Center~ complex of eintage log buildings. 

For a preliminary plan for the adaptire use of the Borden Milk 10,000 Plant orerlooking downtown Nen’ark, Nea, Jersey. 

For a feasibility study of cultnral facility needs in doa’ntoa’n 14,976 Phoenix. 

To plan stndio-liri~g space in three concerted buildings for 15,000 low to moderate income artists in the Twin Cities. 

For design plans to renorate the historic Morton Theater 22,000 Building as a community performing arts center, a~d plans for 

construction of an annex to honse rehearsal, teaching, and work 

spaces. 

For design and landscape pla nni~tg of a 15-acre communitg park. 9,930 

Far the design and planning of a new lob@for Carnegie Hall. 15,000 
38 Desig>~ Arts 

Charlotte Children’s Nature Museum 

Charlotte, North Carolina 

Chihlren’s Museum of Denver 

Denver, Colorado 

City at 42nd Street 

New York, New York 

Claremore College Federation 

Claremorc, Oklahoma 

Clark Center for the Performing Arts 

New York, New York 

Dance Theater of Harlem 

New York, New York 

Department of Housing
 

anti Community Deveh)pmcnt


Baltimore, Maryland
 

Fihn Art Fund 

New York, New York 

Florida Agricultural anti Mechanical

University 

Tallahassee, Florida 

Fort Mason Foundation
 

San Francisco, California
 

42nd Street Local Development


Corporation
 

New York, New York 

Gardner, City of 

Gardner, Massachusetts 

Gunnison, County of


Gunnison, Colorado
 

ttarlem Institute of Fashion
 

New York, New York
 

Hartford Architecture Conservancy 

ttartford, Connecticut 

Ilistoric Savannah Foundation 

Savannah, Georgia 

Jackson, City of 

Jackson, Mississippi 

Landmarks Preservation Council
 

of Illinois
 

Chica~zo, Illinois
 

Margaret Gate Institute


Huntington, New York
 

Michigan, University of


Ann Arbor, Michigan
 

together a team composed of architects amt lamtscape 

It t’(’. 

To desig, amt phi!! the det,clopme.t of the 

helw(’e~ ?tit aml Xlh Are,m’s as a culticral ce.ter. 

For dcsi~.lU o,f a m’.’ .fm’ilit!l to ho.sc the Ce.ter:s

;,tstrm’tiou pr,,flram aml a 230-seat dau(’e theater. 

To s,ppo~t phil ti~tff aml de.sight for rem~cali(m qf b ihli~tgs 

.lbr dormilor!! ojJ’/c< (~mt pc~for,ta~tce space. 

To commissio~ a. art’hitcrl 

rcolw.i,g aml r~,w~e of the .llclle~tr!t Theat(’r 

lcr for So.th 

7’o assist i*I the lfla..i*tg aml d~,sig. ,/br the co.cersio, qf 

old Secoml Are.ue co.rtho.s~’ i.to~ Cim’ma .llm~e.m, A l/.doqq 

Film A rchires m’.’ /wmhlm~ rlers. 

a rclt itert. 

To pla. aml desig, a Nail,real Ttwater Ce.lcr o. the roqf o.f the
 

old IVcst Side Ablim’,s 7"e,’mimd ll.ihtiml i..\¥.’ )%rl," Cilq.
 

To dcsiq, 11: 

.sed a.~ liri,g amt .’orl,’iug ~tmce.lbr retired crttl’lsp~’rsol~s who 

.’ill leach yo.*q! 

For a site i restigatio..for the’ .~tmtq . d &’si~.l. ot" the rccrcatiml 

famL~ from the Depa rtme,l oj" Agric.ll.r< 

7’o d(’sig. If: ~em.’atim! of two hrolc.stom’.~ to ho.se tltc 

For lh(’ 

h.ma.e dcsig, qf p.hlic .fm.iliti~’.s ~tml slmccs. 

For . desig, co,lpctitio, to dcrH.p guI’dHim’s .for bt:fill 

di.*triH. 

To as.~i.~t .]ackso, Arts Alliam’e~ rem,’alio, pht*t~ti,fl.fi, r the
 

~e,m’ qf a 19o4 h,ildiug as s],H’cd stmcc milh arls-rHaled
 

b)~r stmth’.~ that ,m !! lead to/t i.~toric dcsi’ymttimt qf lttree mtjm’e,t
 

lhcaters ct~rrc~!ll!t slated .1"o~ dc,!ohtiou.
 

For a st.d!! appl!ti.g dt, relopme.ts i. automotive desigu to tit(’ 

m’cd.!)~r m’ce,s.s’ibh’ tmblic tra..~yort.ti,.~ rHttch’.s.for ~mliridt.tl.~ 

i. .’hceh’ha b s. 

To ~ts.~i.~t the m.tiNtics qf lh~, "(%m m.. it,t l)(,siff. To. m" .’1, ich 

pro,,id~,s &’si~.l. ser,’i’ccs i, i.m,r-cit!! I)Hroit. 

13,000 

17,000
 

20,000 

30,000 

15,000 

30,000 

22,000 

TF 30,0O0 

PG 30,000 

14,860 

17,500 

17,500 

20,000 

8,000 

S0,0()0 

12,000 

8,000 

%500 

20,000 

27,925 

3,140 
10.000 

Design Arts 39 

Minnesota Opera Company 

St. Paul. Minnesota 

Montana Arts Council 

Missoula, Montana 

Morgan State University 

Baltimore, Maryland 

Moving Image 

New York. New York 

Neighborhood Housing Services 

of Savannah 

Savannah. Georgia 

New England Aquarium Corporation 

Boston, Massachusetts 

Ne~v Orleans Museum of Art 

New Orleans, Louisiana 

North Carolina School of the 

Arts Foundation 

Winston-Salem, North Carolina 

Oberlin Dance Collective 

San Francisco, California 

Paper Mill Playhouse Millburn, New Jersey 

Philadelphia College of Art 

Philadelphia. Pennsylvania 

Pratt Institute 

Brooklyn, New York 

Private Arts Foundation 

of Washington, D.C.

Washington, D.C. 

St. Nicholas Neighborhood 

Preservation and Housing

Rehabilitation Corporation 

Brooklyn, New York 

Texarkana, City of 

Texarkana, Texas 

Texas Tech Univerity 

Lubbock, Texas 

Theatrical Diversions: Denver 

Littleton, Colorado 

Town Hall Foundation 

New York, New York 

Vallejo Naval and Historic Museum 

Vallejo, California 

Vietnam Veterans Memorial Fund 

Washington, D.C. 

For the desig, of an opera honse within the St. Anthony Main 

rederelopment project to honse the Minnesota Opera and other 

smaller arts organizations. 

For the Regional/Urban Design Assistance Team to proride 

serrices for the proposed Missoula Rirer Front/Downtown 

Derelopment Prq]ect and to conduct a competition. 

To assist a coalition consisting of the Built En rironment Stndies 

program at Morgan State Unirersity, the Neighborhood Design 

Center. and the Middle-East Community Organization in 

helping the Baltimore Middle-East community de~’elop a 

neighborhood design plan. 

To assist plan ning and design work to eonrert a garage space into 

two cinemas. 

To design a landscape strategy for an older ~wighborhood i~t 

Sara,nab. a’hich is racially and economically direrse. 

To implement a~t itmoratire enriromnetttal design combining 

kinetic sculpture, graphics, landscape design, and urban desigtt 

for the plaza in front of the Nea’ England Aquarium in Boston. 

For a .feasibility study of the m nseum ~ current space utilization 

and its proposed expansion program. 

For architectural studies necessary for the recycling of racant 

buildings into housin.q for artists. 

For the design qf a community arts center housing the rehearsal 

anti pearl)finance spaces of the Oberlin Dance Collectire and the 

Margaret Jenkins Dance Company as well as the editorial qffices 

of New Performance, a qua rterly of West Coast pcIforIn in~ a rls. 

To assist the desig, for rebuilding the Paper Mill Playhouse, 

which was destroyed by fire in Jammry 1980. 

To plan renoratim~ o.f the Hariland Building. a nationally 

registered historic landmark, as a comm~tnily cultural .facility. 

To increase the capacity of the Center for Community and 

Enrironmental Derelopment to proride design assistance to 

a 9rowin9 number of neighborhood-based clients. 

For a feasibility stndy to determine the space needs and location 

alternatives of the Washington Project for the Arts. 

To design physical improrents in the shopping district, with 

emphasis on the derelopment of "signage" system. 

To design a flmctional neighborhood park along Swampoodle 

Creek. 

To support an inter-unireristy research project by stndents from 

Texas Tech and the Unirersidad Autonoma de Coahuila. 

Mexico, on problems common to border cities. 

For studies for the restoration of the Tiroli Opera House for 

use as a multi-purpose cultural facility. 

Far a study of the future uses of New Yorkk Town Hall. 

For designs to renorate a former city hall building for use 

as a nata! and regional history museum. 

To establish a memorial to Americans who died in the war 

in Vietnam. 

30,000 

30,000 

30,000 

15,000 

30,000 

10,000 

17,000 

19,530 

20,000 

1%500 

TF 20,000 

PG 20,000 

4,000 

10,460 

7,500 

28,917 

14,000 

10,000 

5,000 

5,000 
40 Dcsig~ Arts 

25,000 WeCan, Inc.
 

Dorchester, Ma~sachusetts
 

Design 

Communication 

Alameda County Neighborhood 

Arts Program 

Oakland. California 

Alaska State Council on the Arts 

Anchorage, Alaska 

Amana Artists Guihl 

Amana. Iowa 

American Council for the Arts 

New York, New York 

American Federation of Arts 

New York. New York 

American Film Institute 

Washington, D.C. 

American Institute of Architects 

Foundation 

Washington, D.C. 

American Institute of Architects 

Foundation 

\Vashin~ton, D.C. 

American Institute of Graphic Arts* 

New York, New York 

American Institute for Municipal
 

Research, Education anti Traininff
 

Washington, D.C.
 

American Society of Interior 

I)esi~;ncrs Educational Foundation

New York, New York 

Architectural Itistory Foundation 

New York, New York 

Architectnral Leagne of New York 

New York. New York 

Artists Foundation 

Boston, Massachusetts 

Association of Collegiate Schools 

of Architectnre 

Washington, I).C. 

Board of Public Edncation for the 

City of Savannah and the County 

of Chatham 

Savannah, 

For projects that inform the general public, designers, and decisionmakers about the value and practice of design, the impact of design 

decisions, and the relationship between design and human behavior. 

Program funds: $1,137,281 

For h,cl,rcs, m,,i bmr.~, .for, m\. a ml v.,’h ibitimts for troth 

edit ¢~ml distritmte 

t¢’alls lh~tl the m’cds o.f the arts ctt*~ lw ,vcortmr~th’d i,!lv citlt mt reyh,mtl ph~,i~g t~roccs:ws. 

(’lip (tml 2#90thcr Thi.gs." 

7"o stU~pott lhe .’orl: qf t~ N~*tirc Amcricmt dcsirlm’r.ti~r AFI’s 

,V~tirv A,tericmt .film s~,rics. 

7"o slU)tmr! the (;o,’dv, (Smtc~t!l <,’hibit. 

b;~*" ltlc tmblic(ttio, qf the It(tmlhmd: Graphic Design for 

Nonprofit Organizations. 

7"~ rcc~.’d the prm’~,cdi~tqs qf the Nocict!t’s
 

ia Am.If
St
 

the lmblic~#im~ o.f 73 .@dchh~,,I,’.~ b!t the’ m’chih’ct Lc 

f’m" ~t tr~rcli*tfl tv’hHdtio, ~,ld !,ml, v Art and Architecture: The 

tt story an(1 Future of the Collaboratu)n. 

Tv S.plmrt the ,h)urnal of Architectual Education. 

To s~U~l)m’t the [tcrHct(.l~’ (’l~tssrv~v* ]’t’~)(ll’~ttit ~tt ,ll¢t.,v*’~’ 5"clmM. 

$8,000 

10,0o0 

9,55o 

10.000 

25,200 

4,000 

15.1,57 

28.500 

8,600 

22.5OO 

12,000 

20,000 

20.000 

15.000 

30,000 

15,000 
Design Arts 41 

Boston Center for the Arts 

Boston, Massachusetts 

Boston Redevelopment Authority 

Boston, Massachusetts 

California, University of

Berkeley, California 

California, University of 

Berkeley, California 

Chicago Chapter Foundation,

American Institute of Architects 

Chicago, Illinois 

Cincinnati, University of

Cincinnati, Ohio 

Coe, Linda*

Cambridge, Massachusetts 

Conservation Foundation 

Washington, D.C. 

Cornell University 

Ithaca, New York 

Council for International Urban 

Liaison 

Washington, D.C. 

Craft and Folk Art Museum 

Incorporating the Egg and the Eye

Los Angeles, California 

Drexel University

Philadelphia, Pennsylvania 

Drexel University

Philadelphia, Pennsylvania 

Dunlap Society 

Essex, New York 

Dunlap Society 

Essex, New York 

Florida Agricultural and

Mechanical University

Tallahassee, Florida 

Georgia, University

Athens, Georgia 

Harvard University

Cambridge, Massachusetts 

Historic Neighborhood Foundation 

Boston, Massachusetts 

Institute for Continuing Studies in 

Design, Management, and 

Communications* 

Washington, D.C. 

support the design task loaves on the development of adaptive 25, 000 

~vuse pla~m for tile structures now housed i~l the Center. 

To produce a documentary on how policy and pla~ming decisions 15,000 

will effi’ct tile futnre of Boston. 

To support a two-da!l national confere~we o~l conserving campus 16,650 

rcsolll’ce,q. 

To support the Institute for Urban and Regiona! Developme~lt’s 25,000 

production of three films o~l San Francisco’s downtown 

conservation a~d decelopment plan. 

To improre the format and circulation of the magazine Inland 25,000 Architect. 

To suppo~ the School of Arehitecture and Interior Design k decel- 10,000 

opment of a demonstration model for communities involced in 

historic presercation. 

For the research, writblg, and publication of a directory of 18,000 

federal and pricatc funding sources for cultural facilities. 

For "Conservation and Revitalization:An Eeonomic Develpmcnt 17,481
 Strategy for Today’s Cities," a seminar co-sponsored with the
 

National Trnst for Historic Preservation.
 

To continue tile small town community design workshop. 5,000 

To support research for a publication on the mechmdsms em- 15,000 

ployed in seceral countries to organize desig~t competitions. 

To support research and planning of a survey of cernacular 20,000
 

architecture in America.
 

To support design of functional and fashionable clothing for 17,500 

persons with physical limitations. 

For an inter~lship course fi~r interior design stndelds in conjunc- 6,525 tion with Moss Rehabilitation Hospital, and for the production of 

an audio-risual learning unit for designers, handicapped persons, and rehabilitation personnel co~werning design accommodations for the needs of the handicapped. 

To support research for exhibitions on federal architecture. 20,000 

For five months of emergency flmding to complete development of 17,195 

an exhibition on the history of the design of public buildblgs. 

For a film and brochure dealing with the multiple roles of today ~ 27,814 

designer versus the more "traditional" image of yesterday’s 

arch itect. 

To support the qnarterly stndent publication, Georgia Land- 4,800 

scape, dealing with the issues of em’ironmental desig~l and 

planning. 

For three videotapes which will explabl and illustrate practical 25,000 solutions to problems encountered by design professionals. 

For completion of an educational program on the architectural 7,950 

cahw of Boston’s North End. 

For pnblication of tile monograph, Managing Concepts and 8,500 

Images--A Global View. 
42 Desig~ Arts 

Institute for Urhan Design 

Purchase, New York 

Institute for Urhan Design* 

Purchase, New York 

International Design Education 

Foundation 

Los Angeles, California 

International Design Education 

Foundation 

Los Angeles, California 

International Design Education 

Foundation 

Los Angeles, California 

International Design Education 

Foundation* 

Los Angeles, California 

International Design Education 

Foundation* 

Los Angeles, California 

Los Angeles Museum of Modern Art 

Los Angeles, California 

Maine Maritime Museum
 

Bath. Maine
 

Maine, State of 

Augusta, Maine 

Maryland-National Capital Park
 

and Planning Commission
 

Silver Spring, Maryland 

Massachusetts College of Art 

Boston, Massachusetts 

Mississippi State University


Starkville, Mississippi
 

Mississippi State University
 

Starkville, Mississippi
 

Municipal Art Society of New York 

New York, New York 

Museum of New Mexico
 

Santa Fe, Nc~v Mexico
 

National Committee on U.S.­

China Relations
 

New York, New York 

National Community Design Center 

I)irector’s Association 

East ()range, New Jersey 

National Institute of Building Science 

Washington, D.C. 

To sitpport thv tmblicatimt Urban Design International. 17.500 

17,000 

20,000 To support a graphic (trsig~ (’ontpctitio*t to promote bctl(’r 

formats .f!)r lmblic i~.formatiom 

For stmh,~tt srhohtrships to the I~ttermttiomtl Dcsiff~t C,m.fere*~ce 17,750

17,500 To co*~tim~e derelopme*~l, flout-raisim.l, aml phu’cme,d of the 

v.,’hibitiml. "A Paper Clip aml 2.99 Other Thim.lS." 

15,000 For the t>reparatio~ aml tmblic¢~tim~ o.f a boot," ml America~t 

l>rodurt desiqm 

For the pr(,paratio~ a~M imblicatio~ qf a book e~tith’d 16,000

Form and Purpose. 

l’Sn" a Stlm posi u m o~ the.fotoMat im~ o,f (t ~! architecture, a ml design! 000

IQ." a*~ art.hi,’< e.,’hihits, aml publict~tim~ of lwrspectirv skrtch 17,500 

dra u,i~qs a ml detailed tvch ~ iced dra ~t’~ ~f.~" qf sm ~11 sa ili~fl craft 

tttpes a~M m’amam~hip practices ql" lhe ~mhorv.fisheries qf Norlh 

America. 

11,800 

ttamllmok b!l the Laml b%e Regldatio*~ Omtmisshm. This 

hamllmol; wo*~ the highest award qf th<’ Amcricau Pla~md*~fl 

A.ssociatimt .for 1979. 

15,000 To asse.~.~ e.cisti~g ,*’ba~t desig,t ~.luiddim’s aml to prodm.c ~
 

rt,so!~rc(’ ~.luidebook.for other comm u*~itie.~ lhrottqhout the ctm~ttrg.
 

14,656 res(,<trch ~ml desig~ o.f <t~t c.,’hit>itim~ e,itith,d. "l)vsigm’d i~
 

350 Yea rs o.f l~t mma tiom"
 

9,600 17or a progranl to i~Ll’orm small tmc~ dcclvd qffici¢ds aml (.icic
 

leaders of the impact Imblic polic,.I dccisimm hare o,~ the
 

qlmlil!l of the comm!¢~it!t.
 

I,’or n om’-we(’l," desig~t charetle, a om’-da!l mork.~hop, amt a 20,000 

lml>lir~tim~ ,m re’tail .SlmCe utilizatlom 

IQn" a mldti-medit~ tracvli~g e.,’hibitim~ ,m the archdech~*’al 20,000 

sig~tificam’c of Gram! Ce~tral Tvrmim~l i~ N(,m t%r/," Cit!l. 

I~r a t~ aceli*tg e.chibitio*~ aml.film tm Pm,tdo l,tdia~ ~trchitcctttrc 20,000 

aml t,m’~ ifla*~*dm.! durim.! thv last lOO ilrars. 

For threv icorl,’shops o~ (LS.-(V~imt cootw~.t.,, i~ .rtm~ dcsigm 11,830 

1%173 

a{tiritirs, ttmt .fin" a tmo-da!t co~L/"~’re~Icc o~ sh’c~gtttr*d~t!l lhe m,tworlv qf l)csi~.l*~ (’c~ders. 

5,000 

dllCiFOllHlrllt. 
Design Arts 43 

National Trust for Historic 

Preservation of the United States 

Washington, D.C. 

Neighborhood Housing Services

of Reading 

Reading, Pennsylvania 

Nexv York, City of 

New York, New York 

Nexv York Foundation for the Arts 

New York, New York 

New York Landmarks Conservancy 

New York, New York 

New York, Research Foundation of
 

the City University of
 

New York, New York 

Oakland, City of

Oakland, California 

Oakland Museum Association 

Oakland, California 

Partners for Livable Places 

Washington, D.C. 

Pennsylvania, Trustees of 

the University of 

Philadelphia, Pennsylvania 

Preservation League of 

New York State 

Albany, New York 

Project for Public Spaces 

New York, New York 

Provincetown Playhouse 

Provincetown, Massachusetts 

Southern California, University of 

Los Angeles, California 

Spectrum-Focus on Deaf Artists 

Austin, Texas 

Sxvain School of Design, Trustees of 

New Bedford, Massachusetts 

Texas, University of 

San Antonio, Texas 

Theater Communications Group 

New York, New York 

Virginia Commonwealth University

Richmond, Virginia 

Virginia Polytechnic Institute and 

State University 

Blacksburg, Virginia 

For the "Historic Preserration and the Minority Community" 

conference in September 1980. 

To commnnicate an nnderstanding of Reading~ historic and 

architectural heritage, provide technical assistance on preservation techniqnes and landscape design, and produce a brochure on 

Reading’s past and future. 

For a design team to u’ork closely with developers, Community 

Board No. 6, and the community in the "Billion Dollar 

Waterfront Profl, ct" area on FDR Drire. 

To amend a prcrious grant to support the completion of a film on 

the Beaubourg in Centre Pompidon in Paris. 

For an exhibition which demonstrates creative approaches to the 

design aspects of historic preservation. 

For Hunter College~ guided bus tcmrs on u,hich the function of 

urban design is explained to the general public, stndents, 

educators, and political decision-makers. 

For the new Oakland Street Tree Plan to result in a city-u,ide tree 

design plan, including info~nnation on tree selection, planting, 

and care. 

For an exhibition of architecturally ontstanding solar-energy 

efficient bnildings. 

For "Economics of Amenity,"a research and pnblic awareness 

proyram. 

For a catalogne to accompany "Urban Enconnters, "an exhibition 

by the Institute of Contemporary Art docnmenting 15 sites in the 

United States u’hich have been designated as snccessfid works 

of pnblic art. 

To support research for a nea’spaper series on the economic, 

historic, and social significance of histo~qc preserration. 

For a film demonstrating to corporate executives the importance 

and value of u’ell-designed public plazas. 

For design and planning of the constrnction qf a new 

theater facility to replace the old theater n’hieh was destroged 

by fire. 

To amend a prerions grant to docnment the study, Architecture 

and Urban Design Implications of Sun Rights. 

For seminars and workshops for architects and deaf artists 

which will focus on the design process and needs of deaf artists. 

For a lecture series and publication on the theotvtical, practical, 

and innocatire aspects of graphic design. 

For a filmstrip and teachers’ guide on the built enrironment for 

Texas schoo! children. 

To publish and market a book, Graphic Communications for the 

Performing Arts, intended for use bg t)rofi’ssionals and nonprofessionals a’ho n’ork a,ith printed contmnnications for the arts. 

For a series of public lectnres and seminars by leading graphic 

design teachers and practitioners. 

For a publication co~werni~tg rede~’elopment strategies for homes 

owned b!! elderl!l, low-income persons of the Gainsboro 

contnootitg it~ Roa~tokc. 

10,000 

8,960 

20,000 

20,000 

10,000 

5,000 

20,000 

7,250 

3,200 

15,000 

10,350 

10,000 

10,000 

3,400 

27,940 

5,150 

9,000 

15,000 

5,824 

3,522 
Virginia, l{ector and Visitors of 

the University of 

(’harlottesville. Virginia 

Walker Art Center 

Minneapolis. Minnesota 

WGIHt Educational Foundation 

Boston, M:>sachusetts 

I)evelol)ment Commis,,,ion 

lh’attleboro. Vermont 

Design Exploration/ 

Research 

Center for Cultural and Technical 

Interehanfze Between East and West 

Honolulu, tIawaii 

M:kssachu,~etts lnstflute of TechnohgD" 

(’amlwid~re, Massachusetts 

New Mexico, University of 

Albuquerque. New Mexico 

Oregon, University of 

Eu:a’ene, 

iqdladelphia Art Alliance

I’hiladelphia, l’enn>ylvania 

l’roject for l’uldic Spaces 

New York, New York 

\Vorce.sler Area Transitional Ih)using 

Wo)’c ester, Mas~achu.~etts 

8,511 

To ,s’upt*ot t ~* *t ca’/~ ;t~t’t t’mt qf orighml dr** tv;.!l.~ b!t 2,5 to 30 ~t ~’(’]~ ih’cl.s 17,500 

criticism. 

7’0 r..~,.rc/t .m! i. odt.’c rMcOt.lJ.d ~,ttcr,’i*’.’.s .’lilt 18, 117, 

For experimental and innovative re,~earch on design thai seeks to

define or resoh, e new or recurring desilzn l~roblems. 

Program funds: $176,468 

till 

S1.715 

1) I’Of/171 il! s. 

19, !)7 1 

b,dhlimls ~. A!t.tq.crq.c.ft." dc..ig, t~t*wlil;.m’rs. 

28,(;()0 

SO,O()() 

20,()0() 

l,’m" l/.’ m’~ ¢tl el+ Ibr ¢t t*~ oh’l!ltw ~ c,~idmtcc.tm ...octroi,! i)/~qst’( (tll+l 2(),(;I0 

di..~dd,,d 
Design Arts 45 

Design Fellowships	 Includes four subcategories: Senior-Level Sabbatical Fellowships

provide time for accomplished professional designers to explore 

areas of interest or new approaches to design. Individual Project 

Fellowships are for professional designers and other qualified 

individuals to carry out a specific design, research, or educational

project. Entering Professional Designer Project Fellowships are for 

professional designers in the early stages of career development or 

designers returning to the field after a prolonged absence to carry 

out a specific design, research, or educational project. Design Student Project Fellowships are awarded to accredited institutions to provide 

scholarships to selected design students in their final year of a 

graduate degree program. 

Program funds: $629,695 

Senior-Level Sabbatical Felloxvships Marquis, Robert B.	 7,500 

San Francisco, California 

American Academy in Rome $40.000 New York, New York Marsh, Vincent 7,500 

Jamaica Plain, New York
 

Blair, Katherine 7,500
 Washington, D.C. Migdoll, Herbert 7,500 

New York, New York 

Blessing, Charles A. 7.500 Detroit. Michigan Moore, E. Fuller 7,500 

Oxford. Ohio 

Fitch, James Marston 7,500 New York, New York Perin, Constance 7.500 

Cambridge, Massachusetts 

Harvard University 20,000 Cambridge, Massachusetts Rothzeid, Bernard 7,500 Brooklyn, New York 

Krauss, Richard I. 7,500 

Brookline, Massachusetts Wines, James N. 5,000 

New York, New York 

Individual Project Fellowships 

Anderes, Fred E. To research the history of ice palaces and other unusual ice $10,000 

New York, New York structures. 

Appleyard, Donald For p~wmration of graphic materials for a tumk entitled 5,000 

Berkeley, California Livable Streets: Protected Neighborhoods. 

Attoe, Wayne O. To develop a 50-page paper on "toy-like" towns into a fidl length 10,000 Berkeley, California book. 

Bee, Carrot M. To surrey artist residential developments in various 10.000 

Brooklyn, New York communities in the United States. 

Catanese, Anthony J. Ta stmty the design and planning of urban uvte~fronts with 10,000 

Milwaukee. Wisconsin particular concern for the preserration and adaptive reuse of 

historic buildings. 

Clarke, David S.	 For a report on current reforms in 13 schools of architecture in 4,000 Arlington, Virginia	 Era nee. 

Clarke, John P.	 To produce a pamphlet fi)r public officials and citizens" group.~ 10.000 

Trenton, New Jersey	 on the economic amt design riabilitg of com’erting unused urban 

and suburban school buildings into new community facilities’. 

Danko, Peter To de.+ign a~M produce wooden furniture prototype.+ usi++g 10,000 Alexandria, Virginia design teehniques employed by other industries. 

Dry, Carolyn M. For an c.rhibit which will explore the art qf building with sam!, 7,500 Newbary Park, California earth, and trees. 
46 Design Arts 

Euston, Andrcxv F. 

Washington, D.C. 

Evans, Benjamin H.

Blacksburg, Virginia 

Farmer, W. Paul 

Milwaukee, Wisconsin 

Giordano, Jeanne 

Cambridge, Massachusetts 

Grebner, Dennis W. 

Minneapolis, Minnesota 

Harris, Charles W. 

Cambridge, Massachusetts 

Hennessey, James M. 

Honeoye Falls, New York 

tIirsch, David L.

New York, New York 

Kapstein, Ethan B. 

Washington, D.C. 

Kayden, Jerold S. 

Brattleboro, Vermont 

Kim, Susie S. 

Cambridge, Massachusetts 

Kirkxvood, Grace H.
 

North Sandwich, New Hampshire
 

Koncelik, Joseph A.
 

Worthington, Ohio 

Kxvartler, Michael
 

New York, New York
 

Lee, Tunney F. 

Newton, Massachusetts 

Lewin, Susan J.
 

New York, New York
 

Liskamm, William H.
 

San RafaeI, California
 

MeGarvey, John N.
 

Drexel Hill, Pennsylvania
 

MaeLean, Alexander S.
 

Boston, Massachusetts
 

Marcus, Aaron
 

Berkeley, California
 

Mayer, Richard A.
 

San Francisco, California
 

9,000 To produce a new.~h’tter on c~trrent re’ban em,irmtmental 

design issues. 

6,730 To investigate the impact of daylight on architect.ml fi)rm and 

human capacity as related to future patterns o.f em, rgy-eom~eious 

design. 

9,950 For resvarch with Lawrem’e IVitzlb~g fi~r an illu.~trated nlanmd 

o~t urban design competition,~’, ~tsi~tg the Milwaukee waterfrmtt 

competition as a major ease study. 

5.000 To develop a manmtl documenting the process of a desig~ 

competition eomlacted by the City of Salem, Oregon. 

8,500 For a film with Richard C. Pollster oft the work of it rim n desigm, r
 

Gordon Culle~t.
 

For the te.rt of a hamtbook on site (le.s.igtt and cmtstrtwtion data. 7,500 

9,000 To document the ways in which computers are prese~dl!! being
 

itsed in the edue~tion of tits’ designer.
 

Nor a detailed post-construction eralution tf six urban malls, 10,000 

im’ludi~g two desigm, d by Mr. Hirsch. 

10,000 To decclop the materials for "Sohtr Energy: 2500 years of 

Utilization," a travelbtg e.rhibitio~t (m the history qf solar 

energy use from ancient Greece to the present. 

10,000 To assemble, with Charles 3I. Hoar. a book amt material fi~r an
 audio-risual slide presentation documenti~g five m((jor areas i~
 

the land rise fieht.
 

7,500 For a brochure which will demonstrate how physical 

design tcelmiques can be used to help preserve and enrich 

"little cities withi++ a city." 

7.500 For a book on the ornamental pla~lts, shrubs, aml trees of the 

Middle East. 

To write a book e~ttitled Aging and the Product Environment, 9,840 

n’hieh allou’.~ designers to apply specific criteria to a rariety of 

mass produced products. 

10,000 To produce an erabmtio~t of the arehiteet!¢re, urban design, aml 

i~tstitutional i~mmations qf Su~tnyside Garde~ts, a moderateincome housi~tg development designed by Stein and Wright 

i~t 1924. 

7,500 To pla~t a~t e.rehange of exhibits on architectural ideas 

techm)loyies betwee~ this cotmtry~ architect~o’al schools a~d 

those qf the People~ Republic of China. 

10,000 To write a bo@ foeusi~tg o~ residential architecture created sim’e 

1960 by established young desig~lers. 

To document procedures ~¢sed in the Fort Mason 3laster Plan 10,000

design competition. 

10,000 To produce a book a ml m Mti-media prese~ltation to illustrate the 

art of dralci~tg for imb¢strial design practitioners 

,~tudents. 

To prepare a tmblieation based o)t Mr. MtwLean’s work 9,880

oblique angled aerial photography as a tool for surreqing a~d 

doeumentbtg cities. 

To plan a conf!,re~we on the use of informatiomff graphics 9,000 

to improre the clarity qf public i~tformation. 

10,000 To derdop an agenda of issues for a natio~tal eonfere~we on 

on artists’ studio/housing problems. 
Meyer, William 

New York, New York 

Neuhart, John A. 

Hermosa Beach, California 

Pevnick, Stephen H. 

Milwaukee, Wisconsin 

Roos, Gabrielle 

New York, New York 

Safdie, Moshe 

Boston, Massachusetts 

Schneekloth, Lynda H. Blacksburg, Virginia 

Sprague, Paul E. 

Milwaukee, Wisconsin 

Steinitz, Carl F.

Cambridge, Massachusetts 

Stephenson, Thomas E. 

Del Mar, California 

Szabo, Albert 

Brookline, Massachusetts 

VanWagenen, Sterling G. 

Salt Lake City, Utah 

Whitehurst, Deborah 

Tempe, Arizona 

Wittner, Ezra L. 

Atlanta, Georgia 

Yamasaki, Kim

Yoncella, Oregon 

Zappas, Sam A. 

Baltimore, Maryland 

To support the writing of Energy, Economics and Architecture, 

a book describing design decision aids for passive solar and 

energy conservation applications for architects. 

To support research on the life and work of graphic designer 

Eric Gill. 

To continue design work on a light sculpture which uses water 

droplets and strobe lighting. 

Design Arts 47 

6,000 

8,500 

10,000 

To collaborate u,ith architects to determine new ways of 

enhancing or modifying space through color. 

10,000 

To snpport the preparation of a book, entitled The Reasons for 

Form. 

7,500 

For the preparation of a series of articles concerning design 

for the visually handicapped, and for the completion of the draft 

of a book entitled Environments for Visually Impaired Children-Design Guidelines. 

6,500 

For a book on the visual analysis of historic structures and 

districts based on the applicant’s work in historic preservation. 7,500 

For a publication on the success of the regional design for the 

communities of Gnnnison and Crested Butte, Colorado. 

4,000 

To explore new design possibilities for the design of wheelchairs. 8,500 

For a publication on the indigenous architecture of Afghanistan. 7,500 

For designs for a storyboard from which u’ill be made an 

animated film dealing with children’s awareness of the built 

environment. 

4,000 

To plan and design a crafts facility in the restored mill buildings 

of Lowell, Massachusetts. 

7, 500 

To design and develop a prototypical motorcycle safety 

suit. 

4,000 

To provide current information on the design of housing for the 

elderly. 

10,000 

To complete production of a television program on the 

development process of Baltimore’s Coldspring New Town. 3,500 

Entering Professional Designer Project Fellowships 

Brown, Catherine

Baton Rouge, Louisiana $5,000 Isaacs, Mark A.

Louisville, Kentucky 

Campbell, Regula F. 

Venice, California 5,000 Kinzy, Scott A. 

Milwaukee, Wisconsin 

Fly, La Barbara W. 

Austin, Texas 

5,000 Sanders, James B. 

New York, New York 

Franklin, Victoria A. 

Arroyo, New Mexico 

5,000 Thiel, Elizabeth A. 

Bryans Road, Maryland 

4,895 

5,000 

5,000 

4,000 

Design Student Project Fellowships 

Art Center College of Design $5,600 California State Polytechnic University 4,000 Pasadena, California Pomona, California 
Cincinnati, University of 

Cincinnati, Ohio 

Cornell University

Ithaca, New York 

Georgia Institute of Technology 

Atlanta, Georgia 

Georgia, University of

Athens, Georgia 

Harvard University

Cambridge. Massachusetts 

Illinois, University of 

Chicago, Illinois 

Kansas City Art Institute 

Kansas City, Missouri 

Maryland Institute

Baltimore. Maryland 

Design Excellence 

Bruce, Michael*
 

Alexandria, Virginia
 

Catholic University of America*

Washington, D.C. 

Cooper Union for the Advancement 

of Science and Art* 

New York, New York 

Grefe (Richard) Associates*

Washington, D.C. 

Ilarmon, William .l.*

McLean. Virginia 

lnstitnte for Continuing Stu(lies in 

Design Management
 

and Communication*
 

Washington, D.(?.
 

Institute for Urban Design*
 

Purchase, New York
 

Miho, Tomoko*
 

New York, New York
 

National Trust for llistoric 

Preservation of the United States* 

Washington. I).(’. 

4,000 Massachusetts College of Art 4,000 

Boston. Massachusetts 

5,600 Minnesota, University of

Minneapolis, Minnesota 

5,6O0 

4,000 Ohio State University 5,600 

Columbus, Ohio 

1,600 Oregon, University of 

Eugene, Oregon 

5,600 

4,000 Pennsylvania, Trustees of the 

University of 

5,600 

Philadelphia, Pennsylvania 

3,200 

Tulane University of Louisiana 4,000 

New Orleans, Louisiana 

3,200 

\Vashington, University of 5,600 

Seattle, Washington 

5,600 

Wiscm>in, University of 5,600 

Ma<lison, Wi<con~in 

To provide federal and state agencies with professional guidance for

upgrading publications and working environments through seminars, xvorkshops, and etlucational materials. 

Program funds: $384,365 

851,000 

I,’or eddim.I .!’m/r is~t,’s o.f Design Matters 40.000 

(h’si~.l, cm, pctitio,s. 

,’rite. pnhlish. ~t,d distrihutc ~ series ~d" c~tsc stmtq 80,000 

tS"oqra m ~mt s(.h’ctcd l),.~i~d, A rts ~.lrauh’cs. 

35,000 

9,650 

.~.u*’ce.s of .s’,t~porl.lbr the c.~t~thli.<kme,t o!’~ 3.r.liomd .ll,.seu,t o.f 

ttw Iln ihli,g A rt.~’. 

71,250 

27.500 

T~ <~mcmt . pteHo..~ c.~ltrm’t t, allo.’.for mtditiomtl t!lp..~’rtti,g 965 

for a, 

50,000 
Design Arts 49 

Vision, Inc.* To amend a predous contract for profl’cts testing ~ww nlethods of 19,000 Cambridge, Massachusetts desig~ competitio~ f!~r public building programs. 

General Services 

to the Field 

American Institute of Architects 

Foundation 

Washington, D.C. 

American Institute of Graphic Arts 

New York, New York 

American Institute of Graphic Arts

New York, New York 

Arkansas, State of 

Little Rock, Arkansas 

Association of Collegiate Schools 

of Architecture 

Washington, D.C. 

Center for Design

San Francisco, California 

Committee for the Preservation of 

of Agricultural Records 

New York, New York 

Cranbrook Education Community

Bloomfield Hills, Michigan 

Design Foundation

Washington, D.C. 

Don’t Tear It Down 

Washington, D.C. 

Environmental Design Research 

Association 

Washington, D.C. 

Harvard University 

Cambridge, Massachusetts 

Louisiana Tech University 

Ruston, Louisiana 

Massachusetts College of Art 

Boston, Massachusetts 

To assist professional organizations, nonprofit groups, and coalitions 

xvhich advance the cause of design excellence. 

Program funds: $482,859 

To establish a Competition Adrisory Service to assist indi­ ridnals or orga,izations contemplati~g the selection of an 

architect b!! design competition. 

For the pretmratiom publication, a~td distribution of a list of 

academic i,stitutimm in the United States offeri~g eourses i~ 

graphic desigm 

Ta amend a previous grant to sponsor lhe federal goeernme~l’s 

e.raminatimt procedures for graphic designem, illustrators, a~ttt 

ph o tog rape ~’s. 

To support the Desig~t Arkansas Program. a proposal 

establish ing design as a priorit!! for state and local governnwnl 

units. 

For a survey of 92 schools of architecture i~t the United States to 

determine the ~mtnre and scope of design research nndertaken 

within these academic institutio~ts, the resnlls qf which a’ill be 

pnblished a~td distributed to the schools a~ut releeant gorernment 

agencies. 

For a Center for Desig~ a’hich provides services to designers i~ 

the Palo Alto area, such as educational progranm for dcs@wrs 

and the public, public design exhibitio,s, a r(fere~we library. 

job referrals for designers, and a nen’sh, ttcr. 

To support operations during the transition period to e~m,re 

proper transfer of all files a m! sereices to the Libra r!! of Congress. 

For the "Design Michigan" program of the Cranbrook Aeadem!! 

of A ft, a sta te-a’ide design a tea reness effort consisting of a design 

resource center, eleari~g house eapaeit!l, research center, desig~t 

co,fi, renees, amt e.rhihition. 

For the preparatio~ and implenu’,tation of thc first Natiomd 

Awards Program .for the imlustrial desig, pr@,ssion by the 

Industrial Desig, Society ~ America. 

For a campaign in IVashington, D.C., to educate the general 

pnblie on ~wighborhood conservation, landmark prcsereatiom 

and the qnalit!! o.f the b,ilt em’irom,e,t of the cit!l. 

For a task force on desig, research to assess the em’~vnt state 

envirot~me~tal desig, research and to prepare an agenda fi~r the 

1980s. 

For the Gra dua te School of Design’s program of ca reer discovery, 

a chance for pre-eollege students to "try on" a career before 

making a eommitme~t of time, money, and energy. 

For the development a~td promotion of a six-week intensire 

summer program which u’ould procide pre-eollege students with 

an opportunity to explore the architectural profession. 

For actirities at the College’s Design Ma~agement Institute, 

including an h~stitute quarterly newsletter, Design Management, a saree!! to determine format and content of the 

first Corporate Design Directory, and ease studies on 

design as a ma~mgement resource. 

$30,000 

6,139 

9,000 

29,050 

14,000 

20,000 

14,470 

10,000 

7,700 

10,000 

10.000 

16,000 

16,000 

20,000 
50 Desig. Arts 

Molloy, Lawrence*

Washington, D.C. 

National Community Design Center 

Director’s Association 

Newark. New Jersey 

Partners for Livable Places* 

Washington, D.C. 

Partners for Livable Places 

Washington, D.C. 

Partners for Livable Places* 

Washington, D.C. 

Regional Young Adult Project of 

Northern California 

San Francisco, California 

Texas, University of 

Austin, Texas 

Thomas, Ronald*

Washington, D.C. 

Vision, Inc.

Cambridge, Massachusetts 

fi~sh io. desi,q~ ft." the h~,dic~pped. 

12.000 

Dt’sig~ Ce~ttt’r.~. which proride free. high qmdit!! desig, .~.errices 

to both rm’al 

20,000 

42,500 

For "’The t.2cmmm its o.f A ,te, it!!. "a win’l." p rO!lr~t ,! wh ich rchttvs 

desig~ qmditq, pe@)r,lim! arts. ris,al ,rts. ~mt lt~f(’ qmtlit!.! 

issues to strat(’gies o.f local ecomm~i(" derelopmeM. 

20,000 

For t~ cooper(ttirc ~tgreeme~d to e.ctmml the cleari~g ]muse qf 

i~formatio,: e.st~tblish .systems to .~crce~ desig~t (tpplic,~ds for 

110.000 

commmdc(~tio, bet,’ce, the desig~t pr@’.<.sim~.¢ ,ml the federal 

gm’(’rm~w~d, a,d estctblish a p,bli.@i~g progr~m for a d(’.~ifl~ 

~dvot’(~cy prqjcct. 

To .~upport the (’e,ter for Desig, i, stim Mat i~tg corn m ,~t icatimt 

~mo,g desigm.rs, other profe.~.~iomd.~’. ~td the’ public. 

10.000 

For the "Summer Academy i. A rch ilvct . re, "a si,c-week pro.qr(t m 

.for high school stmte~t.~ i.ter(’sled i~ lhe .~tmtq of ~trchitect.re. 

16,000 

To amemt a prerious cmdr~u’t to proride for thv productim~ of 

up to three slide’ pre.~(.,tatio,.s mt the m’cds if the (h.sig, 

pro.fessiom~. 

10,000 

T’or a~t Am(.rica~l Neighborhood Atlas. which will dm’~¢me~tt 

d(’sig~ charttcteri.stic.~ qf 24 ~H),, ~,d s,burbtot re.s.ide~di(d 

co m m ~t ~t it ies. 

30,000 

*contract, PG - Prog’vam Fund,;; TF - Trea.,,ury Full(|~ 

EXPRESSIONS 80
 

A FESTIVAL OF BI~CK & HISPANIC ARTS
 

JUNE 27, 28, & 29
 

The Afro.American Historical &Cultural Museum 

7~h & Arch St reet 

ilRT, [14NCE,A,IUSIC & THE,4TER (DR4A,14) FREE 
53 

Expansion Arts
 

The Expansion Arts Program supports arts training work or for its dance productions in the organizations that represent the cultural diver- community. Under the new system, it could use a 

sity of America. These groups are urban and grant for both. 

rural, multi-hued and multi-lingual. They are 

rich in artistic innovation, and they operate 

principally in and for the communities that make 

up the variegated cultural landscape of this 

country. 

Expansion Arts is especially interested in art 

that reflects cultural traditions which most 

established institutions have largely neglected. 

To use the art form of theater as an example, the 

National Black Theater has developed an 

accessible, yet avant-garde theatrical approach 

based on the rituals of Africa and of the Holiness 

Church. Likewise, Teatro Campesino has built a 

modern Brechtian repertory based on the 

culture, ancient and contemporary, of Hispanics 

in California. And, in the same vein, East West 

Players has developed a unique contemporary 

theater style that incorporates the techniques of 

Noh and Kabuki. The Expansion Arts Program 

has been a central force in bringing national 

attention to artistic organizations such as these. 

Most of the Expansion Arts field is involved in 

teaching or producing art, or both. In 1980 we 

revised our grant categories in order to serve our 

primary organizations better. Instead of applying for grants for activities like "Instruction and 

Training" or "Arts Exposure," as they did before, 

arts groups will now apply by discipline, under 

such categories as "Performing Arts" and 

"Visual Arts." 

One reason for this change is that since 1971, 

when this Program was begun, a good many of 

our organizations have diversified as they have 

matured, and they noxv do many different things. 

What started out as a dance school may have 

spawned a dance company made up of former 

students. (The Dance Theater of Harlem, for

example, began as an Expansion Arts grantee 

years ago with its ballet school; today it is a major 

ballet company that receives grants from the 

Dance Program, while the school is still funded 

A problem with the categories used previously 

was that they ~vere all interdisciplinary and 

required interdisciplinary panels. The same 

panel considered theater companies, museums, 

dance companies, and everything else. Because of 

this, it was difficult to establish a review process 

based on comparing similar organizations. The 

breakout by discipline enables us to concentrate 

the expertise of our panels for the different 

discipline areas, and assures consistency in the 

application of high artistic standards. 

Another important benefit of the reorganized 

structure is that it makes interchanges xvith the 

Endowment’s discipline programs easier and 

increases the possiblity of joint funding efforts. 

To this end, we are having discussions with other 

program directors about applicants who interest 

us both, and we have begun to share panelists 

with other programs. 

It is our intention, xvith this new format, to 

move axvay from project support toxvard consideration of the organization as a whole. We will 

make grants to help organizations become more 

stable artistically and administratively. The 

concept is one of institution strengthening, and to 

do this we will focus our funding by determining 

which organizations are the most important in 

the field. With this in mind, xve have decided to 

emphasize year-around projects and eliminate 

the "Summer Projects" category when the 

current guidelines expire. 

This past year, Expansion Arts helped lay the 

groundxvork for the Advancement Grant Program. These grants, xvhich may range from 

$20,000 to $150,000, will go to a select group of 

arts organizations xvhich produce the most 

excellent work in the field. They were chosen by a 

blue ribbon panel follmving a rigorous review 

process. These grants will assist the 15 organizations in securing their cadre of artists, achieving 

broader visibility, and developing more sophistiby Expansion Arts.) Such a group should not cated management techniques.
 

have to choose betxveen applying for money for its Most of the Advancement grantees have
 
JANUARY_ _ 

4UL¥ AUGUS& _ SEPTEMBER 
E.rpansio~ Arts 55 

developed artistically, in less than two decades, 

from their grass-roots origins to be included 

among the nation’s major cultural assets. They 

have gained national and even international 

attention by creating or encouraging innovative 

work that attracts large audiences. Their 

founders, most of whom are artists, have been 

widely recognized. The Advancement grants are 

meant to match the artistic excellence of these 

artists and their organizations with the managerial power that will enable them to grmv and 

flourish in the coming decades. 

During 1980 we began to expand our 

evaluation program. This has greatly helped 

panelists review applications. More than 300 

groups were visited by Expansion Arts panelists 

or consultants, who then filled out a detailed 

written questionnaire. Most of the organizations 

covered this year were current grantees; next 

year we hope to be able to visit more new 

applicants and do about 600 evaluations. Next 

year we are also planning to study the issue of 

technical assistance and decide Expansion Arts’ 

future direction in this area. 

Our CityArts Program, which has as a goal 

encouraging city governments to fund arts 

programs from theh" own budgets, has proven 

remarkably successful. At least 19~ of the 14 city

governments that have taken part in this threeyear granting experiment have ereated strong 

funding programs for their Expansion Arts

clientele. The city of San Antonio, which received 

a CityArts grant of $267,500, now has a budget of 

$1 million for community arts groups. Federal

funds acted as leverage to get another $1 million 

in private contributions. Similar success stories 

ran be told about the other CityArts grantees.

Nmv, as Expansion Arts moves into its 10th 

year, it nourishes a field that repays us a 

hundredfold with rich artisties gifts all over the 

country--in Appalachian towns, Hopi pueblos,

renter city stages, and in many other places as 

well. 

A.B. Spellman 

I)irector, Expansion Arts Program 
Arts Advisory Panel
 

Policy Panel 

Shirley Franklin. Chairman

,\r~s administrator, city of floral 

Athtnta, ( ;eorgm 

ttazcl Bryant 

Theater administrator, ol)era .qnffer 

New York, New York 

Barry (;aithcr 

Musmma director 

Boston, Massachusetts 

Stevcn ,lay 

Educator. administrator, musician 

St. Louis, Missouri 

Sue 

Arts administrator, theater director 

Los Angeles, California 

Lois MeGuirc 

Arts administrator 

Cleveland, Ohio 

Diego Navarelte
 

Educator
 

Tucson. Arizona
 

Antonia Pantoja 

Educator 

San I)ie~o. (’alifornia 

llamona Saldestewa
 

Weaver, arts administrator
 

Santa Fe, New Mexico
 

John Van Eyck 

Union official 

Chicago, Illinois 

Ahlen \Vilson
 

Executive director of state arts
 

agency
 

Augusta, Maine
 

Rent Yanez
 

Mu.~eum co-director, visual artist
 

San Nranciseo. California
 

Consortia 

State Arts Agencies 

Community Cultural Centers 

Services to Neighborhood 

Arts Organizations 

Shirley Franldin, Chairman
 

Arts admini,~trator, city official


Atlanta, Georgia 

Carolyn ~u ITall
 

Arts administrator
 

New York, New York
 

l)onovan (; ray 

Arts a(hn mi.qrator 

Seattle. Wa.~hington 

Kennelh Ingraham 

Execut~xe director of state arts 

agency

Detroit, M~ch~gan 

Naomi Kraft 

l)ll’ector of col~H~]tll~it.~ al’ts 

Ol’,~,all 1zatloll 

San l,’ranci~co. (’ahfornm 

Louis R. l.eroy 

Vi..ual art~bt 

Phoenix. Amzona 

\Villiam l.c \\’i,~ 

Educator, x~ riter, actor 

Tucson, Arizona 

Executi\e dircctm’ of lli.~l)anlc art.~ 

Ne~ York. New York 

.h)hn Sinclair 

Musician. arts administratoc 

I)etroit. Michigan 

Emily \Vhiteside 

Executive director of community art.~ 

or~anizat ion 

Galveston, Texas 

Ahlen \Vilson 

Executive director of state arts 

agency

Augusta, Maine 

Arts Exl)osure 

Shirley FranMin, Chairman
 

Arts administrator, city official
 

Atlanta. Georgia
 

Miguel Algarin
 

Poet. educator
 

New York. New York 

Margaret Burroughs

Educator, writer, sculptor
 

Chicago. Illinois
 

Oliver Franklin
 

Fihnmaker
 

Philadell)hia. Pennsylvania
 

Barry Gailher
 

Museum director
 

Boston. Massachusetts 

Leo T. Hale 

Poet 

Atlanta, Georgia 

Sue I~o\\’enl)erg 

Arts administrator, theater director 

Los Angeles. (’alifl)rnia 

Ramona Sakie.~tewa 

Weaver. executive (hrector of state 

art> agency 

Santa Fe. New Mexico 

Norie Solo 

Visual mti,t 

Seattle. \Va.~hin~ton 

l)alricia Votava 

E\ecUtlVe director of community arts 

agency 

Fargo. North Dakota 

Val (;ray War(I 

Actress 

(’hicaffo. Illinois 

Rene Yanez
 

Museum co-(lirector, visual arti.st


San Franc>co, (’alifornia 

I t arol(I Youngl)h)od 

Theater administrator 

New York. New York 

Instruction an(l Training 

Shirley Franldin, Chairman

Arts administrator, city official
 

Atlanta. Georgia
 

Joan l}ro\vn 

[)&IR’Uit’. executive director of dance 

COlll])3ny 

I)hiladell)hia. Pennsylvania 

llazel Bryant 

()l)era sin:ger, theater administrator 

New York. New York 

l{o,~emary Catacalos
 

Poet
 

San Antonio. Texas
 

Dee I)avis
 

Media center co-director
 

White~[)urff. Kentucky
 

Grace ltampton
 

Arti>t, educator
 

,Iack~on. Mississippi
 

Slephen .lay
 

Musician. educator
 

St. Louis. Missouri
 
Expa~sio~ Arts 57 

Gerald (Peter) Jemison

Gallery coordinator, educator 

Brooklyn, New York 

Lynn Lohr 

Drama educator 

St. Paul. Minnesota 

Jackie McLean 

Jazz musician 

Hartford, Connecticut 

Diego Navarrette 

Educator 

Tucson, Arizona 

John Otterbridge 

Painter, sculptor 

South Pasadena, California 

Geno Rodriguez

Photographer 

New York, New York 

Tour Events 

Summer Projects 

Shirley Franklin, Chairman 

Arts administrator, city official 

Atlanta. Georgia 

Larry Anderson 

Educator, visual artist 

Tacoma, Washington 

Phil Arnoult 

Director of community arts 

organization 

Baltimore, Maryland 

Maxine Brandenburg 

Arts administrator 

Buffalo, New York 

Antonino Lizaso 

Composer, conductor 

Miami, Florida 

Lois McGuire 

Arts administrator 

Cleveland, Ohio 

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 

Tallahasse, Florida 

Iowa Arts Council 

Des Moines, Iowa 

Ioxva Arts Council 

Des Moines, Iowa 

Michigan Council for the Arts 

Detroit, Michigan 

Michael Nolan 

Arts administrator 

San Francisco, California 

Antonia Pantoja 

Educator 

San Diego, California 

Cleo Parker Robinson 

Dancer 

Denver, Colorado 

Betty Blayton Taylor 

Educator, artist 

New York, New York 

Eleanor Traylor 

Educator 

Washington, D.C. 

John Van Eyck 

Union official 

New York, New York 

Eleanor Yung 

Dancer 

New York, New York 

Program funds: $7,948,414 

Treasury funds: $ 207,500 

Private gifts: $ 207,500 

To help state arts agencies and regional arts groups expand their

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

Program funds: $231,500 

For the Artist-in-Prison Program in visual and ceramic arts, an $27,500 instruction program in m~ic theory and piano for disadvantaged citizens in Tnscaloosa County, and training and performances for the Wiregrass Sacred Harp Singers. 

For consultant cisits to neighborhood arts organizations, a series 8,500 

of management skills u’orkshops, a cult~tral exchange program 

with Mexico, and serrices to Atlatl. 

For a neighborhood arts consnltant, a biling~tal consnltant, an 20,000 

administratire assistant, and a quarterly bilingual neighborhood arts magazine. 

For artists-in-residence to commnnities of Greeks, Blacks, 30,000 

Mexican-Americans, Cuban-Americans, and senior citizens. 

For a senior citizens’ art program, inclnding classes aud work- 15,000 

shops, an artist-in-residence at each site, and documentation of 

procednres. 

For arts acticities for deaf and hearing impaired students and 16,000 adnlts, and for a Very Special Arts Festiral. 

For the Confined Audience Program which procides fidl-year 20,000 

artist residencies and a risiting artist series for residents of 

n~trsing homes, prisons, and centers for the handicapped. 

Nebraska Arts Council For the Metropolitan Arts Conncil~ programs and services to 9,000 

Omaha, Nebraska senior citizens and the handicapped. 
North Carolina Arts Council 

Raleigh, North Carolina 

Rhode IMand State Council on the Art~ 

Providence, Rhode Island 

South Carolina Arts Commission 

Columbia, South Carolina 

Utah Arts Council 

Salt Lake City, Utah 

Vermont Council on the Arts 

Montpelier, Vermont 

West Virginia Arts and IIumanities

Council 

Charleston, West Virginia 

Regional 

Tour Events 

Active Trading Company 

New York, New York 

Arts Festival of Atlanta 

Atlanta, Georgia 

Ashtahula Arts Center 

Ashtabula. Ohio 

Brooklyn Arts anti Cultural 

Association 

Brooklyn, New York 

Carnegie Institute

Pittsburgh, Pennsylvania 

Charleston, City of 

Charleston. South Carolina 

Cultural Exchange Council of Tucson 

Tucson, Arizona 

Detroit, City of

Detroit, Michigan 

Indiana Arts Council of Pennsyvania 

Indiana, Pennsylvania 

Institute for the Preservation and 

Study of African-American Writing

Washington, D.C. 

Institute of Puerto Rican Culture 

San Juan, Puerto Rico 

Junior League of Shreveport 

Shreveport, Louisiana 

Lakeshore Association for the Arts 

Dunkirk. New York 

For o~ arts i,’oW(~,I i*! the prismts of North 6,000 

I)ro(./ra m. 

20,000 

22,500 

15,000 

5,000 

2,000 

To help sponsoring organizations bring together arts groups within

a region for festivals. 

Program funds: $208,990 

For tlw 19,’,’0 VIll<<ge H~Hhm’e<’*t I"vstir(H. $7,000 

7,500 For the 26th a~m,tl Arts Fcstiral o.f Alla,ita bt 3Io!t 19S0, i*~­

clmtim.I the Very Special I’¥stimH. 

Por "CHt,t,’(ttim~ ’so,"hHd duri~g the L~tbor D(t y weH,’c,td, offer- 4,000 

i~!.q arts ~t~M cr~tfts work,shop.s, leclurc-demo*mlr~tlio~m, m~tster 

ch~sses, e.rhibitio~s, ~<mt pe~:forma,tccs. 

11,000 

b’or tit<’ Thrce Ricer.~ Arts Fc.~tir<d. o,l.’lbrim.! pe@.’mi~tq aml 5,500 

rismd m.tiritics. 

For "t’iccolo Spoh’to." o s(’ric.~ of mi*d-.fe.~th’al.~ th.t im’lmtes 7,000

chihlrc~’s the<tier, music <~>~<t (t~tIl<’e pe~foFt~la~tces, <~ hhw]," arls 

fi,.~tiral, <,.rhibitio~ls. aml ~t~ ,rt-rem’h program,! lo disadr,~logcd 

corn m u~t ilics, s~,~im" citize~m, <~ ml hospitals. 

4,000 

[")>r th<’ "A.fricatt Di(tspor~t C(.Icbroti(m," Iwht i~t ,II(t!t IOXO. 7,000 

2,000 For <t~t <trts f!’stiral hchl 

orlists’ marl:el, 

a m,v,s’ for the corn m 

3,000 

For the fbstir~l <h’ Bomba !! Pl,,mt. a~ .~t,ttml et’v,tt q~bri~tg arts 7,500 

c,rh ibitimts, ~t mt 

Fro" tl.’ "Red Ricer RvrH. A CHcbratiou o.f tlw A rts. "prc.~e~#i*tq a 5,000 

r~rict!! <( imligemms amt co~!lemporar!t oft 

For "’Cclchratv tit<’ A rts," a mo,tth-hmg proqr¢tm offvri~g ristml. 2,500 

p(,~;formi~g, omt literary arts to the commmlit!/. 
Expansion Arts 59 

Madewood Arts Foundation 

New Orleans, Louisiana 

Memphis, City of

Memphis, Tennessee 

Miami, City of 

Miami, Florida 

Middlesex County 

New Brunswick, New Jersey 

Milxvaukee Inner City Arts Council 

Milwaukee, Wisconsin 

Old Philadelphia Development

Corporation 

Philadelphia, Pennsylvania 

Phelps Stokes Fund, Trustees of the 

New York. New York 

Pushkin Press 

Washington, D.C. 

ReEncuentro Cubano 

Miami, Florida 

Richmond Jubilees 

Richmond, Virginia 

Salina Arts Commission 

Salina, Kansas 

Seattle Folklore Society

Seattle, Washington 

South Carolina Arts Commission 

Columbia, South Carolina 

Southern Nevada Economic 

Development Council 

Las Vegas, Nevada 

Summer Ithaca 

Ithaca, New York 

Young Men’s Christian Association of 

the University of Wisconsin 

Madison, Wisconsin 

For the Madewood Arts Festival, offering performing and visual 10,000 arts events, a touring opera prodnetion, seminars, demonstrations, and an artist-in-residence for local schools. 

For the Schlitz Memphis Music Heritage Festival, held in August 7,000 1980. 

For the Ku’anza Festival, offering events emphasizing the Afri- 7,500 

can heritage through performance, visual and folk arts, lecture 

demonstrations, symposia, and concerts. 

For the New Jersey Teen Arts Festival, presenting Neu, Jersey 7,500 youth in performances, demonstrations, and exhibitions. 

For the seventh a nnnal Celebration of Community Arts Festival, 18,990 including performances, exhibitions, demonstrations, an artistin-residence, and a rental project.
 

For the "Avenue of the Arts" festival, offering theater perform- 5,000 

ances, concerts, children’s activities, and exhibitions. 

For administrative costs incurred by the Visual A~¢s Research 5,000 and Re.~ouree Center for a presentation of Caribbean arts with
 

the Museum of African-American Art.
 

For the "Tribute to Duke Ellington" festival, a ten-day concert 7,000 series of free big-band performances for the community. 

For the fifth annual ReEncuentro Cubano 1980 Festival, inclnd- 15,000 ing performances, concerts, demonstratiorav, exhibitions, neighborhood events, and ethnic and folk arts presentations. 

For the June Jubilee, celebrating Richmond’s bicentennial, offer- 7,500 ing performances, concerts, demonstrations, exhibffTons, and 

ethnic and folk arts presentations. 

For the fourth annnal Smoky Hill River Festival, inclnding 5,000 regional artists and performers, craft exhibits, demonstrations,
 

a children’s art program, and concerts.
 

For the ninth annual Northu,est Regional Folklife Festiral, in­ 8,000 eluding performing and visnal arts actirities, u’orkshops, sentinars, live radio broadcasts, and an Indian Pow-Wow.
 

For the tenth annual Foothills Festival, promoting Appalachian 7,500
 art traditions and culture through performances, exhibitions,
 

demonstrations, and a film festival.
 

For the first annual Festival of Three Continents held in Novem- 10,000
 ber 1980, inelnding participatory workshops, demonstrations,
 

contemporary art forms, performing and visual arts ecents, a
 

film series, and exhibitions.
 

For the "Ithaca Fall Celebration ’80,"including performances of 10,000 choral music and dance, demonstrations, e.rhibitions, ethnic 

erents, and a film series. 

For the third annual Equinox Festival, offering pe~rming arts 5,000 activities, craft demonstrations, and exhibitions. 

Instruction For community arts projects that hold regular classes or workshops

led by professional artists. and Training 

Program funds: $2,743,330 

Abraxas Foundation For a training program in leather-u’orking, ceramics a~d wood- $7,500 Pittsburgh, Pennsylvania working for youth offenders in an alternative-to-incarceration 

co m m ~ n ity. 
Adept New American Folk Center 

Ihmst(m. Tcxa* 

African lleritage l)ancers and 

I)rummers

WashinR-ton, I).C. 

Afro-American S|udio for Actin~ and 

Speech.
 

New York, New York
 

Afro-American Total Theater 

New York, New York 

Alameda County Neiffhlmrhood Arts 

Proffram 

Oal<land. California 

Alice Lloyd College

Pil>pa Passes, Kentucky 

AIIofus Art Workshop 

Rochester, New York 

Alpha-Omega 1-7 Theatrical l)anee
 

New York. New York
 

Areas Repertory Theater

New York. New York 

American Authentic Jazz l)ance


Theater
 

New York, New York 

American Blacl+ Artist
 

Detroit, Miehiffan
 

Appalachian Research and Defense 

Fund 

Charleston, \Vest Virginia 

Arena Players


Baltimore. MaryIand
 

Art Advisory Council


Seattle, XVashin/ton
 

Art Resource As+oeiation
 

East Calais, Vermont
 

Art l{esourees for Teachers and

Students
 

New York. New York
 

Artists Collective 

New York, New York 

Arts and Crafts Society of I+ortland 

Portland. Ore/on 

Association for the Advancement of 

Mexican-Americans 

Ih)uston, Texas 

Back Alley Theater


Washington, I).C.
 

Ballet Folk of Moscow 

Moscow. Idaho 

Ballet Pt+ertorriqueno


San Juan, Puert<) Rico
 

10,000 

H! I
,~t’C. 

17.5O0 

27,5OO 

17,500 

12,500 

rdph!t: llw +llqmht<’/~iu St!intact T/~calcr i~ oql’~llH; I/H’ "1 511C’C.~ qf 

l"oF [H.~’h’mqioH ;H c¢,~amics. <*ru.fl.~, .l’;Hc !t/!/. qruphic ¢tt’ls, lwr­ 5,000 

.ii~ miml arts, arid c.,’hibilhm.s 

10,000 

lhcrth’ical cm’ccrs. 

I"oF clas.scs ;H l/!#ah’t" rtrl.s, d¢tHcc, ultd r,~;c+’ tbr IIH’ l’],¢h;c l~hd,’v 1K000 

(’hihh’r/s Th~’~tcr ~,d the ..ldldt IVorl;.~hop 

6,500 

mash’r clttsst,s ht,~qht b!l f’~,psi Hcthd. 

f’~*" worl,’.~tmp.~ a*td cht.~.~cs 1, dm,’c ut !tic [h’h’,it (’tt!t I)a,lce 7,500 

10,000 

coHdHc! rht.v.s’c.~ .t}~r loHfl-h’F~H 

10,500 

m~d l/H’ah’r ¢r~ !.s .fro" i,uH’r r’!’tl! 

f’~>~" H’<+r/,’sl,>tm mid Icch¢rcs i, the cismtl rtt’ls mHt crafts. 10.000 

chh’H!t. 

["m" tc<.’l:shol>S ;*t tl : .l’lm’ ~t,’t.~ ,rith <~t h’asl ,m’ ,’isdiml rtrt;sL 5,000 

22,500 

22,500 

10,000 

10,000 

For the 77.’~ttct lI%rl.’.,hot~ 7"ra;,i,r! l’r¢~flrrr,t. 20,000 

1,500 

5,000 

cities with htrqv tflslm~,ir 
Expansio~t Arts 61 

Ballet Theater of the Virgin Islands 

St. Thomas, Virgin Islands 

Basement Workshop 

New York, New York 

Bayfront NATO 

Erie, Pennsylvania 

Better Boys Foundation

Chicago, Illinois 

Beyond Baroque Foundation Center 

Project 

Venice, California 

Bidwell Education, Music, and 

Recreation Center 

Pittsburgh, Pennsylvania 

Billle Holiday Theater 

New York, New York 

Birmington Creative Dance Company 

Birmingham, Alabama 

Black Cultural Endowment 

Baltimore, Maryland 

Black Dimensions Dance Theater 

Oakland, California 

Black Emergency Cultural Coalition 

New York, Ne~v York 

Black Theater Alliance 

New York, New York 

Black Theater Troupe 

Phoenix, Arizona 

Bloomingdale House of Music 

New York, New York 

Board of Directors of Aztlan 

Chicago, Illinois 

Boys Choir of Harlem 

New York, New York 

Boys Harbor 

New York, New York 

Brattleboro Music Center 

Brattleboro, Vermont 

Brookline Arts Center 

Brookline, Massachusetts 

Brmvn University 

Providence, Rhode Island 

Buffalo Inner-City Ballet Company 

Buffalo, New York 

Cacho’s African Dancers and 

Drummers 

Washington, D.C. 

Capital Ballet Guild 

Washington, D.C. 

Capital Ballet Guild 

Washington, D.C. 

For the dance traiMng program and scholarships. 15,000 

For a’orkshops in tile cisual and performing arts, a performa~ce 20,000
 series, gallery exhibits, lecture-demonstrations, a media series,
 

and publications.
 

For classes i~ dance, ceramics, photography, printmaking, 10,000 

painting, music, and strident exhibitions at the Martin Luther 

King Center. 

For the Youth Theater De~’elopment Program, offerb~g instruc­ 10,000 tion in set construction, acting, dance, voice, design, and theater 

ma~lageme~lt. 

For fl’ee a’orkshops in wtqting, poetry, music, visual and per- 17,500 

formi~lg arts. 

For a music educatim, program for children in music composi- 10,000 tion, coice, and instrument traiM~g. 

For the Performi~g A~s Workshop and the resident children% 10,000 company, The Bubble Gum Players. 

For petforma,wes, workshops, and classes in movement for young 7,500 

people, senior citizens, and the handicapped. 

For the Children ~ Hour, a series of workshops, classes, and e.rki- 7,500 bitions for ~wrtkeast Baltimore ~wighborkoods. 

For instructio~t i~t ballet, modern, traditional African, Afro- 5,000 

American, and Afro-Haitian dance forms. 

For tile Prison Arts and ICRY programs. 17,500 

For instrnction in the visnal arts for minority students at the 4,000 Weesi Academy. 

For workshop programs, Saturday’s Children, a~l artist-i~l- 20,000 

residence, and script-writing seminars. 

For the community orchestra concert series and a summer music 5,000 

day camp progt’am. 

For classes and workshops in silk-screening, ceramics, mnral 16,000 painting, and photograph!! b!! Latino artists. 

For musical instructio~t for 75 gifted ~tbw-year-olds in Harlem. 5,000 

For performing arts u’orkshops and classes for young people i~ 30,000 

the East Harlem community. 

For the Music Discol’ery Workshops, incolcing instrument train­ 5,000 ing for residents of surrounding rural areas. 

For classes and workshops i~ the visual arts, crafts, and media 7,500 

arts. 

For "Rites and Reasons," a cultural project offeri~lg workshops 10,000 

and classes in tile performing and visual arts for the unirersitg 

and tile community. 

For training in classical ballet for economically disadcantaged 5,000 youth. 

For instruction in traditional and Afro-Cuban dance and music 10,000 

and presentations bg African Dance Theater. 

For a da~we i~struetio~ program and concert series for the 10,000 Anacostia community. 

For a dance instruction program and a concert series. 25,000 
Center for Book Arts 

New York, New York 

Center for Cham|)er ~Iuslc at Apple 

ttill 

East Sullivan, New Hampshire 

Center for Positive Thought

Buffalo, New York 

Central Pennsylvania Village Crafts

State College, Pennsylvania 

Charlestown Working Theater

Charlestown, Massachusetts 

Chautauqua Opportunities

Mwville, New York 

Chiang Ching Dance Company

Nexv York. New York 

Chicago Children’s Choir,

Friends of the 

Chicago, Illinois 

Chihh’cn’s Art Carnival 

New York, New York 

Children’s Arts and Science Workshops

New York, New York 

Chihh’en’s Creative Project

Santa Barbara, California 

Cityarts Workshop

New York, New York 

Clark Center for the Performing Arts

New York, New York 

Collective Black Artists 

New York, New York 

Collinwood Arts Council 

Cleveland, Ohio 

Communications Foundation 

Santa Barbara, California 

Community Arts Services

th)nolulu, tlawaii 

7,500 For workshops i, g*’~phic dcsi~.l,, tm,d bookb~udi,g, h,tt(,rprcss 

7,500 

20,000 

10,000 For ..m’kshops ~tml (.l(~ss~.s i, trmlitimml f)(’,,s!tlrm~i~t r,~d 

crafts for lhe agrd. lo.’-i,omw. ~tmt hmtdic~qo~cd. 

3,5O0 T))r the The~tter.for Urhm~ )%,th. work.qmps i, ~tcti~g. more5,000 For ch~sscs, workshops. ~tml <dt lbitimts i, the cismtl (~ls.
 

14’or t~ dmwe trtti.i*I!l t.’ogrttm i,t trmtitiomtl l~t’ki~g Opt,ra h,ch- 5, 0O0
 

For m,.sit’al ti’ttiiti~tq mid t.’*:formmtcc <,’p(’ricm’e f,r chihh’cm 5, 000 

1~ r thv After School ~t ml Co,! m, *t iced io, Arts p,’ogr~t m qffcrim.I 22,500 

i~tsh’,ctio, i, lhe t,ismd rots, mcdi~t ~trl.~, aml ,’riliml. 

For i,st,’t~clim~ i, ltw ri.~mtl mid lw~:lbrmbtg ~trt.~ ft," chihh ~’~ 5,000 

bbr mt ~flv~-schmd i,strm.lim~ p,’~q,’~m i, the rismd mM per­ 10,000 

.f,~rm i,fl m’ts. 

15,000 

.~’m~rce c(’,ter for p.blic (trt 

15,000 1,’or hm.-co.st dm.’e il~strm’tio, progrttms. 

12,500 

12,500 

life ,’riti,!l. cr~d’ts, mcdim ~tmt phoh)grcttdqt. 

[4," bili,qmtl ere(tiler ,’rttim.I m~d m’tistic tcml.’sh~ps .lbr the 10,000 

(’h icmm potmhdio,. 

10,000 

Community Center for the Performing 5,000

Arts 

Eugene, Oregon 

f"or i,strm’thm i, cmdc~tporctFq (’F~(fts. the perform i,g re’Is, aml 12,500 Community Crafts Workshops

Lewiston, Maine the Park Street E.chibitim~.~.
 

Community Fihn Workshol) of ChicagoFor ~ h’~t i,i,g t,’ogrm, i, 16ram jTIm pmut.ctio,.lbr dismh’~t,- 20,000
 

Chicago, Illinois 

Community Music Center 

San Francisco, California 

Cornish Institute 

Seattle, Washington 

Council on the Arts for Cortland 

Cortland, New York 

Crossroads Community

San Francisco, California 

Cultural Council Foundation 

New York, New York 

For re.sic i,mtr.ctio, i. i..s.trumc.httio,~, clh~tic ma.sic..lctz:, a,d 12,000 

15,000 

["~" m’t.s .’m’kshop.~ ,for lh(’ rcsid(’.ts o.f C~.’thtml 5,000 

f’or wm’kslmtm i, the rismtl, twfformi,q m.t tt,’~th’r ~trts ~tt The 10,000 

I2~! Flit. 

Fo* E*~ f’m’o’s galh’r!t aml ,’¢~rk.shop.s i, the ,’istml arts,for the 10,000 

Stmtt i,~h-spc~d,’i,g corn m ,*I it!t ht the 
Expansion Arts 63 

Cultural Council Foundation 

New York, New York 

Cultural Council Foundation 

New York, New York 

Cultural Council Foundation 

New York, New York 

Cultural Council Foundation 

New York, New York 

Cultural Council Foundation 

New York, New York 

Culture in Black and White 

Mobile, Alabama 

Cumberland Museum 

Clintwood, Virginia 

Dance Exchange 

Washington, D.C. 

Dance Theater of Harlem 

New York, New York 

Dance Visions 

Nexv York, New York 

Dancers’ Workshop of California 

San Francisco, California 

Dashiki Project Theater 

Ne~v Orleans, Louisiana 

Dayton Contemporary Dance 

Company 

Dayton, Ohio 

DeCordova and Dana Museum and 

Park 

Lincoln, Massachusetts 

Department of Conservation and 

Cultural Affairs 

St. Thomas, Virgin Islands 

Detroit Community Music School

Detroit, Michigan 

Dixwell Children’s Creative Arts 

Center 

New Haven, Connecticut 

Double Image Theater 

New York, Ne~v York 

Douglass (Fredrick) Creative Arts 

Center 

New York, New York 

Do~vntown Ballet Company 

New York, New York 

Downtown Community Television 

Center 

New York, New York 

Dume Spanish Theater 

New York, New York 

Durham Arts Council 

Durham, North Carolina 

Dutchess County Arts Commission

Poughkeepsie, New York 

For fl’ee workshops in da~we at~d perfo~,nance techniq~tes for 

!to~th bg Bron.r Dance. 

For the Charles Moor Dance School, offering instruction for 

children in traditional African dance. 

2,500 

5,000 

For workshops in fabric painting, etching, silkscreen, and phototechniqnes at the Lower East Side Printshop. 

7,500 

For i~struction in the performing arts and performances by a 

student company at the Nat Horne Musical Theater. 5,000 

For ,tvrkshops for low-income artists at the Nation of Graffiti 

Artists. 

6,000 

For training in art, ceramics, dance, drama, mnsic, photography, and creative writing. 

17,500 

For workshops in u,eaving, wood and stone sculpture, painting, 

oral history stories, poetry, and mnsic. 7,000 

For workshops, classes, and rehearsals. 10,000 

For a training program for apprentices in wardrobe, stagecraft, 

dance, and music, and for the Lecture-Demonstration Performance Series. 

30,000 

For workshops in contemporary dance for the Harlem community. 12,500 

For the Reachout Program, offering instruction in movement, 

dance, and verbal communication, and for a regional tonr erent. 

For training and performance opportunities in the theater arts. 

20,000 

22,500 

For dance training activities. 10,000 

For free art classes offered to low-income elderly, and for a regional tour event. 

10,000 

For instruction programs in music and for summer programs. 12,000 

For instruction in Orff-Schulwerk, string development, and 

brass, u~nd, and percussion to underprivileged children. 5,000 

For instruction in the performing and visual arts for inner-city 

children. 

20,000 

For training, performances, and an annnal play-writing 

festiral. 7,500 

For a training program in creative writing and acting. 12,500 

For instruction in ballet, modern, and Spanish dance bg the 

Downtown Community Dance Workshop. 5,000 

For workshops in telecision arts and related media services for 

loa,-income persons, primarily in Chinatown and the Lower East 

Side. 

12,500 

For workshops for teenagers in theater techniques and Hispanic 

cnltnre. 10,000 

For the Creatb’e Arts in the Public Schools Program in the Triangle area of North Carolina. 7,500 

For a’orkshops in dance for the disadvantaged children of D~tchess Connty. 4,000 
East Bay Community Arts Project

Berkeley, California 

East-Wc~t Players

Los Angeles, California 

Ehony Talent Creative Arts 

Foundation 

Chicago, Illinois 

Emerson School 

New York, New York 

Everyday People 

Monessen, Pennsylvania 

Exceptional Children’s Foundation

Los Angeles, California 

Family of Man 

Providence, Rhode Island 

Film in the Cities 

St. Paul, Minnesota 

Film Ne~vs Now Foundation 

New York, New York 

First All Children’s Theater 

New York, New York 

Floating Foundation of Photography 

New York, New York 

Folkdance Foundation 

New York, New York 

Franklin County Parks and Recreation 

Rocky Mount, Virginia 

Free Southern Theater 

New Orleans, Louisiana 

Free Spirit Theater

Baltimore, Maryland 

Frog ttollow Craft Association 

Middlcbury, Vermont 

Frog Hollo~v Craft Association 

Middlcbury, Vermont 

Garden State Ballet Foundation 

Newark, New Jersey 

Goddard-Riverside Community Center 

New York, New York 

Great Falls Development Corporation

Paterson, New Jersey 

Great Leap 

Los Angeles, California 

Greater Birmingham Arts Alliance

Birmingham, Alabama 

Growth Through Art and Museum 

Experience 

New York, Nexv York 

Haight-Ashbury Community 

Development Corporation 

San Francisco, California 

Hartford School of Ballet 

ttartford, Connecticut 

.~)r the Juce~tih’ J.stice Art Project, offering workshops in the 12,500 

count!! jucc~lile priso,. 

22,000 

20,000 

the tcchnic(d ~tspcct.~ of tl,’~rler ~rt.~" for inm’r-citq rrside~ds. 

20,000 

(’h ildren. 

b~r cht.s’ses in the rismd arts mM cr~t.fts. S¢~turd~q workshops. 10,000 

and demonstrations. 

10,000 For ch~sses in the cislml (~rts aml cr~t.fts fi)r the m(’,t(dl!! rctm’ded. 

7,500 

~trts, ~nd.for to.riufl t~ p~od.cthm. 

~br i,str,ction i~ filmmaki,q. 7,400

7,500 For i,str,ctimt i, .!)lmm~kittg for low-income m~d mimwitg 

groups. 

For the~ter tr~ining ,fi~r New )%rk Citg children. 12,500 

For i,strm’tion in photogmu>hg.for corn m u n itg ch ihh’en. ~ dults. 10,000

~ mt the .f<t milies of e.r-offemh’rs th ro,gh the F~t m ilq ~ ml Corn m ~­

~til?/ IVor/:shop.~. 

5,000 For ~t commmdtg instruclimt progrmn in folk dmu’e ,rot ,!~tsic. 

For ~ st,,ior citizetts’ crtrfts iustr.clion progmtm. 5,000

For lhe Comm,nit!! Theater t’rogrmn offering workshops 15,000

5,000 For lhe~tler lrt~ini~tg workshops’. 

I,’or tt cr~fts i~strm’tion t~ml appre,ticeship progrt~m for ch il- 11,500 

drc,. mhdts, told the me,tcdh! retarded. 

For (.rtt.fts iuslr,cllou mid ~tl~prenticcship.~. 10,000 

!5,000 

8,000 For dmt,la workshops a,d the developme,t of street drmn~t 

festivals. 

5,000 For i,str,ctio~ i~! the pe~formStg ¢trts mul related the~tter ~rls. 

7,500 

Americm~ yo,th. 

7,500 For Park(~rt-Urbm~ Art, a progr~m o.f art classes and pc@rammites for the disadr~ntt~fled im’l!,lim.l senior citizens mid the 

tt ~t n d i(’~ ppe d. 

15,000 For a lraini~tg program itt art t~ml museum resourct’s for children mul teachers i~t the lmfilic schools. 

12,500 For fl’ee or low-cost workshops in the rismtl mtd perform ing arts. 

5,000 For the scholm’sh ip program in dmwe Ira in i~tgfor yo!~tg peoph’. 
Expansion Arts 65 

Henry Street Settlement 

New York, New York 

Heritage Family Theater Spokane, Washington 

Hochstein (David) Memorial Music 

School 

Rochester, New York 

Hunt (Elena) Foundation on Arts and 

Humanities 

Wilson, Wyoming 

Indochina Resource Center 

Oakland, California 

Inner City Youth League 

St. Paul, Minnesota 

Inquilinos Boricuas en Accion 

Boston, Massachusetts 

Institute of New Cinema Artists 

New York, New York 

Institute of Puerto Rican Culture 

San Juan, Puerto Rico 

Institute of Puerto Rican Culture 

San Juan, Puerto Rico 

Japan Town Art Movement 

San Francisco, California 

JCCEO Community

Birmingham, Alabama 

Johnson (James Weldon) Community 

Centers 

New York, New York 

Julian Company Theater 

San Francisco, California 

Kalihi-Palama Culture and Arts 

Society 

Honolulu, Hawaii 

Kentuckiana Metroversity Louisville, Kentucky 

Knoxville Urban Ministry 

Knoxville, Tennessee 

Kona Arts Center 

Holauloa, Hawaii 

Kuumba Community Theater

Chicago, Illinois 

Kuumba Learning Center

Washington, D.C. 

Kuumba Learning Center 

Washington, D.C. 

Kuumba Learning Center 

Washington, D.C. 

Kuumba Workshop 

Chicago, Illinois 

Latin-American Development 

Services Corporation

Chicago, Illinois 

For the training workshops at New Federal Theater providing 30,000 

opportunities for employment in theater-related work. 

For da~ce and theater training for isolated communities. 4,000 

For music and dance training. 5,000 

For ballet instruction for the community. 5,000 

For workshops and seminars in traditional Philippine ethnic 4,000

music. 

For professional instruction in photography through workshops, 7,500 

seminars, and exhibitions. 

For workshops in production and programming in community 7,500 

media arts. 

For video and film workshops for the community, including 10,000 

senior citizens and handicapped youth. 

For a dance training program, performances, and concerts by 5,000 

Ballet Puertorriqueno. 

For workshops and festivals by El Coqui incorporating the 10,000 

African influence on Puerto Rico. 

For art workshops conducted by artists from the Asian commu- 5,000 

nity. 

For Black Fire Company’s productions, a training program in 15,000 

the performing arts, and creative writing instruction for disadvantaged youth. 

For workshops in photography, poetry, and clay sculpture for the 7,500 

Harlem community. 

For workshops and training for the production of Lavabed 5,000 

Wardance. 

For a training program for residents. 10,000 

For the Youth Arts Program offering instruction in the perfor~n- 25,000 

ing and visual arts, media, and photography. 

For an arts program at Epworth Jubilee Community Arts Center 17,500 

which serves the Fort Sanders community. 

For an instruction program in the visual arts and crafts. 5,000 

For administrative costs. 18,000 

For the summer-fall session of the Ebony Impromptu Theater’s 5,000 

"Lorton Voices Project," which provides training in theater arts 

to members of the Lorton Voices, an inmate theater company. 

For exhibitions and performances and the gallery management 17,500 

training program at the Market V Gallery. 

For training in tl~eater, dance, music, and related theater arts by 12,500 

the Ebony Impromptu Theater Company. 

For training in theater, dance, music, and related theater arts. 25,000 

For the Community Television Production Center, offering train- 5,000 

ing in small for~nat video to the Latino community. 
Latin-American Theater Ensemhlc 

New York, New York 

Latin-American Youth Center
 

Washington. D.C.
 

La\vrence Arts Center
 

Lawrence, Kansas
 

IJga (le Estudiantcs de Artc tic
 

Arecibo
 

Arecibo, Puerto Rico
 

Liga tie Estudiantes de Arte de 

San Juan 

San Juan, Puerto Rico 

Madison Com~nunity Access Center
 

Madison, Wisconsin
 

Manchester Craftsmen’s Guihl 

- Pirtgbnrgh, Pennsylvania 

Manna House Workshops
 

New York, New York
 

Martin Luther King Multiversity

Los Angeles, California 

Media Study/Buffah) 

Iluffalo. New York 

Metrol)olitan Cultural Arts Center

Minneapolis, Minnesota 

Metropolitan School for the Arts

Syracuse. New York 

Mexican-American Culture 

Development 

Homestead, Florida 

Milwaukee Inner City Arts Council 

biilwaukee, Wisconsin 

Mississippi Band of Choctaw Indians

Philadelphia, Mississit)pi 

Model Valley Mountain Crafts

Clairficld, Tennessee 

Monroe County Rural Heritage

Alliance 

Union, West Virginia 

Mudflat Pottery School

Cambridge, Massachusetts 

Nashville Academy Theater

Nashville, Tennessee 

National Black Theater Workshop 

New York, Ne~v York 

National Conference of Artists 

Washington, D.C. 

Native American Arts and Culture 

San Francisco, California 

New Dance Theater 

Denver, Colorado 

New England Conservatory of Music 

Boston, Massachusetts 

5,000 For twoduction.s 

10,000 

f’or workshops ~tml (’las,~es in the rismH aml lW@~rmim.I ~trts. 5, ()00 

For h’ct.rc.s, e,dtibition.~. (tml .,orkshops in th(, rismd ¢trts, pho­ 5,000

lograph!t, ctmt cmtfts. 

15,000 For .~chohtrshit~.~, cln.sses, oral e,d~ibits in the Hsmtl arts 

crafts. 

f’o r ¢t trot i~! i~g t)rogr~t m itt rideoht pe producthm, i~ rolm ng clh n ic lO,(X)O 

and r~t<’ial mimmitH re.~idenls, scnim" (’itizvm~, ~tml the hermitcapped. 

I"o r trot i~t i~tg in corot m it’s. t~,.elilvs. ~t ~(t photogr(~ ph!tfor m im)rit!l, 22.500 

Hderl!!, and k(tmti(’(q~twd resident.s o,f lhc ,\forth.side. 

For pcrformim.i ~trts clnsses, workshops, ¢tmt rH.’ors~d spm’e fiw 15,000 

For ~tn ortist-in-rcsidem’e progrnm 12,000

it!l .~tmh,~ds fl’o,! m,t-~rts high 

t,’or ¢t ,’orkshot~ tr(ti~ting progr(~n! in .film ~tml ridco. 10.500 

15,000 

fbr i,mtrm’tio** ~, the rismtl nml tw~j’ormi*~g ~ls. 12,500

For b,strm*tiou b!t the M~triachi M.sic Sch.,fl .f~w f(.’mtcoH:crs 7.500 

~ mtll, eir .f.m ilies. 

the 7"mr ini*’9 l*tstitnte ofj’vri*!!l (’l¢t.~’s(’.~ and tcoH,’sh¢qm in the 12,000 

Pot th(’ (’hoct~t w A~ t.~ ~tmt (’ro.fl.~ l’rogr, tm o./]f(’* im.I im~trm’tion in 10,000 

lraditiomtl lrihal cr~.fls. 

For tt troi~dml proflrttm i,t trtutitiomtl cra.l?s fiw the r(’side*ds of 9.(X)0 

lhv Ch’a*Jbrlc Valle!t. 

5.000 

b)~r the ,whohtrship prgr(~m o{!}’riIql b~strnctio,t i*t (,eromics. 5.000

[,b r ¢t lhcah’r trtt i~*im.I p tin.Ira m .for ch ihlrt’n, 30.000

For chtsscs ~tmt w,wl,’sh,q~s i*~ the thc~th’r 37.50O

[~}~t" llw Ch ildrc*Fs II%rkshof in A,l)’ic(w-A mcricon I’ismtl A rts, 5.000 

o n imstmwlion i~rOr.lrtt m in tw@~rm im.I tt ml ri.~mtl tt rls ~t ~t(t crafts
 

.for children.
 

For. lw, u.lro.t qf workshops i*t cr(t.fls theft (~re tr.ditimml 1o the 7.500 

f,)~r a dom’e tr¢tining pt’ogt’~tnt, lcclur~,-demonsttatio~ts, work- 22.500 

shop,~, ¢tml mi~d-(’om’erts in the 

For thv Commm~itg Se,’Hces .lI.sical l~tslrnctimt Program o./.’fvr- 10,000 

im.I i~mlmonenbtl oral roicc lessons, participation in ¢t pc~formn,ce ,’m~f’mbh’. ond theor!t classes. 
Expansion Arts 67 

Ne~v Freedom Theater 

Philadelphia, Pennsylvania 

New Muse Community Museum of 

Brooklyn

Brooklyn, New York 

New Organization for the Visual Arts 

Cleveland, Ohio 

New Orleans Public Schools 

New Orleans, Louisiana 

Ne~v Orleans Public Schools 

New Orleans, Louisiana 

New Playwrights’ Theater of

Washington 

Washington, D.C. 

New School for the Arts 

Montclair, New Jersey 

New York City Hispanic-American 

Dance Company 

New York, Ne~v York 

Norman Firehouse Art Center 

Norman, Oklahoma 

Northeast Georgia Area Planning and 

Development Commission 

Athens, Georgia 

Nuevo Teatro Pobre de America 

Hato Rey, Puerto Rico 

Olantunji Center of African Culture 

New York, New York 

Original Ballets Foundations 

New York, New York 

Ozanam Strings 

Pittsburgh, Pennsylvania 

Parker (Charlie) Memorial

Foundation 

Kansas City, Missouri 

Pasadena Arts Workshop 

Pasadena, California 

Patch, Inc. 

Atlanta, Georgia 

Performing Arts Workshop 

San Francisco, California 

Philadelphia Dance Alliance 

Philadelphia, Pennsylvania 

Philadelphia Dance Company 

Philadelphia, Pennsylvania 

Printmaking Workshop 

New York, Nexv York 

Prints in Progress 

Philadelphia, Pennsylvania 

Program to Aid Citizen Enterprise 

Pittsburgh, Pennsylvania 

Public Art Workshop

Chicago, Illinois 

For the theater arts program. 20,000 

For a workshop program in the visual arts and music for the 12,500 

disadcantaged community. 

For the Art/Talk Program, offering classes and workshops in the 2,500 

visual arts. 

For the New Orleans Center for Creative Arts Program for 1980. 10,000 

offering instruction in the performing and visual arts. 

For the New Orleans Center for Creative Arts Program for 1981, 10,000 

offering instruction in the performing and visual arts. 

For training for new American playu,Nghts, p~qmarilyfrom the 10,000 

Washington, D.C., area. 

For instruction in the performing arts for Essex County residents. 7,500 

For the Dance Workshop Training Program for low-income, 30,000 

minority students. 

For instruction in the visual arts for the community. 6,500 

For art programs for older adnlts in uine counties in no~iheast 15,000 

Georgia. 

For uvrkshops and productions exploring the roots of Puerto 10,000 

Rican culture. 

For a training program in African culture. 20,000 

To procide free ballet training to Nea, York City public school 2,500 

children by the New Ballet School of the Eliot Feld Ballet. 

For the Pittsburgh Fine Arts Program, which offers instruction 5,000
 

in orchestra and band inst~onents, music theory, orchestration,
 

art, dance, jazz studies, and coice.
 

For instruction iu the performing arts for u nderprivileged chil- 10,000 

dren and adults. 

For "Ethnic Heritage Arts," "Environmental Arts," and "Arts 10,000
 

Semesters for Handicapped and Disadcantaged Children"
 

prog~ ms.
 

For i~struction in the eisual and performing arts for the resi- 17,000 

dent,s of Cabbagetoa,n. 

For n,orkshops iu theater and dance in the public schools, includ- 20,000 

ing technical assistance to teachers. 

For dance classes and workshops. 2,500 

For dance training and performances for inner-city youth. 22,500 

For the Community Printmaking Program in the graphic arts. 12,500 

For u’orkshops in drawing, design, and print-making techniqnes 17,500 

for low-income young people. 

For instruction in dance, Nsual arts, crafts, and drama for 10,000 

children and adnlts. 

For storefl’out nmval, photography, and visual arts workshops. 10,000 
17.500 

68 Expansion Arts 

Puerto Rican Dance Theater 

New York, New York 

Puerto Rican Traveling Theater 

New York, New York 

Puertorican Center for the Arts 

New York, New York 

Rainbow Television Workshop 

Boston, Massachusetts 

Riverside Church in the City of 

New York 

New York, New York 

Roadside Attraction 

Detroit, Michigan 

Roosa School of Music 

Brooklyn, New York 

Roosevelt Public Library 

Roosevelt, New York 

Rutgers University

New Brunswick, New Jersey 

R’Wanda Le\vis Afro-American Dance 

Company

Los Angeles, California 

St. Croix School of the Arts 

St. Croix, Virgin Islands 

St. Elmo’s Village

Los Angeles, California 

St. Francis House 

Kansas City, Missouri 

St. Louis Conservatory and School 

for the Arts 

St. Louis. Missouri 

Salmon River Central School 

Fort Covington, New York 

San Francisco Center for Ja1DaneseAmerican Studies 

San Francisco, California 

Santa Barbara Gazebo Theater One 

Santa Barbara. California 

Settlement Music School 

Philadelphia, Pennsylvania 

Sign of the Times Cultural Workshop

and Gallery 

Washington, D.C. 

Silvera (Frank) Writers’ Workshop 

Foundation 

New York, New York 

Society of the Third Street Music 

School Settlement 

New York, New York 

South Arsenal Neighborhood 

Development Corporation 

Hartford, Connecticut 

Southwest Craft Center 

San Antonio, Texas 

For instructim~ programs in dance, re.sic, costume design, and 

co~mtruction f!Jr the Hispanic commmdt!t. 

For the Tra i~dng U~it of.feri~g instr.ction i~ theater arts, litera- 35,000 

troy, music, rhythms, and dance. 

workshops in the pe~rminq arts aml fidk cra.fts, a bili~g.al 22,500 

~wwsletter, a reference librar!h amt a museum. 

For fihnmaking and i,ideo workshops. 20,000

For the Theater Workshop.for Children qf.feri~lg instrm’tion in 5,000

drama, coiee, and dance for the chihh’e~ qf the Upper West Side. 

For the Attic Theater Perform i,~g A Fts Academg program offer- 5,000

i~tg instrm’tio~ o~ the theater arts. 

For the Contm.uit!l Program offerinq instructim~ in music and 2,500 

dance to minorit!! ehildre~ in Kings Co.nt!l. 

For workshops in the visual arts, photoqraphtt, aml ecramics. 2,000 

f’or pe~:forma~wes, workshops, a~d lecture-demmtstratimts fiw the 8,500 

Hispa ~ ie eo m m tt n it!t. 

For workshops aml classes i~t dam’e amt related prod.etion tech­ 10,000

~ iques. 

For instrm’tim~ in the cismtl (md pe@~rmi~g arts aml crafts. 10,000 

For workshops in the pc~formi~g arts (~ml crafts. 15,000 

For workshop.~ i~ the risl~al arts and crafts b!! the Craft Lear~dng 5,000 

Ce~ter. 

For the Omaan Dance Compa~q to comhwt a series qf workshops 10,000 

jbr beginni~g aml adrance<l <hinters aml 20 lvcture-<h, monstralions i~ area public aml prirale .~.vcmMarg .~chools. 

For the Mohawk Arts aml Crafts program offering i~strm’tion i~ 5,000 

traditimml tribal arts for M(dm.’k school children. 

For dancv trai~d~ig, h,cture-demonstratimm in schools, aml e.r- 5,000 

t)ansio~ o.f the reperh)r!t. 

For the slatewide Cah~fornia Yo.th Theater, of.fcring i~strm’tion 10,000 

real pc@>rmam.v activities. 

For re.sic instr.ction proqrams for the dsmflhl hamticapped. 15,000

lhe ph!tsicall!! disabled, aml s~,nior citizens. 

For workshops in the i’ismtl arts, photoflrapk!t, 10,000

f)~r pla!lu’right.~" workshops. 10,000

For the Ethnic Arts Program, offeri~tg instmwtimt i~t the visual 10,000 

and pe~formi~g arts amt an oriqi~ml theater piece about the I~m,er 

East Side. 

For i~tstructim~ in the risual arts, a mural program, amt a 2,500

mobile Art Cart for eleme~tavy students’ aml senior citizen, s’ art 

(’ICtSS~’,~. 

For the Saturday Morni~g Discorery Program, @,ri~tg scholar- 15,000 

ships and i~str.ctio~t i~ fibre arts and crafts. 
Expansion Arts 69 

Stand, Inc.

Derby, Connecticut 

Studio Museum of Harlem 

New York, New York 

Sweetwater Art Center 

Sewickley, Pennsylvania 

Symbrinck Associates 

Williamsport, Pennsylvania 

Taller Boricua 

New York, Nexv York 

Taller Puertorriqueno 

Philadelphia, Pennsylvania 

Teatro Alma Latina 

Camden, New Jersey 

Theater for the Forgotten 

New York, New York 

Theater of the Performing Arts of 

Shreveport 

Shreveport, Louisiana 

Theater of Universal Images 

Newark, New Jersey 

Tokunaga Dance Ko. 

New York, New York 

Tomorroxv’s World Art Center 

Washington, D.C. 

United Nautical Cadets 

Bronx, New York 

United Projects 

San Francisco, California 

Utah Ballet Folklorico Company 

Salt Lake City, Utah 

Wayne State College 

Wayne, Nebraska 

Westchester Opportunities 

Industrialization Center 

Port Chester, New York 

Where We At Black Women Artists 

Brooklyn, New York 

White Mountains Center for the Arts 

Jefferson, New Hampshire 

Wilmington Theater Ensemble

Wilmington, Delaware 

Women Make Movies 

New York, New York 

Women’s Community 

Los Angeles, California 

Women’s Studio Workshop 

Rosendale, Nexv York 

Xavier University of Louisiana 

New Orleans, Louisiana 

For workshops in the creative and technical uses of radio and 5,000
 

video.
 

For the Cooperative School Program, offering instruction in the 10,000
 

fine arts for elementary and junior high school students.
 

For instruction in ceramics for the pnblic school students of 4,000
 

Western Allegheny County.
 

For a theater training program for high school and college 10,500
 

st~Ments, and workshops for the inmates of state and federal
 

correctional institutions through Williamsport Drama.
 

For the Art Studio Workshop Project, prozqding classes in the 7,500
 

visual arts, photography, graphics, and sculpture.
 

For workshops in the visual arts, graphic arts, crafts, and photog- 7,500
 raphy for the Spanish-speaking population of Pennsylvania and
 

the Delaware Valley.
 

For a street theater program for the Hispanic population in New 4,000
 

Jersey.
 

For theater workshops in New York City and New Jersey cor- 10,000
 rectional facilities, and a prison network system of radio plays,
 

poetry, and writings created in the Adult Prison Workshops.
 

For training in theater arts and fine arts.
 12,500 

For community instruction programs in theater arts, an exhibi- 4,000 

tion gallery, and a visiting artist program. 

For a scholarship program for minority dancers, performance 5,000 

workshops, and technique classes. 

For the Roving Arts Workshop, an arts day camp; classes for the 12,500 

mentally and physically disabled; and arts programs in the D. C. 

Jail, Lorton Youth Correctional Center, and Juvenile Probation 

program. 

For the Development of Youth Program, offering instr~tction in 5,000 

the performing arts. 

For Workshops Especially for Teens, offering instruction in the 17,500 

performing arts. 

For administrative support and instruction in Latin American 10,000 

dance. 

For instruction in creative writing for elementary and secondary 4,000 

school students. 

For performing arts workshops for inner-city youth and adults. 10,000 

For instruction in the visual arts, printmaking, and crafts, and a 5,000 

youth apprenticeship program. 

For "Arts Instruction and Training in New Hampshire’s North 10,000 

Country," including a summer arts and music festival. 

For training in the performing arts, a scholarship program, and 5,000 

workshops in the technical aspects of theater. 

For instruction in filmmaking and film production. 12,500 

For the New Moves program offering instruction in the arts to ex- 10,000 

offenders, ex-drug users, the disabled, elderly women, and Latina 

women. 

For classes and workshops in printmaking, lithography, textile 7,500 

printing, drawing, and collage. 

For the Audubon Arts Center’s visual and performing arts 10,000 

classes for the residents of the Gert Town section of New Orleans. 
Yelloxv Springs Center Stage 

Yellow Springs, Ohio 

Young Filmmakers Foundation 

New York, New York 

Young Saints Scholarship Foundation 

Los Angeles, California 

Your Heritage tlouse 

Detroit, Michigan 

Youth Theater Interactions 

Yonkers, New York 

Arts Exposure 

Acadiana Arts Council 

Lafayette, Louisiana 

Adelantc, Inc. 

Tucson, Arizona 

Afro-American Historical and 

Cultural Museum 

Philadelphia, Pennsylvania 

Aims of Modzawe 

Long Island City, New York 

Akxvcsasne Library Cultural Center 

Hogansburg, New York 

Alternate Roots 

Knoxville, Tennessee 

Alternative Center for International 

Arts 

New York, New York 

American Black Artists 

Detroit, Michigan 

American Institute for Cutural 

Devch)pment 

San Francisco, California 

American Revolutionary Road 

Company

Johnson City, Tennessee 

Anchorage Arts Council 

Anchorage, Alaska 

Arkansas Arts Center 

Little Rock, Arkansas 

Art Without Walls 

New York, New York 

Artes Chicano 

Denver, Colorado 

5,000 ~r a~ origimd works progra m, o.fferi~g tr~ti~i~tg ~1 pro(h.’­

timt qf ~m origimd phial. 

15,000 7b proride schoh~rship assist~m’e ]br the medi~ tr~ti~Mg pro­

~1 F(l 

~.’ i~mtruclim~ i~ the petfm’mi~tg t~tt rideo t~rts. 20,000 

25,750 For i~strl.’timt i~ the .tim’ arts, e,ddhititm ttml pe@~r.!(z~lce 

workshops, t~mt artists’ residcm’it’s. 

I~r ~ lheater a rts workshop ~ mt sttuh’~tt perform i~lg ctmUm ~t ies. 10,000 

To support public presentations--such as performances, exhibitions, 

and festivals--that include workshops in xvhich 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: $1,730,302 

,$5,000 I’5~r tmblic prese~dtttimm i~t the orts. 

7,500 For te~ perfm’m~wes with win’ks/tops m~ the.t(’r skills ft." Chi17,500 To prescott ~ si,r-week series mith .filmm~kers .ml their.film,~ at 

right mim.’itq cldtm’al i~slitutimts. 

10.000 For ch~sses 

mers amt Si~!l(’rs. 

2,500 For w~rkshops (tml chlsses i~t N(dire Mo&twk Arts. 

For "Roots Slum’casv Fcstir~d," ~ set’e~-d(~!! fi’stiral o.ffi’ri~g 15,000 

17,500 For music pefform~ices amt ,,,,’hibitimls ilt the rislml arts. 

15,000 For the Culhtr(d Opporhmit!! for Direct E, rch(t~ge program, 

i~wlmli~fl ~trt classes aml iwrform~m’es. 

f’5~r t*¢~:fornli~tq ttrtists’.lees.for t~etj’ormtt~tcc.~ i~t schools, sc~im" 1 (), 000 

15,000 For tmtri~g pct:formtt~wes ilt Appalachitllt commlt~dties. 

For Art-Reach’x progr(tms for se~tior citizmls, the hamlicato~ed, 10,000 

For the Slate Scrriccs Program, i~wlmli~g tr~u’eli~tg e.rhibitio~m, 15,000
 

lectures, pei[form~t~wes, (t~ld workshops.
 

For Freespace% (trts progr~t,!s i~t (.m’rectim~tl .facilities. 8,000 

For tt retlimml tour o.f mi(hcester~ states with (t progr(tm im’h.I- 12,500 

ira!! music, darn’e, aml thvater.from Chi(’a~m culh~re. 
Expansion Arts 71 

ArtiCulture 

Cambridge, Massachusetts 

Artistic Productions 

Wilmington, Delaware 

Artists in Prison and Other Places 

Los Angeles, California 

Artreach Milwaukee 

Milwaukee, Wisconsin 

Arts on the Move 

Juneau, Alaska 

Arls for Racial Identity 

New York, Ne~v York 

Asian-American Dance Theater 

New York, New York 

Balkan Arts Center 

New York, New York 

Barter Foundation 

Abingdon, Virginia 

Bilingual Foundation of the ArtsFundacion Bilingue de las Artes

Los Angeles, California 

Bilingual Foundation of the ArtsFundacion Bilingue de las Artes

Los Angeles, California 

Bilingual Foundation of the ArtsFundacion Bilingue de las Artes 

LOs Angeles, California 

Black Experience Ensemble 

Albany, New York 

Black Spectrum Theater 

St. Albans, New York 

Black Theater Alliance 

New York, New York 

Bodacious Buggerilla 

LOs Angeles, California 

Brazil Academy of Music 

Seattle, Washington 

Brockman Gallery Productions 

Los Angeles, California 

Brooklyn Opera Society 

Brooklyn, New York 

CA-FAM III 

Washington, D.C. 

Capital Children’s Museum

Washington, D.C. 

Casa de la Raza 

Santa Barbara, California 

Casa Hispana de Bellas Artes 

San Francisco, California 

Center for Puppetry Arts 

Atlanta, Georgia 

For a youth pe~forma~tce training program and a free perform- 7,500 

ing a~¢s series for senior citizens. 

For u,orkshops and presentations for shut-in audiences. 2,500 

For the prison theater arts program and development of a bi- 12,500 

lingual original play about Latina women. 

For artists to conduct arts workshops for institutionalized 7,500 

persons, 

For performances, group activities, and individual arts instruc- 5,000 

tion for isolated Alaskan communities. 

For the Artist-in-Residency Program. 12,500 

For classes in traditional and modern dance for the Chinese 12,500 

community, concerts in the area, and a tour to isolated communities on the East Coast. 

For tu’o folklife festivals and four workshops in the cultural 20,000 

history of different immigrant communities. 

For production clinics for teachers and community theater 7,500 

personnel, lectures and workshops for the Spring Festival, and 

the Children’s Playhouse project. 

For uvrkshops in the theater arts for low-income residents. 20,000 

For the continued production of the play Uprooted. 17,500 

For a tour of the play Wanted: Experienced Operators through- 10,000 

out California in spring 1981. 

For two plays, a touring program with workshops, and seminars 2,500 

involving young audiences. 

For the Theater Demonstration Program of performances 15,000 throughout southeastern Queens. 

For audience deeelopment, servqces to the dance arena, and tech- 30,000 nical services. 

To record oral histories and produce four major videotapes of 17,500 jazz musicians. 

For public forums and jazz co~tcerts in the Puget Sound area. 17,500 

For a film festival, symposia, the mural program, and a visual 12,500 

arts exhibition. 

For flee productions at Our Children’s Center. 2,500 

For media services and technical assistance to local artists. 17,500 

For performances, exhibitions, and workshops uqth children. 10,000 

For bilingual and bi-cultural activities in the visual arts. 10,000 

For bilingual projects in Raza culture. 12,500 

For children’s performances and lecture-demonstrations in 3,000 

puppetry arts. 
72 E.cpa~tsion Arts 

Chelsea House Folklore Center 

Brattleboro, Vermont 

For perfor, lanccs and workshops with local singers, musicians, 

a~d crafts artists. 

Chinese Music Ensemble of New York For public l)crforma~ce.~ of Chfnc.~e music. 

3,000 

2,500 

New York, New York 

Centro Campesino Cultural 

San Juan Bautista, California 

Community Art Resource 

San Francisco, California 

Community Day Care Action 

Brooklyn, New York 

Compared to What?

Washington, D.C. 

Contemporary Dance Theater 

Atlanta, Georgia 

Corvallis Arts Council 

Corvallis, Oregon 

Cultural Council Foundation 

New York, New York 

Cultural Council Foundation 

New York, New York 

Cumberland County Playhouse 

Crossvflle, Tennessee 

Dance Theater Foundation 

New York, New York 

Davis and EIkins College

Elkins, West Virginia 

include lectures and art workshops with theater aml dance 3,000

perfornta~ccs. 

semim~rs in black dmwe. Ameriea~ song, corne!!! am!~ satire. 2,500 

the moder~t black stage. 

For ripe productions at the Center. 2,500 

For the arts and education workshop programs. 20,000 

For the Da~tce Outreach Program, includi~tg workshops and 7,500 

pc rform a ~ces. 

For a~t artist-in-schools program for mo’al schools with instrttc­ 5,000 

lion in art, dr~ma, m~d da~we. 

For a film presentation o~t black perspectives mt the arts b!! 7,500 

Foumtatio~ for the First IVater. 

For The GlSws’ progra ms of film e.rh ibitions, theatrical pe~form­ 7,500 

antes, poetr!! readi~gs, and a festival. 

To support outreach pe~formam’es and the Playhouse Chihh’e~t~ 5,000 

Theater actirities. 

For performances and workshops b!! the A lri~t Ailey Repertory 12,500 

Ensemble i~t prisons, public school.~, hospitals, and rehabilitation 

For theater productimts. 15,000

District of Columbia, University of the t4)r film-h’cturc prese~ttatio~ts o~ black culture b!! the Black Film 5,0O0 

Washington, D.C. 

District 1199 Cultural Center 

New York, New York 

East Bay Summer Wind Ensemble 

Bristol, Rhode Island 

Etage 

Philadelphia, Pennsylvania 

Ewajo Dance Workshop

Seattle, Washington 

Facets Multimedia 

Chicago, Illinois 

Family, Inc.
 

New York, New York
 

Florida Studio Theater 

Sarasota, Florida 

Foundation for the Vital Arts 

New York, New York 

Frank Holder Dance Company 

Greensboro, North Carolina 

Free Movies 

New York, New York 

Free Street Theater 

Chicago, Illinois 

Friends Mime Theater 

Milwaukee, Wisconsin 

htstitute. 

To prm’idc pe~forma~ces for hospital workers. 7,500 

3,000 For commmHt!! musical actirities.
 

For workshops am! pe~formam’es i~ tlw e.cperimental arts. 2,0O0
 

For Mstr~¢ction in theater arts amt dam’c.
 15,000 

For prison amt school workshop.~ i~ the theater arls. 4,0O0 

For the Tech~tieal Traininff Profram amt tourinff e.rpenses 15,000 

for the Prison Arts Thc~tcr Rcpertorg
 

For the l, vductimt aml tourMg qf origMal the~ter to i,stit~tions
 7,500 

a ~d co m m u ~ it ies.
 

b)>r i~mtruction amt tour pc~ifbrmances in dmwe. 17,500
 

b)," a si.r-weck tour ~f southern Appalachia, i,ch,li,g workshops 6,000 

a~Ht 

b))r ~tctivities to derelop ¢~udicnccs for hiffh 10,000 

For i>c~f~rmanccs, workshops, and residem’ies. 17,500 

For thc<~h’r pc~for,tam’cs ~mt worl:sltops .tbr the commm~dy. 12,500 

inclmti,g the handic<u~ped, the ehh’rly, amt i~stit,tio,alized 

perso~+s by Lomhm Theater Workshop. 
Expansion Arts 73 

Friends of Puerto Rico 

New York, New York 

G.A.L.A., Hispanic Theater

Washington, D.C. 

Gate (Margaret) Institute

Huntington, New York 

Gateway Dance Theater 

Des Moines, Iowa 

Germantown Theater Guild 

Philadelphia, Pennsylvania 

Global Village 

New York, New York 

Grand Valley State Colleges 

Allendale, Mississippi 

Guthrie Theater Foundation 

Minneapolis, Minnesota 

Gypsy Rainbow Dance Theater

Atlanta, Georgia 

Happiness Bag Players 

Terre Haute, Indiana 

Harford Community College 

Bel Air, Maryland 

Haverstraw Enrichment Movement 

Haverstraw, New York 

Henry (John) Memorial Foundation 

Princeton, West Virginia 

Horizon Concerts 

New York, New York 

Hudson Valley Freedom Theater

Newburgh, New York 

Independent Eye 

Lancaster, Pennsylvania 

Inner City Cultural Center

Los Angeles, California 

Institute for Community Economics 

Cambridge, Massachusetts 

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 

Kitani Foundation 

Columbia, South Carolina 

La Pena Cultural Center 

Berkeley, California 

For exhibitions and workshops related to Hispanic culture. 7,500 

For bilingual theater workshops for the Hispanic community by 

Teatro Hispano. 

For art and graphic design projects for hospitals. 

10,000 

10,000 

For uvrkshops and performances in folk dance. 9,250 

For a puppet workshop program for children, including the hospitalized and the handicapped. 

For a videotape workshop program. 

7,500 

4,000 

For the Neighborhood Theater to expand performances and workshops. 

For touring to senior citizen centers and hospitals and increased 

involvement with institutionalized persons. 

For touring and workshops to special centers and institutions for

u~omcn. 

15,000 

10,000 

1,600 

For touring productions and workshops for all ages, including 

the disabled, senior citizens, and patients in convalescent homes. 

7,500 

For the Edwin Booth Theater’s performaces and workshops, for 

audiences including the handicapped, the underprivileged, and 

the elderly. 

10,000 

For a multi-ethnic exhibition/lecture and workshop program. 2,500 

For uvrkshops, classes, and artists’fees for Appalachian arts 

activities. 

7,500 

For concerts and lecture demonstrations for senior citizens and 

other special audiences. 

5,000 

For performances, workshops, and children’s programs in the 

performing arts. 

For performance and workshops in rural areas. 

20,000 

7,500 

For Co-Real Artists’ dramatic productions. 12,500 

For Galaxy’s bilingual theater programs, including workshops 

for special audiences. 

For 20 presentations in dance, theater, and music of Caribbean 

and Hispanic origin. 

3,500 

5,000 

For uvrkshops and performances in jazz for underprivileged 

youth. 

For uvrkshops and performances in jazz for underprivileged 

youth. 

For an outreach theater production. 

7,500 

15,000 

7,500 

For performances and the musical workshop program. 35,000 

For performances and an artist-in-residence program. 12,500 

For a multi-cultural arts program in music, dance, and theater. 2,500 
74 Expansion Arts 

Learning Guild 

Boston, Massachusetts 

Lettumplay 

Washington, D.C. 

Library Theater

Washington, D.C. 

Limbora Slovak Folk Ensemble of 

Ne~v York 

Astoria, New York 

Lincoln Center for the Performing 

Arts 

New York, New York 

Living Gallery 

Pasedena, California 

Living Stage

Washington, D.C. 

Loft Film and Theater Center 

Bronxville, New York 

Lower East Side Community Music

Workshop 

New York, New York 

Manning Avenue Free Studio 

Sumter, South Carolina 

Mariano Parra Spanish Dance 

Company 

New York, New York 

Massachusetts Prison Art Project 

Framingham, Massachusetts 

Memphis Arts Council 

Memphis, Tennessee 

Metro Theater Circus 

St. Louis, Missouri 

Millan Theater Company 

Detroit, Michigan 

Minority Photographers 

New York, New York 

Mississippi Inter-Collegiate Opera 

Guild 

Jackson, Mississippi 

Museum of African-American Art 

Los Angeles, California 

Museum of African-American Art 

Los Angeles, California 

National Center for Institutions and 

Alternatives 

Washington, D.C. 

National Conference of Artists 

Los Angeles, California 

To bring school programs to rural school systems that have re- 12,000 

stricted programs in the arts. 

For workshop.~ and concerts featuring jazz artists to tour prisotts, 8,500 

hospitals, and .]m’enile institutions. 

For "Books Alire," a program of original theatrical perform- 10,000 

a~wes for inner-cit!t,public school children. 

For Slovak song and dance training and performances. 4,000 

For the Community Holiday Festil’al and Childre~Fs Matinees, 10,000 

offering free performances to families and school childre~ from 

the five boroughs of New York. 

For the Comprehensire Arts Program, including visual and 2,500 

performing arts workshops. 

Far a contmunit!l arl program. 12,500

For a children’s repertor!l touring contpan!! to perform i~t hos- 7,500 

pitals, senior centers, nnrsing homes, priso~ts, and reform schools. 

For commn~tity concerts by local musical groups. 4,000

For the Community Arts Center actirities, including mu.~ic, 10,000 

creative writing, and cisual arts. 

Far theater petformances offering Spanish dance. 7,500 

For the prison art program, i~wluding workshops in the risual 17,500

and performing arts. 

For dance, theater, and arts programs for ironer-city reside~ts. 4,090

For workshops in children’s theater and art education for inner- 7,500 

city youth. 

For Dctroit Repertory Theater’s community arts programs and 10,000 

sereices. 

For lectures, workshops, and other community arts programs. 3,000 

For programs to e.rpose youth and adults to opera. 7,500

For exhibitions, lectures, and films on black art and art history. 21,000 

For administrative costs for the Black Art Quarterly. 6,000 

For a national gallery and clearing house that exhibits, cata- 10,000 

logues, and promotes works of art b!l institutionalized persons. 

For an art serrices program, providing fund-raising, grantsman- 12,500 

ship. emplo!lment, marketing, arts resource information, confercnces, workshops, and e.rhibitions. 

Native American Center for the Living Far a cnltural exchange "Pow Wow" to include exbibitions of arti- 10,000 

Arts facts, cra.fts, traditional cooking, and dancing by LN.C.A. 

Niagara Falls, New York 

15,000 

Niagara Falls, New York gram. 

Native American Council of Arts Far an e.rhibition, dance, lectto’e, and artist-in-residence pro­
Expansion Arts 75 

Neighborhood Parent Club For ~tvrkshops in modern dance by the Balitmore Dance Com­ 5,000 

Baltimore, Maryland pany for yo~t~g professional dancers in the Baltimore-Washington 

a tea. 

Ne~v Bruns~vick, City of 

New Brunswick, New Jersey 

New England Center for 

Contemporary Arts

Brooklyn, Connecticut 

New Hampshire Music Festival 

Center Harbor, New Hampshire 

New Heritage Repertory Theater 

Manhattanville Station, New York 

New Sculpture Workshop

Brooklyn, New York 

New Stage Theater 

Jackson, Mississippi 

New Theater School of Washington

Washington, D.C. 

New York Street Theater Caravan 

Jamaica, New York 

Newark Institute of Urban Programs 

Newark, New Jersey 

Nguzo Saba Films 

San Francisco, California 

For comm~nity workshops, performances, and exhibits. 5,000 

For the Artreach Program for the handicapped, disabled, and 2, 500 

senior citizens. 

For a concert program in schools and nursing and retirement 2,500 

homes. 

For performances in the theater arts. 15,000 

For seminars, exhibitions, and lecture-demonstrations. 2,500 

To expand performances for low-income and handicapped senior 5,000 

citizens. 

For theater workshops and performances. 15,000 

For productions, a national tour, and workshops in the theater 22,500 

arts. 

For musical and dramatic presentations involving the commu- 12,500 

nity. 

For production of two animated films, involving community chil- 15,000 

dren, senior citizens, and the handicapped. 

North Carolina Cultural Arts Coalition For services and arts organizations providing performances and 11,000 

Raleigh, North Carolina 

Ododo Theater Foundation 

Tucson, Arizona 

Old Creamery Theater Company 

Garrison, Iowa 

Omaha Junior Theater 

Omaha, Nebraska 

Opera de Camara 

Rio Piedras, Puerto Rico 

Pacific Coast Performing Arts 

Foundation 

Santa Cruz, California 

Painted Bride Art Center 

Philadelphia, Pennsylvania 

Palisades Theater Company

Washington, D.C. 

Paul Robeson Players 

Compton, California 

Pelican Bay Foundation for

Whistlestop Improvisational Dance

Company

Seattle, Washington 

Peoples and Cultures 

Cleveland, Ohio 

Phelps Stokes Fund, Trustees of the 

New York, New York 

Phoenix Opportunities 

Industrialization Center 

Phoenix, Arizona 

workshops for the elderly and the handicapped. 

For arts programs and services to minority residents. 5,000 

For the Young People’s Company tour, including a regional art 3,000 

festival. 

For performances and workshops in grade schools. 2,500 

For chamber concerts and short-length operas at community 7,500 

centers. 

For Bear Republic’s theater workshops and touring to schools and 5,000 

the elderly. 

For exhibitions and performances in dance, drama, and music. 10,000 

For touring to rural communities, centers for the retarded, and 2,500 the physically handicapped, and isolated schools. 

For workshops in the performing arts and creative writing and 10,000 

guest lectures in the fine arts. 

For a train tour of modern dance performances and workshops. 2,500 

For a program of folk arts and crafts. 10,000 

For the Visual Arts Research and Resource Center’s clearing 30,000 

house for information related to the Caribbean, including seminars and exhibitions. 

For gallery and exhibition presentations of works of minority 5,000 

artists in the Phoenix area. 
76 Expansion Arts 

Pickle Family Circus 

San Francisco, California 

Pittsburgh, University of

Pittsburgh, Pennsylvania 

Pittsfield Council on Aging 

Pittsfield, Massachusetts 

Play Group

Knoxville, Tennessee 

Prisoners’ Accelerated Creative 

Exposure 

New York, New York 

Providence, City of 

Providence, Rhode Island 

Puerto Rican Playwrights 

New York, New York 

Puppet Workshop 

Providence, Rhode Island 

Pushcart Players 

Verona, New Jersey 

Puskin Press 

Washington, D.C. 

Quincy Society of Fine Arts

Quincy, Illinois 

RAP, Inc.

Washington, D.C. 

Real Art Ways 

tIartford, Connecticut 

Rican Organization for Self 

Advancement 

Bronx, New York 

Rockford Council for the Arts and 

Sciences 

Rockford, Illinois 

Rod Rodgers Dance Company 

Ne~v York, New York 

Rutherford County Arts Council 

Forest City, North Carolina 

St. Mark’s Dance Company 

Washington, D.C. 

St. Mary’s Creative Arts Forum 

Lexington Park, Maryland 

Santa Barbara, City of 

Santa Barbara, California 

Scripps College 

Claremont, California 

Shadow Box Theater 

New York, New York 

Sheboygan Arts Foundation

Sheboygan, Wisconsin 

Southern Folk Cultural Revival 

Project 

Nashville, Tennessee 

For workshops for child-care groups, senior citizen centers, and 15,000

handicapped groups. 

For residencies by professional alternative theater, dance com- 7,500 

panies, and music organizations. 

For the Berkshire Senior Artisan’s gallery and workshop. 6,000 

For n,orkshops and prodnctio~s. 18,950 

For arts workshops and semi~lars within prisons. 2,500 

For neighborhood arts performances, festivals, lectnres, and 15,000

workshops. 

For Actors’ Workshops’ three plays, video films, and an audio- 7,500
 

visual library on works by Hispanics.
 

For a touri~g program of puppet performances and workshops.
 10,000 

For performances for institutionalized children,. 1,500
 

For a traceling exhibition of visnal art by 44 professional Wash- 7,500
 

ington artists which is used in context with nlusic, theater, dance,
 

and poetry pe@)rmances in local prisons, hospitals, and schools.
 

For residencies that benefit black and senior citizen populations.
 5,000 

For the Mobile Jazz Da~tce Project including workshops and 10,000 

rideo productio~s for schools and other institntions. 

For the mnsic series, film series, the poetry program, and work­ 7,500 

shops.
 

For musical theater workshops for youth. 2,500
 

For e.rhibitions, demonstratio~ls, and petf!)rnta~tces for low- 5,000

i~conle persons, mim)rity children, and the handicapped. 

For a two-week audience-in-reside~ce program to include the use
 5,000

of local professimml artists in two prcse~tations.
 

For folk music co~certs, workshops of i~dige~ous crafts, a~d per­ 10,000 

fo~ing arts presentations.
 

For the Lunch Theater, includivg da~ce, drama, and music per- 4,500
 

foFnl~n~s. 

For e.rhibitions, workshops, theater pe@)rma~wcs, and other art 8,500 

p rogra ms. 

For a haled-concert series with workshops. 3,310 

For a handcraft studio to serve as a museum traini~!g progrant 17,500

for minority youth.
 

For children~ theater in schools a~M for the ha~dicapped.
 2,500 

For the Kohler Arts Center’s presentations, reside~wics, attd arts 5,000

programs in i~stitntions. 

For the Southern Grassroots Music Tour, workshops, and cm~- 10,000 

certs in prison,s. 
Expansion Arts 77 

Spanish Theater Repertory Company 

New York, New York 

Special Audiences 

Atlanta, Georgia 

Street Theater 

White Plains, New York 

Sun Foundation for Advancement in 

the Environmental Sciences and Arts 

Washburn, Illinois 

Syracuse University 

Syracuse, New York 

Taso Art Association 

Taos, New Mexico 

Teatro de la Esperanza 

Santa Barbara, California 

Theater Guild of San Francisco 

San Francisco, California 

Theater in a Trunk 

New York, New York 

Theater Without Bars 

Yardville, New Jersey 

Toba West Theater 

Pasadena, California 

Una Noche Plateda 

Tucson, Arizona 

Veterans Administration 

Washington, D.C. 

Warren Wilson College 

Swannanoa, North Carolina 

Washington Performing Arts Society 

Washington, D.C. 

West End Symphony 

New York, New York 

Western Washington University 

Bellingham, Washington 

Whole Theater Company 

Montclair, New Jersey 

Wilson (Clarence) Music Guild 

St. Louis, Missouri 

Women’s Resources 

Oakland, California 

Workshop for Careers in the Arts 

Washington, D.C. 

Writers in Residence 

Great Neck, New York 

Xicanindio Artists Coalition 

Mesa, Arizona 

For performances in community centers and a national tour. 20,000 

To expand touring for the institutionalized and the handicapped. 10,000 

For uvrkshops and performances in street, community, and 25,000 

institutional locations. 

For lectures, performances, and workshops for senior citizens, 17,500 

students, the handicapped, families, and teachers. 

For uvrkshops at the Community Folk Art Gallery to develop 4,750 

professional gallery experience. 

For lectures, films, and performances in dance and theater at the 10,000 

Taos Community Auditorium. 

For bilingual performances and workshops for senior citizens, 7,000 

the handicapped, and at Lompoc Federal Correctional Institute. 

For a workshop in theater skills. 8,500 

For a mobile theater presentation for the handicapped, the men- 12,500 

tally retarded, and emotionally disturbed children. 

For in-prison workshops and five inmate touring productions. 7,500 

For performances, demonstrations, and workshops at community 10,000 

centers for the convalescent, senior citizens, and minority youths. 

For live performances in health care and social serrice facilities. 5,000 

For a model artists-in-re.~idence project in Hines Veterans Ho.~- 12,500 

pital in Chicago, Illi~ois. 

For a community arts program with workshops and perform- 5,000 

ances, 

For "City Dance ’79," a project to build audiences for resident 10,000 

dance companies. 

For musical performances for handicapped children. 2,500 

For a continuing symposium on the contemporary arts. 5,000 

For a workshop program in theater arts. 10,000 

For performances of St. Louis Woman. a trilogy of three larger 8,500 

works for chorus and orchestra, and a musical performance of 

Lost in the Stars. 

for a concert tour and workshops in women’s prisons. 4,000 

For the portable theater programs. 17,500 

For workshops and performances for special andiences. 7,500 

For exhibitions and folk music programs for touring to Chicano 7,500 

and Indian centers. 
Special Summer To assist summer programs, led by professionals that provide training or active participation in one or more art forms. Projects 

Program funds: $478,685 

Treasury funds: $ 20,000 

Private gifts: $ 20,000 

African Film Society 

San Francisco, California 

Appalachian Council for the Arts 

Johnson City, Tennessee 

Associacion Nacional tie Grupo,~ 

Folklorico 

Topeka, Kansas 

Ballet Concerto Company 

Miami, Florida 

Barrios Education Project 

San Antonio, Texas 

Berca College

Berea, Kentucky 

Black Ghetto Theater Company 

Roxbury, Massachusetts 

Cambridge Arts Council 

Cambridge, Massachusetts 

Centrum Foundation 

Townsend, Washington 

Charles River Creative Arts Program 

Dover, Massachusetts 

Child Hearing League

Seattle, Washington 

Chinatown Planning Council 

New York, New York 

College of Santa Fe 

Santa Fe, New Mexico 

Columbia, City of 

Columbia, South Carolina 

Community Mural Project

Chicago, Illinois 

Concerned Musicians of Houston 

Houston. Texas 

Concerned Musicians of Houston 

ttouston, Texas 

For "Aj’rica~-America~! Attitmh’s," the .fom?h (~mmal film .festi­ $3,500

~’~1 im’lmti~g tmm4s, wmkshops, h’ct.res, i~.~h’m’tiomd filmmt~king sessions, ~ ml m in i-f!’stira Is. 

For "Summerfest ’,’,’o,"a coop.ratice progr(~m in which 5,000 

mini-fcsticals, a howhtime tr¢~rvli,g ro~ul shotc, a .fil,! .,,’vrics. 

torn’eft ~ml e.vhibition serivs, ~mt ¢~ sunlmcr.fvstic~d. 

For Festiv~d VII in S~m Antonio, T~,.ats, promoti~ig the Mestizo, 6,500

Native Americmt, ~ml Hislm.ic folk ~,rts. 

For ~ si.r-u’evk tmlh’t tr(tMing progr~nt proridim.I b(~sic instr,c­ 3,500

lion ~t(1 schoh~rships .for gonth ~t 

For the secoml ~tnntml Te.ras Chicam~ Theater Fcstir(d which 6,000

prori(h’s wor/,’slmp,~’, m’m imtrs, clas.~(,s, <tnd t)(’l~)Fmallc(’.~ i~ the 

dr(~ m(~tic arts for the corn mmt ily. 

For the "Summer Puppetrg C~r~tr(t~ to Aptmhwhi~t." M~ich 8,000 

hvvels to seren so~dher~t Appahtchian commu~dties to prescott 

origimtl Imppvt show,~ based o, tr(tditimml f!)lk forms. 

For a thc~tler tr~i.ing proqram, inchuti~g u’orkshol~S i~ thornier 5,000 

skills (tml the derclopme~t qf origimtl prod.ctio.s to bc toured 

lhroughold the Bosh)it 

For tit(’ C(~mbridqe Rirer b’cstiral, offering workshops, 4,500

(,ce~ls, pe~:forma~iccs, m urols, ~nd .thor lmrticipat~r!t ecents. 

For Summer Arts Se(~s(.!,
 9,500

am’es, e.vhitfitions, worl:shops, ~tnd symposi~t in t]w vismd, per­

.form i~g (t.d liter<t rg (~rts.
 

For <~n eight-week ttrts i~tstruction proqrttm .for gouth, im’lmti~tq 5,000
 

lwo petjbrming ttrls fcstictds, c.rhibitions, demm~strtttio~t.~, ~
 

(trti,~t-in-residc~we p rogra m, ~ schoht rsh ip t~’~flrt~ m, o n d a tou ring mm~’it’(d show.
 

For ~n (trts Mstrm’tion progr(tm i~ the.tim’ amt pet:formi~tg .rts 10,000
 

for He(trMg-Imp(tired Mo~th ia western IV(tshim, ltom to be l(H~ght
 

prim~ril!! bq deaf profcssiomd (trtists.
 

the (V! imthm’. 6,500

For the S(~nta [,’e Mobih’ Thcrttcr (’omp~n!! to tour (~ bili,gtml 12,500

prodt.’tio~ aml pro.f(,.~siomd music gro.ps lo rvmotv cillages, 

b~dia~t pueblos, barrios, ¢~ml r(~riou,s iwslitutions lItro.ghout New 

Me,rico. 

eight-week summer ~t~’ts workshop progmtm and ’k~um- 5,000 

~’or a progmt m. in,’ol cim.l corn m un itg pa rtict patio., to tm i~tt wtdl 7,500 

mm’tds i~ fimr d~ifferc~tt areas of the city. 

the S.mmer ,h~zz Workshop, o.f.fvring eight weeks o.ffrecj~tzz 18,000 

To to.tim: the "S~mmer Jazz II%r/,.~/top," o.ff(’ri.g .free 5,000 

i.strm.tio, to.]. ~ i,.’ ~ mt svn ior h igh sHwol m .sic sh.te~ds i~ the 
Expansion Arts 79 

Council of the Arts for Children 

New Orleans, Louisiana 

Council of the Hispanic Community 

and Agencies 

Washington, D.C. 

Craft and Folk Museum 

Los Angeles, California 

Creede Repertory Theater 

Creede, Colorado 

Cresson Lake Playhouse

Spangler, Pennsylvania 

Cultural Arts Council of Houston 

Houston, Texas 

Cultural Council Foundation 

New York, New York 

Cultural Council Foundation 

New York, New York 

Dancecircus 

Milwaukee, Wisconsin 

Dances We Dance 

Honolulu, Hawaii 

Downtown Dream Machine 

Memphis, Tennessee 

Dubuque Fine Arts Society 

Dubuque, Iowa 

EcoTheater 

Hinton, West Virginia 

Fargo Public School 

Fargo, North Dakota 

Feedback Production 

San Francisco, California 

Festival Players 

Chattanooga, Tennessee 

Greater Fall River Recreation 

Committee 

Fall River, Massachusetts 

For artist-residencies, performances, cultural field trips, educatiou programs, and workshops for disadvantaged youth. 

For the tenth annual Hispanic-American Heritage Festival, 

offering biling~tal theater, m~tsic and dance performances, craft 

and vis~al art exhibitions, and special events. 

For the fifth annual Festival of Masks, offering u, orkshops in 

mask-making, theater, and dance; exhibitions; and demonstratious for the comm~tnity. 

For a theater arts program, including audience development, 

internships, senior citizeu drama u,orkshops, creative dramatics 

u’orkshops, a poetry reading series, and a guest artists’ program 

for tile public in San Luis Valley. 

For an original local history production, two major productions, 

and a participatiot~ play for youth; workshops; demonstrations; 

and a children’s tottring show for the rural community in the 

Allegheny Mountains area. 

For the Houstou Festival, an arts festival offering theater, dance, 

and music performances; demonstrations; u,orkshops; exhibitions; and a lunchtime concert series for the community. 

For Charas’ s~tmmer cultural enrichment program, including 

festivals, performances, a film series, murals, and workshops for 

the inner-city commnnity. 

To support the Cumeezi Bozo Ensemble, a p~vfessional clown 

troupe offering numerous weekly appearances in disadvantaged 

communities, including clown workshops and an apprentice program for youth. 

For a series of 30 dance performances and participatory creatire 

movement workshops for yoltth in libraries throughout southeastern Wisconsiu. 

For a summer dance program offering touring performances iu 

rural Oahu and intensire dance classes and workshops in a rariety of community centers for tile public. 

For the activities of Summer Arts, u’hich provides a variety of 

arts events in the visual and the performing arts for the community. 

For the second annual Dubuqne Fest, u’hich offers theater, music, 

and dance performances; exhibitions; special events: and a 

parade. 

For a theater training program, including u,orkshops in theater 

skills and tile development of original productions which are 

toured to communities in the southern Appalachian region. 

For the Trollwood Midsummer Arts Festival offering corn munity 

workshops and classes in theater, dance, music, pottery, vis~lal 

arts, and photography. 

For "Make-A-Circus," a traveling performance and participation festival u,hich presents numerous outdoor events to disadca nraged communities. 

For a Theater in tile Parks program which offers, in a downtown 

setting, free luncheon theater presentations for the community by 

a professional community-based theater company. 

For the Street Theater Program which offers free productions of a 

play for tile community, including special performances for 

senior citizens, low-income, and special needs residents. 

9,000 

7,000 

5,000 

12,500 

10,000 

TF 20,000 

PG 20,000 

7,500 

2,000 

2,500 

3,500 

1,800 

5,000 

10,000 

5,000 

6,000 

5,250 

5,000 

Greater Milwaukee Council of Arts forFor the Summer Enrichment Experiences program, including 7,500 

Children classes, u,orkshops, training, and scholarships offered by six proMilwaukee, Wisconsin fessional arts groups for youth. 

Gruber Foundation For a scholarship program at the Mer~mack Valley Music 4,000 

Manchester, New Hampshire Center for disadvantaged music students from New England to 

receire three weeks of chamber music instruction and performance experience. 
Harlem Cultural Council 

New York, New York 

Hartford Stage Company

Hartford, Connecticut 

Hendersonville Arts Council 

Hendersonville, Tennessee 

Jersey City Cultural Arts Commission 

Jersey City, Nexv Jersey 

Las Vegas Jazz Society 

Las Vegas, Nevada 

Learning Theater 

Patterson, New Jersey 

Mettawee Theater Company

Whitehall, New York 

Mexican-American Cultural Center 

San Antonio, Texas 

Mid-Susquehanna Arts in Education 

Council 

Harrisburg, Pennsylvania 

Montana State University 

Bozeman, Montana 

Music Advisory Council

Seattle, Washington 

Neighborhood Parents Club

Baltimore, Maryland 

Off Center Theater 

New York, New York 

Oklahoma, State Arts Council of 

Oklahoma City, Oklahoma 

Ohl Dominion University

Norfolk, Virginia 

One Reel Vaudeville Shmv 

Seattle, Washington 

Otrabanda Company 

New Orleans, Louisiana 

People’s Theater Company 

Bethlehem, Pennsylvania 

Phoenix Arts Coming Together 

Phoenix, Arizona 

For Dancemobile to present 30 dance concerts im,olri~.q six dif- 8,000
 

fere~t profc,~.s’ional da nee com pa ~ ies to the corn m unities qf tdl fire
 

New York City borot~ghs.
 

For the Stumbler Ymdh Theater program which o.ffers disadva n- 5, 000
 

t(~ged imwr-citg yotdh six weeks of @ilg the(~tcr skills workshops,
 

tr~ini~g and pe~forma~we e.rperie~we.
 

For a summer parks proqram which qf.ft’rs pr@,ssiomtl i~rts 6, 000
 

instruction t~) area youth.
 

For "Summer Festit’al ’80" which qffers the community four dif- 5,000
 

f!,rent series o.f pet:formatwes and cultural ere~tts 5t various loe~ttions.
 

For "A Salute to the L(~te Greats, "’~ series of concerts on the music 5,000
 

qf Duke Elli~gt(m, Louis Armstrm~g, Art Tart
m,
 

flo~wrH, to include work.@ops amt pre-pe~formance lectures.
 

"Patterson A rts Centered, "offerit~q tra in inq, workshops, and 6,500 

performa~wes b!! master artists i~ theater, pttppelp!l, m~dio, 

Hdeo, writStg, a ~d photograph!! for teenagers in the corn m m~ itg. 

For n theater touring season qf outdoor pe~:formmwcs, i~u’ludi~tg 4,000 

puppet and mastc-mal:it~g workshops, parades, m~d.festirals.for 

small tow~ commtmities in upstate New York amt Vermont. 

"El M:Hz~d Festiral," inrolrSig regimml arts ~nd artists and 3,000 

Hispa)Hc pe@>rmi~tg .qroups. 

For ~ three-week program of arts i~tstrtwlion and tr(ti~dng i~t the 5, O00 

performing aml Hsual arts. erel~tive writi~q, film, and photography, ineludi~q arli.~ls-i~t-~vsideace.for h igh school stmte~ls in a 

ru ral corn m u n ity. 

For "Shakespeare i~t the Parks ’80," inch,ti~g thv tourbtg o.f two 10,000 

pla!ls to 35 rlo’al communities of Mo~ttmta. 

bS)r "Music-in-the-Park.~’," .fe(~turim.l communitg com’erts of ~
 

varietg (~ musical stgles ~mt tr~tditim~s: (t ml "Su m met’stage ’x0,"
 

series of workshop.~, clas’.~(,.~, petzformgt~wes. (trot two lou~’i~tg
 pro(ttwlion.~.
 

For a mtmmer i~rts profrttm t~f instruction i~t lhe vismd and per- 15,000 

for,ti~tg arts, culmimtting i~t a communitg fe.stiral. 

For the Neighborhood )%uth Strvet Theltter Work.~hop, a pro- 2,500 

gram for lou’-itteome commmdties of instructiott and tra i~tim.l.for 

disad~’a~daged ym#h in theater skills amt theater productiom 

For (~ music progr(t m at the ,h~seph Harp Corrcctiomd F~tcilities, 7,000

i)lch~di~t9 guest im~trl¢ctors, It mu,s.icictn-i~t-r(,.~ide~wc, classe,~,
 

tra in ing, a mt pe~formlt noes.
 

For the Hhwk Total Theatric~d E, rperiem’c Summer Workshop, 6,250 

q£fering ~ tra ini~g prOflF(t ~ i~t l]w pet~form ing a rls, poelpH, (t ~td 

ballet, to culmi~mte i)~ a week qf comm~¢~titq petfm’ma~wes btl 

m inorily H(mth. 

ppogra~tt to plgt~t, pFodttce, fwtfot’~t, aml tour an origimtl 7,500 

ramlerilh’ sho.’ bgtsed on tit(’ mt~sic, m!lths, aml histor!I o.f the 

Northwest. 

For the eighth a~tmtld Mississippi Rit’cr Tour, prociding origi­ 10,000

mr! lhe~der l)etfornt(t~wes, workshops, <~t(t d(,mo~mh’ations for
 

mmdl rural towm~ ¢~ml institutim~s ahmg the Mississippi Rirer.
 

For the Sttmmer Street 7,500 

qf touring pe~formers, each comprised qf two pr~fi,ssiomd (u’tors 

gt ml local itouth Ira im’d 

m’igimd, lutrticitmtor9 ph~gs ft." the communitg, the bili~tgmd 

popuhtti.n, 

For "Hvllo, Ph<)e~ti.r.t," a n eth ~t ie .fvstir~t I .for the c,>m m u~titg. 3,000 

19.900 
Expansion Arts 81 

Piedmont Citizens for Action 

Worcester, Massachusetts 

Plains Art Museum 

Moorhead, Minnesota 

Postsmouth, City of 

Portsmouth, New Hampshire 

Project Discovery 

Taos, New Mexico 

Providence Inner City Arts 

Providence, Rhode Island 

Research Information System 

Evaluation 

Washington, D.C. 

St. Andrew’s School 

St. Andrew’s, Tennessee 

St. John’s Episcopal Mission Center 

Charleston, South Carolina 

Sarnahan Philippine Dance Company 

E1 Cajon, California 

San Francisco Dancer’s Forum 

San Francisco, California 

Self-Help Graphics and Art

Los Angeles, California 

Sidewalks of New York 

New York, New York 

Springfield, City of 

Springfield, Massachusetts 

Tennessee Valley Art Association 

Tuscumbia, Alabama 

Texas, University of 

San Antonio, Texas 

For "Summer’s Worlds," which features workshops, classes, per- 5,000 

formances, exhibitions, a touring bilingual play, cultural celebrations for the city, and special programs for the elderly. 

For a bronze-casting workshop. 2,2O0 

For a festival that includes workshops, demonstrations, and vari- 2,500
 

ons arts activities for the seacoast region of the northeast.
 

For an arts instruction program for children, including work- 10,000
 

shops, classes, exhibitions, and theater performances.
 

For a summer series of three three-day arts festivals for the com- 5,000
 

munity.
 

For a summer program of workshops, seminars, and free concerts 8,000
 

that showcase local musicians.
 

For the Arts Workshop, a summer arts training program in the 5,000
 

performing and visual arts which results in community festivals.
 

For the Charleston Afro-American club to research, create, per- 8,000
 

form, and tour an original black-history musical production.
 

For a program of instruction and training in Philippine dance, 5,000
 

including classes, workshops, rehearsals and performance by
 

high school and college youth.
 

For a dance program, including scholarships, workshops, classes, 4,500
 

performances, and special workshops for the handicapped.
 

For the Latino "Dia de Los Muertos" celebration, including 5,000
 

classes, workshops, theater exhibits, demonstrations, and arts
 

actitivities, concluding with a parade and festival.
 

For a workshop series in theater arts, offering six weeks of pro- 2,500
 

fessional instruction in theater skills and techniques, rehearsals,
 

and final performances for youth, ages six to fourteen.
 

For music concert series and theater performances for the com- 2,500
 

munity.
 

For the sixteenth annual Helen Keller Festival, providing a 3,000
 

forum for all art forms, with a special emphasis on arts for the
 

handicapped.
 

For the fourth "Canto al Pueblo," a Chicano festival including 4,500
 

performances, workshops, a film series, and art exhibitions.
 

Theater for the New City FoundationFor a street theater program to perform and tour an original 7,500 

New York, New York 

Theater Research 

New York, New York 

Toe River Arts Council 

Spruce Pine, North Carolina 

Trotwood Circle Theater 

Trotwood, Ohio 

Tucson, City of 

Tucson, Arizona 

Vermont Mozart Festival 

Burlington, Vermont 

musical street theater play to surrounding communities.
 

For South Street Theater to produce two one-act operas, offer free 7,500
 

performances of a play to lunchtime and senior citizen audiences,
 

and for a theater training program for disadvantaged youth.
 

For the New Decade Summer Arts Program, which offers instruc- 2,000
 

tion in the performing and visual arts, festivals, and performances in two counties in southern Appalachia.
 

For a theater apprenticeship program for college students, includ- 5,000
 

ing workshops in theater arts, performances, and an extensive
 

touring program of children’s theater.
 

For a program of instruction and revitalization of historical 7,000
 

Yaqui art fo~ms and traditions, such as mural making, deer
 

dancer training, mask and sculpture making, music and instrument making, folktale and legend recordings, and costume
 

making for the Yaqui tribal community.
 

For a program of classical music concerts, workshops, master 4,000
 

classes, lecture-demonstrations, a newsletter, and free concerts for
 

the handicapped and the aged.
 

Virgin Islands, College of the For "Theater-in-Action," offering a training program in theater 4,500 

St. Thomas, Virgin Islands skills for youth, ages ten to sixteen. 
82 [~2rpam~im~ Arts 

Wooster Art Center 

Wooster, Ohio 

For the Yauth Theater lVorkshops, offering theater skills workshops to children, ages six to fourteen, includi~g the production 

and tou~qng of a children’s play. 

2,725 

City Arts 

Arts Council of San Antonio 

San Antonio, Texas 

Arts Development Services 

Buffalo, New York 

Arts and Science Council of Charlotte/

Mecklenberg 

Charlotte, North Carolina 

Atlanta, City of

Atlanta, Georgia 

Baltimore, City of 

Baltimore, Maryland 

Boston Foundation 

Boston, Massachusetts 

Chicago, City of 

Chicago, Illinois 

Dallas, City of 

Dallas, Texas 

Detroit, City of 

Detroit, Michigan 

Knoxville, City of 

Knoxville, Tennessee 

Los Angeles, City of 

Los Angeles, California 

Madison, City of 

Madison, Wisconsin 

Miami, City of 

Miami, Florida 

Minneapolis Arts Commission 

Minneapolis, Minnesota 

Seattle, City of

Seattle. Washington 

Community 

Cultural Centers 

To stimulate local involvement in the funding and administrative development of the neighborhood arts field. 

Program funds: $750,637 

To continue the city’s locally administered progrant of grants and $60,000 

technical assistance to conoromity arts programs. 

To continue the countg~ locally administered program of graters 32,500 

and technical assistance to commu~tity arts programs. 

To p rot,ide s ub-gra n ts a n d tech n lea l ass is tan ce to co mnt u n ity a rls 20,000

programs. 

Ta continue the city’s locally administered program of grattts and 50,000 

technical assistance to commnnity arts programs. 

To provide sub-grants and technical assista nee to community arts 57,500 

organizations. 

To procide snb-grants and technical assistance to neighborhood 57,500 

arts wograms. 

To provide snb-grants and teclmical assistance to community 57,500 

art8 programs. 

Ta eontim~e the eitfs locally admi~tistered program of grants and 40,000 

technical assistance to community arts programs. 

To procide sub-grants and technical assistance serrices. 63,137 

For the CityArts Program, designed to increase neighborhood 60,000 

arts acti~,ities in the inner-city area by prodding snb-gra~ts and 

technical assistance. 

For the city’s sub-granti~tg and technical assistance program for 75,000 

contnmnit!] arts groulm. 

For the first yea r of a locally adm inistered program o.f gra 10,000 

and teetmical assistance to community arls programs. 

For a locally administercd program qf grant.s and technic(tl 50,000 

assi.~’ta rice to eontnt.tt itq arts progra 

For the city~ A.R.T. Exchange Program whie/! prm’ides floMs to 50,000 

derelop arts programs in communities in Minneapolis. 

To conti~tue the eity~ locally admi~istered progra m of gra ttts a nd 67,500 

technical assi.utatwe to (’onon/olity arts ltro.qra~n.u. 

To aid successful community arts organizations that serve as models 

for other groups. 

Program funds: $628,500 

Treasury funds: $137,500 

Private gifts: $137,500 

Appalshop For instrm’tion, training, and pa rtieipator~! ~t rts actirities ot $32.500 

Whitesburg, Kentucky mo!tntain communities throughout central Appalachia. 
10.000 

25.000 

10.000 

15.000 

Expansion Arts 83 

Artrium, Inc. 

Santa Rosa. California 

Baltimore Theater Project

Balitmore, Maryland 

Bedford-Stuyvesant Restoration 

Brooklyn. New York 

Carver Community Cultural Center 

San Antonio, Texas 

Casa de Amigos Community Center 

Houston, Texas 

Chinese Culture Foundation of 

San Francisco 

San Francisco, California 

Dunham Fund of Research and 

Development of Cultural Arts 

East St. Louis, Illinois 

East Cleveland Community Theater 

and Arts Center 

Cleveland. Ohio 

Fine Arts Association 

Willoughby, Ohio 

Galeria de la Raza 

San Francisco. California 

Galveston County Cultural Arts 

Council 

Galveston. Texas 

Harlem School of the Arts 

Harlem, New York 

Henry Street Settlement 

New York, New York 

Ibero-American Action League 

Rochester. New York 

Inner City Cultural Center

Los Angeles, California 

Jamaica Arts Center 

Jamaica, New York 

Karamu House 

Cleveland, Ohio 

La Raza Bookstore 

Sacramento. California 

Langston Hughes Community Library 

and Cultural Center 

Corona, New York 

Lewis (Elma) School of Fine Arts

Dorchester, Massachusetts 

Museo del Barrio 

New York, New York 

Neighborhood Arts Center 

Atlanta. Georgia 

To snpport the Center’s arts program, inclnding a wide variety of 

arts classes, workshops, exhibitions, performances, and a festiral. 

For dance classes and a performance training program for disadcantaged high school youth, and for the summer project, the 

Baltimore Neighborhood Arts Circns. 

For the Corn m unity Art and Cultural Center, offering instruction 

in risnal arts, photography, and dance. 

For a regional performing arts and crafts festiral, a jazz festiral, 

a gospel festiral, a Shakespeare artist-in-residence, the Chnck 

Daris Dance Co., and other special mnsic performances. 

For media, dance, and theater arts instruction, the "Grupo Folklorieo," and the bilingnal "Teatro." 

For classes, workshops, exhibitions, and presentations of the 

youth orchestra and shadow play tronpe. 

For training in the performing arts, and the derelopment of the 

Performing Compan!! and Dynamic Museum. 

For theater classes, training, a’orkshops, and performances. 

For administratire costs of the Cnltural Center and Arts Council. 

For Stndio 24’s classes, workshops, equipment, design serrices, 

and publications. 

For classes, exhibitions, an Artworks Gallery, training for 

teachers, and a gnest performing artist series. 

For scholarships a~td administratire costs. 

For workshops, classes, and performances at the Mnsic Center, 

and for the residencg of the Frank Ashley Dance Company. 

For training in the performing and tqsual arts, a festiral, an 

Hispa nic perfo rming arts series, a n d a sum m era rts p rogra m for 

yonth. 

For the performing arts series in theater, dance, and tussle:for 

e,rhibitions, festirals, and instrnetion. 

For classes, performances, and exhibitions in the performing and 

risua! arts, and for "Art Go-Round," an arts training program 

for stndents. 

For the "Urban Neighborhood Arts Project" and "Arts Lab Progra nl." 

For a Chicano arts program offering graphic atld risnal arts 

e.rhibitions and sereral cnltural festirals.. 

For classes, e.rhibitions, a performi~g artists series, and a theater 

arts program. 

For the drama training program at the National Center of AfroAmerican Artists. 

For workshops and exhibitions of Pnerto Rican arts and theater. 

For workshops, stndent performances, and exhibitions. 

10,000 

12.000 

70,000 

10,000 

TF 10,000 

PG 10,000 

23.000 

TF 32.000 

PG 32.000 

TF 30,000 

PG 30,000 

15,000 

7,500 

50,000 

TF 8,000 

PG 8,000 

50.000 

5.000 

TF 8.000 

PG 8.000 

70,000 

Ne\vark Community Center of the Arts For training in music, dance, and drama, a scholarship pro- TF 15,000
 

Newark, New Jersey gram, and an outreach programs in the city. PG 15.000
 

30.000 

22.000 
84 Expansion Arts 

Pasadena Community Arts Center 

Pasadena, California 

Performing Arts Society of 

Los Angeles 

Los Angeles, California 

Rcnsselaer County Council for the 

Arts 

Troy, New York 

Rcp, Inc.

Washington, D.C. 

St. Louis Conservatory and School for 

the Arts 

St. Louis. Missouri 

Sharon Creative Arts Foundation 

Sharon, Connecticut 

Southern Culture Exchange 

Chicago, Illinois 

Sun Valley Center for the Arts and 

Humanities 

Sun Valley, Idaho 

Waianae Coast Culture and Arts 

Society 

Waianae, Iiawaii 

Woodrow Wilson Center 

Washington, D.C. 

Community

Arts Consortia 

Community Arts Resource

San Francisco, California 

East llarlem Arts and Education 

Complex 

New York, New York 

For a~t Mter~mhip program .for low-i~wome, disadra~tta.qed youth 

i~t the tom m u ~ it!]. 

For workshops, classes, mid performa~wes i~t theater, music, aml
 

film.
 

To .~upport a m ulti-a rts corn m u~ity i,~stit
 

M the vi.sm*l and pe~:formi~tg arts. e,rhibitiotts,
 

artists series, a creatire art.s" library, a festical, a~td other credits.
 

For trai~dm.! iu theater;film.
 

a,ces, a )td SlWeia 1 even
 

[~5)r a trahti~g a~td pe}forma~we program i}! music, da*tce, the(> 

let, and the risual arts for the inm’r-riD, i !toMb. 

I~)~r workshops a ml rlasses i~t the ~wts aml crafts; summer theater 

aml !lear-to!rod local theater; a~t art gallery: special erc,~ts for the 

rm’al rommmdht, the ehh’rl!l, a,d lhv umh,rpriNh,ged. 

1~," Coho)~bitt Collcgv~ workshops a ml demo,stratitms o~ (’,’(@s. 

musir, da~,ce, aml muralsf for a film series, tt~ ouh’vach educatim! series, aml a tra velMg Aplmhtchia*~ (trts a~td crafts e.rh ibitio~t: for am, wsh’ttvr a ml f!,sti ~,a ls for the Appalachian! m igra ~ts 

the area. 

For classes i,t ldtolograph!h ceramics, grat;hirs, darn’e, aml theater, amt for ttmri~tg pe~formi~tg arts groups. 

For rlasses iu thv darn’e, ml~sir, aml crafts o.f the Pol!tm,sia~ am!~ 

other Ha wa iia~ cult, res. 

For the "Teatro Ni,,stro" a ml "7"~dh, r tie Mu.~ic(t ":,f, r e,~’l~ ibit im~s, 

special ere,ls ~ mt a m m~thl!! ~lewsletter for the Hislm ~tic corn m ,­

~it!h spo,.~ored b!t O’,tro CMtt~ral de ht Comlmidad. 

8,000 

25,000 

8,000 

50,000 

TF 30,000 

PG 30,O0O 

TF 12,500 

PG 12,500 

12,500 

12,500 

27,500 

10,000 

To enable groups of two or more community arts programs to share 

administrative, technical, financial development and promotional 

resources. 

Program funds: $165,000 

Nor the co,sm’tia i*! c,lri)tg U~ih’d Pro.fl,cls. I,c.. Afl’o-A merica~t $27,500

Friemls o.f the IJa,ce. Bhtck IVritcrs IVorl,’.shops. amt U~dh’d 

Vismd Artists. 

25,000 

Graduate School fi)r Urban Resources 

and Social Policy 

San Diego, California 

For the cmlsm’tia i,rolN,g Black Thrater Group, Filipim~ Dam’c 

C, mt)a,y. Chbwse l)am’er Theah, r. Hisp,~dc LiN,g M,s(,,m. 

37,500 

National Arts Consortium 

New York, New York 

42,500 

Rainhoxv Managmnent anti 

I)evelopment

LOs Angeles, California 

the rousmtia i,,’olci~tff So,glmi Films, Bmhwious Buggcrksho]~. 

32,500 
Expansion Arts 85 

Neighborhood 

Arts Services 

Arts Council of Windham County 

Brattleboro, Vermont 

Arts and Humanities Council of 

Greater Baton Rouge 

Baton Rouge, Louisiana 

Arts Resources Services 

Seattle, Washington 

Bronx Council on the Arts 

Bronx, New York 

Brooklyn Arts and Culture Association

Brooklyn, New York 

Cambridge Arts Council 

Cambridge, Massachusetts 

COMPAS 

St. Paul, Minnesota 

Cultural Council Foundation 

New York, New York 

Cultural Council Foundation 

New York, New York 

Cultural Council Foundation 

New York, New York 

D.C. Commission on Art and 

Humanities 

Washington, D.C. 

District of Columbia, City of

Washington, D.C. 

Federated Arts Council of Richmond 

Richmond, Virginia 

FOCIS (Federation of Communities in 

Service) 

Knoxville, Tennessee 

Greater Hartford Arts Council 

Hartford, Connecticut 

Greater Philadelphia Culture Alliance 

Philadelphia, Pennsylvania 

Greater Southwest Development 

Corporation 

Chicago, Illinois 

Harlem Cultural Council 

New York, New York 

Intercultural Council of the Arts 

San Diego, California 

To aid organizations that provide technical assistance to community 

arts groups. Such assistance might include equipment loans, publicity, sponsorship of activities, and help with real estate, fund-raising, 

accounting, and legal matters. 

Program funds: $1,011,500 

Treasury funds: $ 50,000 Private gifts: $ 50,000 

For technical assistance to rural performing arts organizations. $7,500 

For administrative and technical assistance to city arts groups, 30,000 

including planning, promotional services, coordination of 

festivals, uvrkshops, and a special summer arts program. 

For technical assistance to neighborhood arts organizations. 20,000 

For technical assistance to the borough’s arts organizations. 20,000 

For scholarships, workshops, exhibitions, festivals, and special 20,000 

events. 

For technical assistance to neighborhood arts organizations. 2,500 

For arts programming and activities at numerous neighborhood 30,000 

sites. 

For technical assistance to Hispanic arts organizations by the 40,000 

Association of Hispanic Arts. 

For administrative and technical assistance to local arts groups 17,500 

by Seven Loaves. 

For technical assistance to community-based arts organizations 10,000 

by Skills Exchange 

To assist the D.C. Foundation for Creative Space in securing 25,000 

tenancy for 26 community-based arts groups in the Lansburgh 

building. 

For management and development support for the Washington 17,500 

Humanities and Arts Center in the former Lansburgh Department Store. 

For technical and management ser~@es to emerging artists and 5,000 

arts organizations. 

For the Neighborhood Arts Services program offering technical 20,000 

assistance. 

For a technical assistance/grants coordinator. 5,000 

For technical assistance to local and new arts organizations. 12,500 

For the Southwest Area Cultural Arts Council’s neighborhood 2,500 

arts program. 

For a technical and management assistance program including 5,000 theater equipment loans, grant-writing, fund-raising, and a 

newsletter for Harlem-based arts organizations. 

For the "Commnnity Arts Project," providing clerical, technical, 15,000 

and accounting services to artists and arts organizations in San 

Diego County. 
86 Expansion Arts 

Intersection 

San Francisco, California 

Lake Agassiz Arts Council

Fargo, North Dakota 

Lane Regional Arts Council 

Eugene, Oregon 

Laurel Arts 

Somerset, Pennsylvania 

Los Angeles Institute of Contemporary 

Art 

Los Angeles, California 

Maryland-National Capital Park and

Planning Commission 

Riverdale, Maryland 

Media Associates* 

Washington, D.C. 

Museum of Temporary Art

Washington, D.C. 

Museum Without Walls 

Santa Cruz, California 

National Black Touring Circuit 

New York, New York 

National Guild of Community Schools 

of the Arts 

New York, New York 

P.A.C.E. (Performing Arts for Community and Education) 

Miami, Florida 

Queens Council on the Arts 

Jamaica, New York 

Rap, Inc. 

Washington, D.C. 

Research Information Systems and 

Evaluation 

Washington, D.C. 

San Francisco Art Commission 

San Francisco, California 

Santa Barbara County Schools 

Santa Barbara, California 

Staten Island Council on the Arts 

New York. New York 

Tacoma-Pierce County Civic Arts 

Commission 

Tacoma, Washington 

University Circle 

Cleveland, Ohio 

For a )~eighborhood arts serrices program, a~d for presentatio~ 

of commu~tity arts pe~forma~wes, e:rhibitio~m, aml special el’e~lts. 

For administrative as.+i.+tance serrice.+ to the arts comn+u+dly. 

For a monthly newsletter, a cale~Mar of e~’ents, gra~t-writi~g 

workshops, a resouree library, a~td ma~mgeme~t services. 

Far a technical serriees eoordi~mtm" for comm~odtg arts groups 

i~ rural Somerset County. 

For ~ tmblicity and promotion program for local arts orga~dzatim~s. 

For workshops, photographic serrices, promotiom~l brochu~vs 

a~M flyers, a bimm~thlg arts newsletter, a~d tcch~dcal assistance 

to country-based arts organization,s. 

The Media Associates cm~tract for teetolical assista~we provides 

services to commu~ffty a~d ~mighborhood-based arts groups in 

m~eh areas as ma~mgement, production lech~ology, fund-raisi~g, 

tmblicitg, aceou~ti~q, communally orga~ization, staff amt board 

decelopme~t, and artistic programming. The assista~ts sent to 

the fiehl may be artists, admi~istrators, tmsi~ws.~ perso~s, acco u n ta ~ ts, p~¢blic rela t io ~s specia lists, or co m m u ~tily o rga ~ ize rs. 

For the "Resource Ce~!ter for D.C. Neighbotqtood Arts" a~td "Art 

DIc. " 

For the "Cultural Resource a~d Serrices Project." 

To orga~dze a network of black theaters in sereral major cities. 

To hire a consultant to decelop a mt dissem inale i~!formation an 

federal programmi~tg appropriate to eommu~fity schools of the 

a rls. 

For a technical sereice program to south Florida arts orga~dzations. 

For technical assista~we to local arts groups. 

For administratire costs for Arts Media Semqces. 

For co~ti~ued support af this ~tew ~atimml service organization 

for the neighborhood arts field. Actirities of the orga~dzatio~, 

under the direction of Vantile E. Whitfield, former head of lhe 

Expansion Arts Progra m, i~clude p rape ra tio n a ~d ~a rio hal dishqbution of the publieatimts GAP Newsbrief and GAP Quarterly; research on the size, scope, a~td programming af the ~wi.qhborhood arts fiehl; regional eo~tferenees to promote commu~tications and access to the print a~d broadcast media; a~td other 

adcisory a~td cmm~dtation services. 

For the Neighbo~4mod Arts Progra m qffering tech ~Hcal assista~we 

to local arts 9roups. 

For a neighborhood arts coordi~mtor o.fferStg tech~dcal assista)we 

to community-based arts or,qanizatio~s. 

For a technical sereices program to Staten Island artists and arts 

organizatio~ts. 

For a Neighba~4mod Arts Assistance Program. 

For the Circle Ce~lter for Commu~ity Pr.grams ser~’ici~g the 

5mar-city with art programs. 

15,000 

5,000 

4,000 

2,500 

2,500 

15,000 

336,000 

5,000 

10,000 

25,000 

6,500 

10,000 

10,000 

17,500 

150,000 

TF 50,000 

PG 50,000 

10,000 

10,000 

17,500 

7,500 
Expansion Arts 87 

Urban Appalachian Council For an oval history program, a theater training and play-writing 7,500 

Cincinnati, Ohio project, video eq~dpment sertqces, special events, and neighborhood festi~’als. 

Urban Gate~vays For a teacher-traini~g program, consulting semqces, the Artists­ 40,000 

Chicago, Illinois in-Schools performatwes, workshops, and residency programs. 

*contract; PG - Program Funds; TF - Treasury Funds 
CENTRAL OREGON
 

FOLKLIFE FESTIVAL
 

JUNE 10-1! 
89 

Folk Arts
 

It probably takes 10,000 little girls playing "Fur 

Elise" on the piano to produce one Dame Myra 

Hess. Exactly why this is so is not clear, but at 

least txvo factors emerge as important. First, the 

social desirability of piano-playing has to be 

publicly established and widely accepted before 

the Myra Hesses among the 10,000 will identify 

themselves. Second, the pedagogical, economic, 

and distributional support structures have to be 

manned by the other 9,999 in order for a Dame 

Myra’s artistry to be effectively developed. 

The most notable examples of all arts and art 

forms are not skyrockets but atolls, the tips of 

submerged mountains, and there is no way to say 

which is more important to a mountain--the 

base or the top. Since its founding, the Arts 

Endowment has struggled with the problem of 

the vastness of the arts continuum. Such Council 

members as Gunther Schuller have argued with 

passion and eloquence that we must pay primary 

attention to the entire social climate wherein the 

arts can flourish. He calls our proper area of 

concern "education" in its widest sense. Others 

have maintained with equal conviction that, 

with our limited resources, we can cultivate only 

the tops of the mountain peaks; thus, the 

proliferation of individual fellowships. 

Folk Arts has always seemed to me like a 

miniature Endowment. We have every one of the 

problems, in small form but bewildering 

number. Our most reliable datum is that 100 

percent of all Americans have practiced some 

form of folk art at one time or another (sung a 

lullaby, told an old story, whittled a chain, 

whistled a tune, danced a square, "fooled 

around" on an instrument). These are our "Fur 

Elise" players, and they are omnipresent. 

The number of folk artists--our Myra Hesses-­

is undoubtedly finite but hard to pin down, since 

we potentially support the practitioners of all the 

traditional folk art forms of all the artproducing groups in the nation, including every 

tribe, ethnicity, linguistic and racial family from 

the Chamorro palmetto xveavers of Saipan to the 

Serbo-Croatian musicians in Cleveland, from 

Virgin Island boat builders to Montana cowboys. 

We have approached our task by emphasizing 

two strategies. These strategies overlap, of 

course. Thinking at this level--unscrambling 

the cultural omelet--is a pretty imprecise 

endeavor. 

Our first strategy l~as been framing. By 

encouraging exhibits, documentation through 

all kinds of media, and various sorts of formal 

performances, we have in effect put a frame 

around the flow of life in traditional communities 

and said, "Hey, you didn’t know it, but this thing 

you do is art." This is a very Western European 

high art idea, of course; the Chairman observed 

on his trips to Hopi and Samoa that in these 

places art infuses everyday life to the point that 

it is difficult to distinguish between the two, and 

Margaret Mead tells us that in such a language 

as Balinese there is not even an available word 

for "art." 

On bad days we tend to think of framing as the 

ultimate co-option of the innocent by a society 

that is determined to make a buck out of 

everything it touches, turning every act into a 

packageable and saleable commodity. On good 

days, we hope that we are providing smaller 

cultures with a defense mechanism whereby 

they can protect their art forms and carry them 

into the future. 

Our second strategy has been feedback. This is 

framing turned around, so that the arts of the 

people are presented back to the people who 

created them. A. B. Spellman calls it "inreach," 

as opposed to "outreach." It is probably most 

effectively done through the media, which carry 

within themselves a sense of cultural authority 

and a special prestige; but such devices as local 

festivals and exhibits of community arts within 

the community also seem to have a strong positive 

effect. This has always been Folks Arts’ basic 

strategy; our tours of Appalachian musicians to 

migrant Appalachian neighborhoods in the 

upper Midwest, of Irish singers and dancers to 

Irish-American communities in northeastern 

cities are cases in point. 

We must now decide if the time has come to 

add an outreach program to our list of strategies. 
90 Folk Art.~ 

Balkan Arts Center 

presents with tim co-sponsorship of the Qut~ns Council on the Arts 

ETHNIC MUSIC FESTIVAL
 

DAYTIME CONCERTS and EVENING DANCE PARTY 

Saturday, June 7,1980
 

noon to midnight, rain or shine 

Outdoor Lamb Roast & Picnic in the Park* 

Featuring traditional Armenian, Albanian, Bulgarian, Greek, Italian,
 Romanian, Scandina~San and Serbian mtr~icians and sing~zs
 

General Admission $6.00 Children under 12 and Senior Citizens $3.00
 

Children under 6 Free
 

For rcservatiom and infornmtion call (212) ~ 

Bohemian Hall & Park 29-19 24th Avenue Astoria, Queem 

(RR Train to 25th A~¢enue-Astoria-ttoyt A\~:nuc, walk one block) 

*Indoor hall availahle in ca~,~+ of rain 
Outreach reinforces and corrupts simultaneously; 

the changes essential for presenting Appalachian 

story-telling or Canadian-American step-dancing 

to inexperienced audiences modify the art forms 

being presented. On the other hand, they 

preserve them too; the approval of the general 

public may be the essential factor in preventing 

severe cultural loss. 

Outreach, in a sense, is being forced on us by 

the emergence of professional-calibre, appropriate-to-the-general-public performing groups, museum exhibits, media productions, and displays 

of all kinds. Nowadays we occasionally find 

ourselves assisting in the development of actual 

professionalism among the folks. This has not, 

heretofore, been a stated aim; but, when you 

persuade people to stick their heads up out of the 

tall grass, you then have to stand ready to help 

them get established in the larger world, if that’s 

what they want. This is where the current 

paucity of culturally experienced and imaginarive producing organizations is so hampering. 

However, we are heartened by the increasing interest of the states in developing 

their own folk arts advocacy through their folk 

arts coordinator programs. This is the pay-off 

for our long-maintained insistence that folk arts 

must be treated with the same high-level critical 

attention paid to standard disciplines. Folk arts 

are not simply "community arts." They have 

their own internally recognized criteria for 

excellence; and individual excellence is as rare, 

Folk Arts 91 

as precious, and as widely recognized among 

Navajo weavers as it is among classical pianists. 

More and more arts groups are therefore 

turning to folk arts specialists to assist them in 

identifying and supporting the highest calibre of 

the vast range of folk artists in their regions. The 

Folk Arts Program had first feared that this 

program might result in the proliferation of 

mid-level bureaucrats and become yet another 

obstacle in getting funds directly to artists. 

We’re beginning to relax about that now; where 

the local folk arts coordinator is experienced and 

sensitive, the federal job is becoming easier. 

On the eve of commencing our fourth year as a 

formal Endowment Program, Folk Arts believes 

itself to be in pretty good shape. Our current 

guidelines are working well; we had set out first 

to reinforce the base of that mountain and it is 

getting stronger every day. Now, without relaxing our concern for the substructure, we must turn 

part of our attention to the peaks as well as to 

those parts of our mountain-range yet unexplored. 

The next three years should be as exciting as the 

last. 

Bess Lomax Hawes 

Director, Folk Arts Program 
92 Folk Arts 

Folk Arts Advisory Panel
 

Roger Abrahams 

Folklorist, author 

Claremont, California 

Elizabeth Dear 

Crafts expert, museum administrator 

Santa Fe, New Mexico 

Robert Garfias 

Ethnomusicologist, filmmaker, university administrator 

Los Angeles, California 

Charlotte Heth 

Ethnomusicologist, Native American 

studies director 

Los Angeles, California 

Edxvard D. Ives 

Folklorist, educator 

Orono, Michigan 

William Ivey 

Museum director, folk music expert 

Nashville, Tennessee 

Frederic Lieberman 

Ethnomusicologist, media specialist 

Seattle, Washington 

Worth Long

Community organizer, folklorist 

Greenville, Mississippi 

Nancy Lurie 

Anthropologist, museum curator 

Milwaukee, Wisconsin 

Judith McCulloh 

Editor, folk music specialist 

Champaign, Illinois 

Clydia Nahwooksy 

Arts administrator, 

community organizer 

Norman, Oklahoma 

Folk Arts Grants
 

Carl Petrick 

Arts administrator, dancer 

Boise, Idaho 

Peter Seeger 

Folksinger, composer, ecologist 

Beacon, New York 

John Szxved 

Folklorist, educator 

Philadelphia, Pennsylvania 

Council Taylor Anthropologist, educator 

Bayville, New York 

Roger Welsch 

Folklorist, writer 

Lincoln, Nebraska 

Program funds: $2,270,000 

Folk Arts 

Alabama State Council on the 

Arts and Humanities 

Montgomery, Alabama 

Alabama State Council on the
 

Arts and tiumanities
 

Montgomery, Alabama 

Alabama State Council on the
 

Arts and Humanities
 

Montgomery, Alabama 

Alabama State Council on the
 

Arts and Humanities
 

Montgomery, Alabama 

Alaska State Council on the Arts 

Anchorage, Alaska 

Alaska, University of 

Fairbanks, Alaska 

Alaska, University of 

Kotzebue, Alaska 

To enable nonprofit organizations to support arts activities xvhere 

folk arts are presented, such as local festivals, concerts, exhibits, and 

touring performances. Grants are also axvarded for the documentation of traditional arts through radio, film, and recording; and for 

general assistance to the field. 

Program funds: $2,215,260 

$7,810 For a state-wide confere~we on Alabama folklif!’. 

For a one-day program to reunite, through a co~cert in the Bir- 12,179 

mingham City Auditorium, members of the black gospel quartet 

sb~gi~tg mot’eme~tt which flourished i~ Jefferso~t Cotmtgfrom the 

mid-1920’s through the 1950’s. 

For an LP disc and a 16-page booklet docume~dbtg the block 5,000 

Sacred Harp song tradition of southeast Alabama. 

For a series of si.r ten-day "Christian Harmm~y" Sb~gi,g Schools 6,275

to be held in six cmmties i~ Alabama. 

26,427 For a 16ram film doc,me~ding the ttv(litim~al arts practiced
 

durblg a Tlingit potlatch, a traditio~ml tribal reuni(m.
 

To ame,d a prerious grant to 5wl,de trarel costs for the tradi­ 10,500

tional artist participants i~ the 1980 Festical of Natire Arts. 

12,860 For Chukchi Community College’s ten bilbtgual radio programs
 

of Poi~d Hope Eskimo stories as told by traditional m~rrator
 

Jimmy Killigicuk and tra~slated into E~glish by Carol Om~ik
 

amt Tom Lowenstei~.
 
Folk Arts 93 

Alternative Center for the 

International Arts 

New York, New York 

America the Beautiful Fund 

Washington, D.C. 

American-Hungarian Educators’ 

Association 

Bogota, New York 

American-Hungarian Educators’ 

Association 

Bogota, New York 

American Society for Eastern Arts 

E1 Cajon, California 

Anthropology Film Center Foundation 

Santa Fe, New Mexico 

Anthropology Film Center Foundation 

Santa Fe, New Mexico 

Appalshop 

Whitesburg, Kentucky 

Appalshop 

Whitesburg, Kentucky 

Appalshop

Whitesburg, Kentucky 

Arab Community Center for 

Economics and Social Services Access 

Arab, Michigan 

Arizona, University of 

Tucson, Arizona 

Arkansas Department of Parks and 

Tourism 

Little Rock, Arkansas 

Artists’ Foundation 

Boston, Massachusetts 

Arts Council of San Antonio 

San Antonio, Texas 

Arvon Township Board of 

Baraga County

Aura, Michigan 

Atlanta, City of 

Atlanta, Georgia 

Baeone College

Muskogee, Oklahoma 

Balkan Arts Center 

New York, New York 

Berea College 

Berea, Kentucky 

Big Drum Natlon Dance Company 

Brooklyn, New York 

For a series of 20 co~certs of world music and dance, presenting 

major artists from the Sudan, Zimbabwe, Iran, India, Japan, 

and China, now resident in the United States. 

For a folk arts coordinator to serve the mid-Atlantic and New 

England regions. 

To organize four traditional Hungarian "dance-house"occasions 

in New Jersey, New York, and Washington, D.C. 

For a symposium on traditional Hungarian music and dance, to 

include lecture-demonstrations and live performances by traditional artists. 

For two series of workshops in Mexican music, featuring traditional mariachi music and jarocho tradition of Veracruze. 

For a 14-minute 16ram documentary film on ornamental tinwork, a traditional New Mexican Hispanic folk art. 

For completion costs for two films on the Matachines ritual 

dancers of Native American and Hispanic communities in New 

Mexico. 

For "Headwaters," the Appalshop television series on traditional 

life and arts in the Appalachian region. 

For Roadside Theater to tour tent show performances to 25 rural 

southern Appalachian farn~ing communities, back hollows, and 

coal camps. 

For a 20-performance tour by Roadside Theater for southern 

Appalachian migrant populations in large urban areas of the 

Midwest and mid-Atlantic. 

To locate Palestinian and Romanian needlework artists, present 

them in workshops, and document the workshops for use in schools 

in the Detroit-Dearborn metropolitan area. 

To support the Arizona state folk arts coordinator position. 

For classes on folk instruments and traditional song repertory at 

the Ozark Folk Center in Mountain View, Arkansas. 

For a traveling exhibit of traditional western Massachusetts 

Portuguese-American handmade lace, inclnding a catalogue, live 

demonstrations, residencies by lace-makers in local schools and 

communities, and live demonstrations in community-u,ide ethnic 

Portuguese-American festivals. 

For the second International Mariachi Festival. 

For the fourth annual Fiddlers’ Jamboree and Old Fashioned 

Dance, featuring traditional music and ethnic dances of the 

Michigan Upper Peninsula. 

For the first Georgia Regional Folk Arts Festival. 

For the Bacone Centennial Folk Festival, a two-day celebration 

of the artistic traditions of ten Native American tribes. 

For a two-month tour of the mid-Atlantic presenting traditional 

Jewish social music, especially the old-fashioned wedding orchestra. 

For a four-day celebration of the traditional music of the Appalachian region. 

For a series of concerts by the New York-based Carriacouan Big 

Drum Nation Dance Company for West Indian audiences in 

Brooklyn and greater New York. 

7,500 

19,930 

5,000 

7,500 

15,000 

15,000 

6,886 

20,000 

12,000 

9,500 

10,000 

20,314 

5,000 

15,000 

17,500 

3,370 

10,000 

20,000 

15,000 

2,000 

21,000 
94 Folk Arts 

Big Drum Nation Dance Company

Brooklyn, New York 

Bishop (B. P.) Museum 

Honolulu, Hawaii 

Boricua College 

New York, New York 

Boricua College 

New York, New York 

Brooklyn Academy of Music 

Brooklyn, New York 

Byard Ray Folk Festival 

Hurdle Mills, North Carolina 

California, Regents of the

University of 

Los Angeles, California 

California, University of 

Los Angeles, California 

Calliope House 

Pittsburgh, Pennsylvania 

Carter Family Memorial Music Center

Hiltons, Virginia 

Center for Advanced Studies of 

Puerto Rico and the Caribbean 

San Juan, Puerto Rico 

Center for Folk and 

Contemporary Crafts 

San Francisco, California 

Central Louisiana Art Association 

Alexandria, Louisiana 

Centrum Foundation 

Port Townsend, Washington 

Claiborne County Board of Supervisors 

Port Gibson, Mississippi 

Collective Black Artists 

New York, New York 

Collective Black Artists 

New York, New York 

Columbus Museum of Arts and 

Sciences 

Columbus, Georgia 

Commomvealth Arts Council 

Saipan, Northern Marianas 

Commonwealth Arts Council 

Saipan, Northern Marianas 

Copacabana Enterprises

Los Angeles, California 

For developing costs of a 30-min~de fihn docume~ting the dance 1,500

and m~sic performed duri~g a Carriacouan ceremo~ffal occasion, for inclusion in lice presentations. 

For the productio~ of a double LP disc of traditional Ha u’aiiau 9,349 

m t~sic from the B. P. Bishop M~.veum collection i~ 

For a series of workshops in the P~erto Rican Trullas tradition 10,000

of Christmastide serenading. 

16,530 For the fees and trarel costs for traditional Puerto Rican and 

Nea, Yorican artists appearing at the Loiza Ahtea Fiestas, a

traditional Puerto Rican celebration in Neu’ Yo~¢ City. 

For the Country Music Series, an experimental pr@ct to show- 8,000 

case the indigenous American string ensemble tradition within 

a fine arts conte.rt. 

For artists’fees at the Bgard Ray Festiral of traditional music 3,000

and dance. 

4,817 To amend a prerim~s grant to i~tclude additional recordings 

made by the Karok Indians. 

For preliminary film footage to be shot at the anm~al contention 3,475

of the Ameriea~t Tattoo Association for use in a major exhibit on 

the art of tattooing to be mototted at U.C.L.A. in I98Z 

To bring Donald Lindsay, Scottish-American bagpipe~; to an 3,000 

annual summer workshop in Highland piping. 

12,000 For artists’fees for a year-long series of a’eekly concerts and an 

am~al three-day festiral. 

28,899 

cuatro, a traditional Puerto Rican musical 5tstrument. 

For a fihn doctonenting the construction and performance of the 

To amend a precious grant to prepare a catalogue and to organ­ 2,500

ize an additional shou’i~lg at the Oakland M~tseum of Art of a 

photo exhibit of comparative Poteuguese and PortngneseAmerican folk arts. 

For fieldu’ork documentation a~d preparation of an exhibit of 9,505 

the folk arts of liring ~orthern Louisiana traditional craftsmen. 

15,000 For the Festival of American Fiddle Tt~nes. 

To amend a precim~s grant to i~wlude travel and honoraria for 

three constdtants for the project "Mississippi: Cultural Crossroa ds." 

15,000 For a tour of the fihn No Maps on My Taps along a’ith live performances by dancers Chuck Green, Bunny Briggs, Samhnan 

Sims, and other artists. 

For a one-hour documentary film on black gospel mt¢sic i~ 35,000

America. 

For an exhibit and folk festical highlighting the traditional 30,000 

decorative and performing arts of the lou’er Chattahoochee Rirer 

Valley region of Georgia and Alabama. 

For a program to present traditional Chamorro and Carolinian 14,206

folk artists in workshops and c~dtural programs in public schools 

o~ Ti~ffan, Rota, and Saipan. The traditional art forms to be 

presented i~wlvde dance songs, storytelling, u’ood carting, offloom and on-loom wearing, and palm crafts. 

For planning costs reqnircd to mou~t the first Northern Mari- 10,000 

anas Festival of Traditimml Arts. 

For artists’fees a~td presentation costs for the "Primer Festival 21,629

de Mt~sica Tradicional de America Latina" in Los Angeles, a 

festival of traditional Latin music of the H~asteca and Tierra 

Caliente, Mexico, the Peruvian Andes, and P~terto Rico. 

695 
Dallas Independent School District 

Dallas, Texas 

Des Moines Area Community College 

Des Moines, Iowa 

Detroit Council on the Arts, City of 

Detroit, Michigan 

Documentary Educational Resources 

Watertown, Massachusetts 

East Bay Center for 

the Performing Arts 

Richmond, California 

East Tennessee State University 

Johnson City, Tennessee 

Folk Arts 95 

For salaries and artists’fees for a pilot, multi-cultural folk arts 17,450 

program in the school district. 

For the preparation of traditional costumes and instruments for 24,900 

U.S. performance tours by the refugee troupe from the National 

School of Music and Dance of Laos, now resident in the United 

States. 

For field research to identify folk artists in five Detroit ethnic 22,000
 

communities for presentation at 1980 Detroit ethnic festivals.
 

To amend a previous grant to include additional editing and 3,000
 

travel expenses for the production of films on Francophone,
 

Pakistani, and Hispanic traditional arts as performed at the
 

1976 Folklife Festival in Washington, D.C.
 

For a program of instruction and performance in Japanese 9,000
 gagaku ~nusic, Chinese folk music in the Cantonese style, and
 

Chinese classical music.
 

To present folk-artists-in-schools programs to ten schools in the 16,500
 

Jonesboro area.
 

Edwards (John) Memorial FoundationFor re.vearch in preparing a discography of ethnic music re- 15,550 Los Angeles, California 

Ferrum College 

Ferrum, Virginia 

Film Arts Foundation 

San Francisco, California 

Florida Department of State

White Springs, Florida 

Florida Department of State 

White Springs, Florida 

Florida Department of State

White Springs, Florida 

Fort Mason Foundation 

San Francisco, California 

Fort Mason Foundation 

San Francisco, California 

Genesee Child Day Care Center 

Batavia, New York 

Georgia Agrirama Development 

Authority

Tifton, Georgia 

Georgia Folklore Society

Atlanta, Georgia 

Graduate School for Urban Resources 

and Policy 

San Diego, California 

Great Lakes Arts Alliance 

Columbus, Ohio 

Hawaii Council on Portuguese 

Heritage 

Honolulu, Hawaii 

Hendersonville Arts Council 

Hendersonville, Tennessee 

corded in the United States between 1895 and 1942. 

For a one-year Folklife Internship Program to provide a folklife 10,050 st~tent uqth on-the-job experience at the Blue Ridge Institute. 

To amend a previons grant for completion of a one-hour docu- 12,180 

mentary film on American traditional music today as seen 

through the lives of musicians Mike Seeger and Alice Gerrard. 

For a comparative exhibition including workshops in traditional 9,000 

and contemporary Florida basketry to be presented in five community arts centers around the state. 

For a pilot folk-artists-in-the-schools program in the Hillsborough 23,021 

County School system. 

For the pre-production costs of an LP phonograph record and 7,760 

accompanying booklet of the multi-ethnic traditional musics 

of Florida. 

For the sixth annual Western Regional Folk Festival at the Golden 10,000 

Gate National Recreation Area. 

For a folk arts coordinator ~qth the Golden Gate National 15,000 

Recreation Area a~d the Fort Mason Foundation. 

To produce a brochnre to accompany the recently completed film, 2,450 

Mohawk Basketmaking: A Cultural Profile. 

For performances and workshops on the traditional religio~ts 10,000 

and secular music and dance of south Georgia at Georgia Agrirama, an outdoor living history museum of Georgia rural life. 

For the fourth annual Georgia Sea Islands Festival. 10,000 

For the identification of local Filipino traditional artists, a 17,500 

Filipino folk arts festival, and an apprenticeship program in 

Filipino traditional arts. 

For field research to document and present, through exchange and 41,120 

touring programs, traditional artists of several Appalachian 

communities in the Great Lakes states. 

For a series of presentations and workshops by traditional 15,000 

artists on the Hawaiian-Portuguese community. 

To expand the annual fall festival to include more traditional 8,500 

Tennessee music and crafts activities. 
96 Folk Arts 

Highlander Center 

New Market, Tennessee 

hlaho Commission on the Arts 

Boise, Idaho 

Indian Center of Santa Barbara 

Santa Barbara, California 

Indiana Arts Commission 

Indianapolis, Indiana 

Indiana Division of State Parks 

Indianapolis, Indiana 

Indochine~ Community Center 

Washington, D.C. 

Institute for Southern Studies 

Durham, North Carolina 

Inter-American University of 

Puerto Rico 

San Juan. Puerto Rico 

Irish Cultural and Folklore Society 

Washington, D.C. 

Japan To\vn Art Movement 

San Francisco, California 

Jefferson National Expansion 

Historical Association 

St. Louis, Missouri 

Jonesboro, Town of 

Jonesboro, Tennessee 

Kansas Arts Commission 

Topeka, Kansas 

Kansas State Historical Society 

Topeka, Kansas 

KCTS/9 Educational Television

Seattle, Washington 

Lake County Parks and Recreation 

Department 

Crown Point, Indiana 

Lettumplay 

Washington, D.C. 

Las Lupenos 

San Jose, California 

Los Rios Community College District 

Sacramento, California 

Louisiana State Arts Council 

Baton Rouge, Louisiana 

Louisiana State University 

Baton Rouge, Louisiana 

Maine Maritime Museum 

Bath, Maine 

For prclim~mtr!! fiehllcork to ~(h’nti.f!! local fidk arts resource 5,030 

people from mini~g commmdties i~ Appalaehi~t, a~tt for a weekemt reside~ttial workshop o~t the music a~d other traditiomtl arts 

of the Appalaehia~ coalfields. 

For the salar!! a~d ea’pe~tses of ~ state folk ttrts eoordim~tm’. 15,100

For the eo~tstructitm re a traditiomtl log boat in preparatio~ ~)r 10,000

the Chumash Tr(uh’ Route boat royage ceremm~l in the Sa~da 

Barbara Chatttwl. 

For the salar!h tracel, amt programmi~lg bmtget of a stale 22,500 

arts eoordimttor. 

7,527 To hire a fidklorist .for three months to work with the Cull!o’al 

Arts Program of the b~diamt Stale Parks in ide~ti.f!ti~.q, doe,­

me~din(.I, (tnd p~vse~tti~g local folk artists i~ the area ~( Clifl!! 

Falls State Park. 

To present a major concert ~¢ traditimtal Vietm~mese, Laotian, I3,270 

aml Cambodian music and da~c(’. 

For a one-Itour, 16ram color film m~ the traditimml black choral 30,000

music motg in "Prim itive"or "Old School" Ilaptist churches ahmq 

the North Caroli~m-Virgi~da border. 

f’or the dm’umentatim~ o.f Afro-Caribbean fidk arts of the village 16,992 

qf Loiza Aldea as evide~wed d~ring the ammal Patron S~tint 

Festiral ~f the Apostle Sa~3iago. 

For a traditional Irish fidk m~sie f!,stiral aml jt&il(,e. 8,350 

traditional arts eo,tpo)w~d i~t the a~tmml Oshogatsu 4,000 

Matsuri, the Japanese New I%ar.festiral. 

For the ammal bS"o~tier Folklife Festical. 10,000

For the Ohl Time Com~tr!! Radio Reu~tiom a three-day ceh’bra- 10,290 

tion of the history ~¢ com~tr~l n,m~ic ,m radio i~t the upper east 

Tenm,s.~ee are~. 

7)) amend a previous grant to corer additio)ml costs for recording 2,154

tape, photogralfl~!!, amt travel for the Kamsas Folklife suree!!. 

For the second annual Ka~tsas Folklife Festi,’al. 12,000

22,317 For a half-/lo!~r docu,!e~tar!t film rm the traditimml dance a~d 

and music of the Croatian-American peoph’ qf Amwo~e,s’, 

Wash ingtm~. 

19,920 For the salar!! qf a regi<mal f!)lk arts <,oordinato~; a~(1 for t++’<)­

gramming c.rpe~tses associated with folk arts programs at the 

b~diana Dtows Nat!mini Lakeshore. 

t~3. ̄ traditiomtl musician, Charles Sayles, to teach bbws har- 11,282 

monica at Lo~qm~ Prison. 

For traditional ml~sicians’ fees for 20 prcsentatio~m of 3lexican 2,000 

t?lllSiC aIl(t da~lee. 

For artists’ f!,es, a ml .for a n i)derpretaticc pro.qra,! booklet 6,348

the 1980 Saerame~lto Blues Festival. 

the salary of the state folk arts coordinator. 21,066 

To prepare aml print a eataloglw doclo~le~tim.l a special c,rhibi- 5,000 

tim~ of Louisiam~ folk crafts. 

For a comprehen,sice tmblieatimt doclo)lcnting the Ta~wook 4,600 

IVhaler Project through prS~t, photographs, amt dra wings. 
Folk Arts 97 

Maine Maritime Museum 

Bath, Maine 

Maine State Commission on the Arts 

and Humanities 

Augusta, Maine 

Matunda Ya Afrika, Drama, Drum, 

and Dance Ensemble 

Philadelphia, Pennsylvania 

Memphis in May International Festival 

Memphis, Tennessee 

Mexican-American Opportunity 

Foundation 

Monterey Park, California 

Michigan Council for the Arts 

Detroit. Michigan 

Michigan Council for the Arts 

Detroit, Michigan 

Milwaukee County Museum 

Milwaukee, Wisconsin 

Minnesota Regional Native American 

Center 

Minneapolis, Minnesota 

Mississippi Action for Community 

Education 

Greenville, Mississippi 

Mississippi Arts Commission

Jackson, Mississippi 

Mississippi Department of Archives 

and History 

Jackson, Mississippi 

Missouri Friends of the Folk Arts 

New Haven, Missouri 

Missouri Friends of the Folk Arts 

New Haven, Missouri 

Monroe County Rural Heritage 

Alliance 

Union, West Virginia 

Montana Arts Council 

Missoula, Montana 

Montana Arts Council 

Missoula, Montana 

Montana Arts Council 

Missoula, Montana 

National Center for Urban Ethnic 

Affairs 

Washington, D.C. 

National Council for the 

Traditional Arts 

Washington, D.C. 

National Council for the 

Traditional Arts 

Washington, D.C. 

To research and docnment the traditional designs and building 7,500
 

arts used in several types of traditional fishing craft from the
 

inshore fisheries of North Amerieca
 

For the Maine Folklife Survey, in preparation for the establish- 48,141
 

ment of a statewide folk arts program.
 

For "A Jump for Joy," a city-wide youth folk arts festival pre- 16,535
 

senting traditional children’s folk songs, hand five, jump-rope
 

songs, and mnsical clapping games of black children in Philadelphia.
 

For the Beale Street Music Festival of blues and early jazz and 15,000
 

for noontime concerts of other traditional musics on the Mid-


America Mall during the festival.
 

For transportation and touring costs for a Mexican mariachi 12,000
 

ensemble comprised of senior-citizen traditional musicians and
 

for the salary for its music director.
 

For the salary of a state folk arts coordinator from September 11,450
 

1980 until February 1981.
 

For the salary of a state folk arts coordinator from February 11,450
 

1981 until August 1981.
 

For a series of weekend demonstrations and several two-week 20,000
 

programs of European-American folk craft demonstrations,
 

music, and dance in the Mihcaukee Public Museum’s "European
 

Village" exhibit.
 

For selected traditional artists in Plains Indian tipi painting to 5,000
 

participate in the design and decoration of the village tipis being
 

constructed by the Center.
 

For the third annual Delta Blues Festival, including pre-festival 21,000
 

seminars and workshops.
 

For the salary and travel of a state folk arts coordinator. 17,000
 

For a traveling exhibit and catalogue of Afro-American quilts 11,940
 

made by black Mississippians, from the collection of Roland
 

Freeman.
 

For the "Missouri Tradition," a weekly one-hour radio program 5,017
 

featuring traditional music and folk narratives of Missouri and
 

surrounding areas.
 

For performers’ fees for a one-day program in honor of Ozark 1,350
 folklorist Vance Randolph.
 

For the Mountain Heritage School and its ongoing program of 6,564
 

free cammunity classes in traditional music taught by older master
 

traditional artists of the area.
 

For the addition of a folk-artist-in-the-schools component to the 6,608
 

Montana Arts Conneil’s Artists-in-Schools program.
 

For support of documentation and presentation programs of the 5,825
 

Montana Folklife Project.
 

For a series of 2015-minute radio programs on Montana folklife, 4,484
 

music, and verbal art.
 

To amend a previous grant to cover additional travel expenses for 2,500
 the third nationwide tour of Irish-American singers, musicians,
 

and dancers.
 

For a three-week tour of Franco-American traditional musi- 33,430 

cians, singers, and dancers to Franco-American communities in 

Missouri, Louisiana, and Texas. 

For artists’ fees and trarel expenses from the West Coast for 15,000 

participants in the 42nd National Folk Festival at Wolf Trap 

Farm Park. 
98 Folk Arts 

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. 

National Foundation for Jexvish
 

Culture
 

New York, New York 

National Heritage Trust/Artpark 

Lewiston, Nexv York 

Nebraska State Historical Society 

Lincoln, Nebraska 

Nevada Library, University of 

Rcno, Nevada 

Nexv Jersey Department of Education 

Trenton, New Jersey 

New Mexico Arts Division 

Santa Fe, New Mexico 

New York Foundation for the Arts
 

New York, New York
 

Nexv York, Research Foundation
 

of the City University of
 

Bronx, New York 

North American Indian 

Cultural Centers 

Akron, Ohio 

North Carolina Department of 

Cultural Resources 

Raleigh, North Carolina 

North Carolina Department of 

Cultural Resources 

Raleigh, North Carolina 

North Carolina Department of 

Cultural Resources 

Raleigh, North Carolina 

North Country Community College 

Saranac Lake, New York 

North Dakota Council on the Arts 

Fargo, North Dakota 

Northland College 

Ashland, Wisconsin 

Oboade Institute of African Culture 

Washington, D.C. 

Ohio Arts Council 

Columbus, Ohio 

For a three-week to.r to 15 Jewish popuhttion ce+tters in the 30,000
 

northeast by a. as.senilely of pe~foroters expert i. traditiomd
 

Yiddish pefformbtq arts s.ch as klezmer re.sic, khazones,
 

badkhones, Yiddish theater, aml traditimml folk
 

To amend a prerimm contract for technical as.~i,~tance on the 50,000
 

development, support, and el,al~ation of folk arts" activities,
 

including Native American tt4be,s’, local ettmie associations, and
 

rural communities.
 

3,500 For a second six-week series of concerts at Glen Echo Park, 

Maryland, eelebratblg the music and da~we traditions of the midAtlantic region. 

For traditional performers’ fl~es and presentation expenses for 15,000 

the Jewish Folk Music Festical to be heht in New York City. 

For a one-day celebration at Artpark of the Italian-American 12,000

folklife of the Niagara region, i~wludi~tg a preliminary five-day 

trai~tbtg session ta prepare local Italian-speaking community 

leaders for the presentation of the festical. 

To locate and document traditional artists and craftspeople in 15,590

Nebraska for presentation> at regio~tal festiral,~’. 

To reproduce the videotape Seasons of the Basque on 16ra!! film 4,018 

for public presentation in association with Richard Lane’s photographic exhibit, "Basque Sheepherders: E~ld qf an Era." 

For the position of a folklif!’ coordinator with the Nea, Jersey 26,776 

Historical Comntission. 

For the field recording of traditional Hispanic music of New 14,965

Mexico and Colorado and the production of 25 radio programs 

far the series "La 3b~s’iea de los Vitjos." 

Nora half-hour 16ram film doe.meriting the nlnsic, dance, and 15,000

traditional art objects featured in the Vodun ceremony as practiced by Haitian-Americans. 

For preparation of an LP disc of rare Greek folk musical styles 8,000

with a~t accompa~tying pan~phlet, and for a lice pe?fornta~we b!t 

the Greek-American musicians at Herbert Lehnlan College. 

To bring traditional Natire American si>tgers and da)!cers from 10,000 

Sonlk Dakota, Minnesota. and Michigan to participate i?t a 

three-day festical of b~dian arts in Akron. 

[~br the eoordinator k salary and tra rel and for artists’ honoraria 21,136 

for the "Folk Arts in North Carolina Schools" program. 

For salary and in-state tracel for a documentation specialist 21,916

the Office of FoIMife Programs. 

For a one-hour doc~one~ttary film to demm~strate how the medi­ 35,000

cine show is a nexus for a number of traditional art forms, inclnding music sung in oratory. 

For an apprenticeship program with master traditional Adi­ 18,689

rondack guideboat craftsmen Carl Hathaway and Ralph 

~{o fro u’. 

To ante?ld a precious grant to increase salary a?td ira cel e,cpe~tses 1,000 

for the state folk arts eoordbmtor. 

To collect and archit’e the traditional mr>sic of northern IVis­ 29,840

eonsin and Michigan>, and for work with area eonlnlunities in 

usStg the traditional performers of this nmsie in local festivals 

a~td community celebrations. 

For a series of workshops for Ghanaian residents of the metro- 5,910 

polilan D.C. area in traditimml Ghanaian m.,sie and dance. 

For a f.ll-time state coordinator.for the folk-artists-in-the-schooIs 10,000 

program. 
Folk Arts 99 

Oregon Arts Commission

Salem, Oregon 

Pennsylvania State University 

New Kensington, Pennsylvania 

Phelps Stokes Fund 

Ne~v York, Ne~v York 

Phelps Stokes Fund 

Nexv York, Ne~v York 

Phoenix Arts Coming Together 

Phoenix, Arizona 

Pioneer Valley Folklore Society 

Northhampton, Massachusetts 

Pittsburgh, University of 

Pittsburgh, Pennsylvania 

Puppeteers of America

Washington, D.C. 

Randolph County Creative Arts 

Council 

Elkins, West Virginia 

Rappahannock Community College 

Glenns, Virginia 

Rhode Island College 

Providence, Rhode Island 

Robb, John Donald 

Albuquerque, New Mexico 

Salem College 

Salem, West Virginia 

Salish and Kootenai Community 

College 

Pablo, Montana 

San Antonio Independent School 

District 

San Antonio, Texas 

Seattle Folklore Society

Seattle, Washington 

Shepherd College 

Shepherdstown, West Virginia 

Sino-American Cultural Society 

Washington, D.C. 

Skokomish Indian Tribe 

Shelton, Washington 

South Dakota Friends of 

01d Time Music 

Sioux Falls, South Dakota 

Southern California, University of 

IdyIlwild, California 

To amend a previous grant for the catalogue and exhibit, "Folk 6,600 

Art of the Oregon Country." 

For a series of three traveling exhibitions on Polish and Irish- 2,450 

Scottish traditional needlework, Ukrainian egg decoration, and 

folk customs of local ethnic groups in the New Kensington region. 

For a series of performances in prisons in the tri-state area by 14,000 

Afro-Cuban master traditional musician Julito Collazo and his 

ensemble. 

To enable traditional artists from the United States and Puerto 16,396 

Rico to participate in the second annual "Caribbean Expressions: African Diaspora in the Americas--Manifestations in 

Urban Settings." 

For field work to identify local artists for presentation in the 1,000 

"Hello Phoenix!" Festival. 

For fees and research costs required to produce a recording and 5,000 

booklet documenting the repertory of Paul van Arsdale, a traditional hammer dulcimer player from western New York. 

To document the major ethnic music traditions of Pittsburgh, and 10,000 

to present ethnic music festivals and teachers’ workshops. 

For transportation and presentation costs for traditional Ameri- 8,000 

can and Sicilian-American puppeteers to perform at the thirteenth Quadrennial Congress of l’Union Internationale de la 

Marionnette. 

For performers’fees and presentation costs for traditional Appa- 5,000 

lachian artists in the "Old Masters" program of the Augusta 

Heritage Arts Workshop. 

For the second local folk arts festival at the south campus of 4,000 

Rappahannock Community College. 

For artists’ fees and organizational expenses for a traditional 5,690 

arts component in a Hmong New Year Festival. 

To amend a previous grant to transcribe, organize, and make 15,000 

available to the public the J. D. Robb Collection of Hispanic Folk 

Music. 

For a six-month residency by Oral Nicholson, traditional basket- 5,647 

maker, at Fort New Salem. 

To re-establish two traditional dances of the Salish and Kootenai 11,000 

tribes. Costs include instruction by tribal elders, preparation of 

traditional costumes, presentation of dances, and video-tape 

documentation. 

For a mariachi-in-residence program in the school district. 16,600 

To amend a previovs grant to cover increased film and labora- 2,973 

tory costs of the film American Blues Artists. 

For a local folk music component for a one-month Festival of the 1,750 

Arts. 

For artists’ fees, travel expenses, and demonstration materials 12,500 

for a series of educational presentations, master classes, and 

performances of Chinese Peking Opera. 

To document traditional basketry of the Skokomish and neighbor- 19,280 

ing tribes for workshops, school presentations, and "culture 

banks." 

For the Split Rock Festival to be held in Sioux Falls, South 1,360 

Dakota. 

For a one-week workshop in traditional American folk music at 6,000 

the Idyllwild School of Music and the Arts. 
100 Folk Arts 

Southern Folk Cultural Revival Project For the Tennessee "Grassroots Days," a two-day festival pre- 6,000 

senting traditional musicians and craftsmen from thronghout 

the state. Nashville, Tennessee 

8,000 Southern Folk Cultural Revival ProjectFor a series of weekly u’orkshops featuring local traditional 

Nashville, Tennessee 

Southxvest Center for Educational 

Television 

Austin, Texas 

Southwestern Alternate Media Project 

Houston, Texas 

SUM Concerts 

Houston, Texas 

Sun Valley Center for the Arts 

Sun Valley, Idaho 

Tennessee Arts Commission 

Nashville, Tennessee 

Tennessee Department of Conservation 

Nashville, Tennessee 

Tennessee Folklore Society 

Murfreesboro, Tennessee 

Texas Commission on the Arts 

Austin, Texas 

United Labor Agency of Greater

Washington, D.C. 

Washington, D.C. 

Urban Gateways 

Chicago, Illinois 

Utah State University

Logan, Utah 

Vermont Council on the Arts 

Montpelier, Vermont 

Vermont Council on the Arts 

Montpelier, Vermont 

West Nebraska Arts Center 

Scottsbluff, Nebraska 

West Nebraska Arts Center 

Scottsbluff, Nebraska 

Western Carolina University 

CulIowhee, North Carolina 

Western Carolina University 

Cullowhee, North Carolina 

Wingate, Town of 

Wingate, North Carolina 

Wyoming Council on the Arts 

Cheyenne, Wyoming 

musicians and craftsmen to be presented in t~e Tennessee State 

Penitentiary in Nashville. 

For a bilingual series of 13 half-hour radio progra ms on Mexican- 20,000

American folklore and traditional arts. 

For a 16ram film documenting the many traditional arts prac­ 25,000

ticed in Texas Czech communities. 

For the fonrth annual "Juneteenth BInes Festival" celebrating 8,000

Emancipation Day in Texas. 

For the Institnte of the American iVest~ sureey of traditional folk 10,000 

narrative in htaho and bordering,states, and for the third annnal 

Northern Rockies Folk Festival. 

For a visiting folk artist component to be added to the education 5,750 

program of the Conntry Music Hall of Fame Museum. 

For the Tennessee State Parks Folklife Project, in~,olving the 18,110

identification, documentation, and presentation of local traditional artists and craftsmen in six state park areas. 

For the preparation of three booklets to accompany a flee-album 2,230

series on the traditional music of the Cumberland Plateau region 

of Tennessee and Kentucky. 

To snpport the position of a state folk arts coordinator. 19,615 

To amemt a previous grant to cover the additional costs for print- 1,500 

ing a program booklet on verbal occupational arts. 

For a folklorists~ salary attd tracel, rich! research, attd person­ 20,000

nel costs for the Urban Gateways Folk Artists-in-the-Schools 

Progra m. 

To locate and document regional folk artists and craftsmen in the 16,818 

lower Bear Ril,er basin of Utah and Idaho, and to presoff a 

number of these artists at the Fife Confere~we on IVestern A merican Folk Culture and Great West Crafts Fair. 

23,900 For a State Folk Arts Coordinator am! for research costs in
 

conducting a state-n’ide snr’cey of Vermo~t arts and artists.
 

For the Vermo~tt Folk Arts Praject, a4tich im’ludes a major folk 18,0.10
 

art exhibit, a folk arts festiral, a folk-artists-in-schools program,
 

a traceling photographic exhibit of Vermont traditiomd crafts,
 

and a pilot radio program on Vermont humor.
 

To hire a traditional Greek-American o~vhestra from Colorado 1,500
 

for the annual ethnic celebration of the local Greek community in
 

Bayard, Nebraska.
 

For a regional, two-day festival of traditional Nebraska folk arts. 7,530
 

For the position of folklife specialist a’ith the Mountai~t H~,ritage 19,104
 

Center.
 

For the seventh annual Mou~ttai~t Heritage Day, celebrating 13,345
 

traditional mnsic and crafts of the region.
 

For the "Red Clay Reunion: Union Cou~dy Folklife Festiral," 3,000
 

celebrating crafts, dance, music, and 9ames traditiomtl to Union
 

County.
 

For the position of folk arts coordinator. 19,047
 
Folk Arts 

Apprenticeships 

Abdul-Samad, Saeed 

Washington, D.C. 

Bassett, Ed~vard R., Jr. 

Perry, Maine 

Brown, Paul H. 

Mount Kisco, Kentucky 

Bui, Tu A.

Alexandria, Virginia 

Caraballo, Miguel,, Jr. 

Ponce, Puerto Rico 

Cohane, Mary 

Philadelphia, Pennsylvania 

Durall, John K. 

Glendale, California 

Gerrard, Alice 

Garrett Park, Maryland 

Girardi, Ruth

Los Angeles, California 

Good Tracks, Robert 

Pawnee, Oklahoma 

Guerra, Arnold A. 

La Puente, California 

Herrera, Fermin 

Oxnard, California 

Herrera, Jorge 

Oxnard, California 

Herrera, Jose Tomas 

Oxnard, California 

Hua, Thanti Phuong

Falls Church, Virginia 

Jaramillo-Lavadie, Juanita 

Taos, New Mexico 

Jones, Bert C. 

Hollywood, Florida 

Molina-Morales, Jose M.

Punta Santiago, Puerto Rico 

Negron-Rios, Jose L. 

Corozal, Puerto Rico 

Nguyen, Kim Oanh Thi

Alexandria, Virginia 

Pepperi, James 

Lincoln, Nebraska 

Rosario, Cesar I. 

Ceiba, Puerto Rico 

Saunders, Michael

Coventry, Rhode Island 

Folk Arts 101 

To enable performers or craftsmen to study with traditional masters

in their field. 

Program funds: $54,740 

To study West African drumming with master Ghanaian drummer, Yacub Tetteh Addy. 

To stndy the making of the Passamaquoddy birch bark canoe with 

traditional craftsman William Commando. 

To study five-string banjo with master traditional artist Fred 

Cokerham of Belrews Creek, North Carolina. 

To study the moon-lute with master traditional Vietnamese artist 

Tam Vi Thuy. 

To study carnival mask-making with master traditional maskmaker Miguel Caraballo. 

To study traditional Anglo-American balladry and singing style 

with master traditional artist Sara Cleveland. 

To study the Veracruz harp with master traditional artist Jose 

C-utierrez. 

To study traditional fiddling with master artist Tommy Jarrell. 

To study the Veracruz jarana with master traditional jarocho 

musician Jose Gutierrez. 

To study Oklahoma-style German silverwork with master traditional Indian Craftsman Julius Caesar. 

To study the Veracruz requinto with master traditional jarocho 

musician Jose Gutierrez. 

To study Mexican jarocho harp with master traditional musician 

Mario Barradas. 

To study the Mexican Huastecan huapanguera guitar u~th 

master traditional musician Wilebaldo Amador. 

To study the requinto jarocho, a small Veracruzan guitar, with 

master traditional artist Lino Chavez. 

To study the tranh, a type of Vietnamese dulcimer, with master 

traditional artist Tam Vi Thuy. 

To study handspinning, dyeing, and weaving with master traditional weaver Norma Maestas. 

To study the ceremonial arts associated with traditional Seminole 

medical practices with master traditionalist Frank Shore. 

To study traditional coconut-shell carving with master traditional carver Julian Acosta. 

To study the making of traditional seed jewelry with master 

traditional jewelry-maker Rafael Negron. 

To study the tranh with master traditional Vietnamese artist 

Tam Vi Thuy. 

To study blacksmithing with master traditional smith L. A. 

Jorgensen. 

To study traditional woodcarving with master traditional woodcarver Angel Manuel Rosario. 

To study Cape Breton fiddle style with master traditional musician Jerry Holland. 

1,500 

2,980 

1,200 

1,500 

3,500 

1,000 

1,500 

1,500 

1,152 

1,200 

1,152 

1,000 

1,200 

1,200 

1,500 

3,000 

6,600 

3,500 

3,500 

1,500 

1,500 

3,500 

1,404 
102 Folk Arts 

Senders, Stefan J. 

Los Gatos, California 

Shareef, Jamal 

Washington, D.C. 

Thibeau, Judith Chisholm 

Chelbca, Massachusetts 

Tran, Phuong My Thi

Falls Church, Virginia 

Valdez, Ricardo 

Wilmington, Colorado 

1,500 To study b(~jo a~(1 fiddle with master tr(~ditio~lal m~sicia~t 

Tommy Jarrell. 

1,500 

To st~dy tr~tditimml C(U)e Bretm~ Isla~d step d¢~wi~g with 1,500

several traditim~al Cape Bret(m da~wers. 

1,500 To steM!! the tranh with master tr~ditio~ml Viet~am(’se artist 

T~tm Vi Th~!!. 

To st~dy the Verocr~z harp with master tr~ditimml jarocho 1,152 

m~sicia~ Jose G~dierrez. 

104 I~ter-Arts 

MUSIC, DANCE. T~.ATER;
 

LABOR S~LS EXHIBITS;
 

FILM FESTWAL;
 

I~LLER SKATING
 

A..B~D ANO RO~S EVENT
 

SI~ISORED BY: DISTRICT 1
 

NATIONAL HOSPITAL UNION
 
Inter-Arts 105 

Inter-Arts
 

When Special Projects changed its name this 

year to "Inter-Arts," we were dramatizing a 

confidence and clarity of vision we had not had 

before. As language, "special projects" could 

refer to anything; "Inter-Arts," although not 

without its blurred edges, is firmly in the camp 

of the arts. It is an interdisciplinary arm of the 

Arts Endowment. 

Projects that incorporate more than one art 

form, where no single art is dominant, and 

institutions that offer more than one art form to 

the public--both come under our purview. 

In effect, this means that our funding 

categories range from service organizations and 

presenting organizations to artists’ colonies and 

collaborative works that are neither sculpture, 

theater, music, dance, nor video but something 

innovative that may involve all of them equally. 

That said, let us focus on the most critical part 

of the program--the one whose formulation 

brought us the greatest challenge during 1980: 

the evolving program for presenting organizations. 

There are some who fear that the energy 

shortage and the increasing sophistication of 

television signal a decline in the presentation of 

live performing arts. In the future, they believe, 

audiences will remain at home, flick on the TV 

set, and be able to watch anything from 

Sophocles to the Alvin Ailey dance company. 

With access both to "live" TV performances and 

video cassettes, the expectation is that we will 

have, in our living rooms, the equivalent of a 

reader’s library containing a full range of 

literature: from classics and popular novels, to 

the newest experimental poetry. 

The vision is exhilarating and devoutly to be 

wished. Clearly technological advances are 

propelling us into the whole area of reproduced performance. But reproduction cannot substitute for live performances because 

contact between audiences and performers is 

artistically irreplaceable. The dynamic that 

develops between them occurs only in liveperformance settings where a sympathetic 

collaboration nurtures and inspires artists and 

breathes life into their performances. This 

dynamic is what the Inter-Arts Program fosters 

when we help support presenting organizations. 

In turn, presenters have an inspiring effect on 

the artistic life of their communities. 

Our efforts this year have gone primarily into 

developing a program to strengthen presenting 

organizations and helping them do the job they 

are best able to do: bringing high-quality live 

performing arts and artists together with responsive audiences. Some presenters have needed 

help in increasing their earned incomes; they 

have applied to Inter-Arts for grants to hire fundraisers and to launch fund-raising campaigns. 

Others have judged their immediate need to 

develop new audiences and have applied for 

funds to undertake audience surveys. Who are 

their potential audiences? What kinds of programming will appeal to them most? What 

factors have kept them from purchasing tickets? 

Once a presenter knows the full extent of its 

potential audiences, it can direct its efforts 

toward reaching them. Inter-Arts is helping to 

support such marketing efforts as outreach 

programs, computerized mailing lists, and 

targeted advertising. 

It is a misconception, by the way, to think that 

because presenting organizations offer artistically sound and exciting programs that people will inevitably flock to see them. First of all, people 

need to be aware of what is being presented. Then 

they have to be motivated to attend. That’s what 

marketing is for. Once people experience a live 

performance of high artistry, they discover what 

many of them could not have known before: that 

professional artists provide a quality of experience 

that few or no amateurs can, and it is addictive. 

Presenters then have to find ways of stimulating 

that interest: through better and more responsive 

programming and by making performances 

affordable to those segments of the audience that 

cannot easily purchase tickets. Here again, 

Inter-Arts can assist. We are helping to 

support program developers and innovative 

subscription projects. 

The goal of the Presenting Organizations 
106 [~ter-Arts 
Program within Inter-Arts is not to create an 

artificial demand for an unnecessary product. 

Our aim is to make the performing arts--one 

element of the rich and diversified culture of this 

nation--more accessible to more people. Although 

we are necessarily interested in method--in the 

ways we can intelligently and effectively assist 

presenters--]~ow ~ve help is less important than 

w/~y we help. 

There are two reasons: One takes us into the 

structure of the Endowment itself. The discipline 

Programs support their o~vn disciplines and, 

among other things, help their artists to tour the 

country. But no matter how generous the 

support, a dance company, a theater company, a 

string quartet need, once they are on tour, 

suitable places to perform and people to perform 

for. In other xvords, they need professional 

presenters or sponsors that can provide facilities 

and attract audiences. But often performing 

artists have found themselves in locations without 

either. The presenters were not up to the task. 

Hence, in order to improve the touring experience 

for performing artists, the Endo~vment began to 

consider a program to assist presenters. 

The second reason is as simple as "Man cannot 

live by bread alone." Yet because of tight 

budgets and, in many cases, restricted vision, our 

country has given little more than lip service to 

the truism. More and more often our educational 

system has ceased to reinforce the arts. When the 

arts are taught, they are rarely contemporary 

arts--the arts that grow out of our lives, our 

times. Narrowly, our schools often think that 

"serious" music is only Beethoven and Mozart, 

that "serious" art is only Michelangelo and, 

perhaps, the Impressionists, that "serious" drama 

is only Shakespeare. 

Presenting organizations, which at their best 

are leaders in bringing high-quality contemporary arts to the public, are also sometimes bound 

by traditional perceptions and have limited 

visions of what programming ought to be; their 

assumption, as it were, is that everyone needs to 

love Beethoven. This is untrue and unrealistic. 

America is made up of many cultures; it is vast, 

non-homogenous, and multi-racial. No "official" 

group of composers or painters or playwrights is 

going to reach and inspire everyone. 

We have to counteract the conditioning that 

Iuter-Arts 107 

wishes to confine our artistic lives to "approved" 

forms of creative expression and to the notion-­

held by some presenters and some members of 

the audience as well--that the arts are created 

for only an elite. 

There are millions of people whose lives can be 

enriched by the arts. But because they have 

gotten their exposure to the arts in a joyless 

context, or because their own art forms have 

been ignored or diminished by the artistic 

establishment, they may be hard to attract. But 

they are reachable if presenting organizations 

approach them sympathetically and offer them 

art experiences of high quality that will satisfy 

their unexpressed longings for meaning and joy 

and transcendence. 

The poet Louise Bogan once wrote: "First that 

it should be romantic, exciting: then, that it 

should be bearable; and at last, that it should be 

understandable. These are the stages which we 

go through, in forming our desires concerning 

life." Precisely because the arts can and do help 

to satisfy those desires, it is important that they 

are made available to the widest possible public. 

Neither young nor old may be ignored. Ethnic 

and black performing arts of the highest quality 

must be presented, too, and not merely to ethnic 

and black audiences. The contemporary arts, 

difficult because they are unfamiliar to both 

audiences and critics, should be made accessible 

to the public, and the public encouraged--in 

non-patronizing ~vays--to appreciate them. Presenters can make all that happen. 

1980 has been a good year for the Inter-Arts 

Program in all our categories of support. But 

particularly by shaping a new program of grants 

to presenters, we are helping both to enlarge 

audiences for the performing arts and to 

encourage the spread of the arts to all corners of 

America. My staff and I look forward to the next 

challenges. 

Esther Novak 

Director, Inter-Arts Program 
108 I~ter-Arts 

Inter-Arts Advisory Panel
 

Policy Panel 

Simon Michael Bessie, Chairman 

Publisher 

Old Lyme, Connecticut 

Fernando Alegria 

Poet, educator 

Stanford. California 

Thomas Bacchetti 

Associate general manager of 

symI)hony orchestra

Atlanta, Georgia 

Robert Fitzpatrick 

President of arts/training institution 

Valencia, California 

Natalie Hinderas 

Pianist 

Philadelphia, Pennsylvania 

George lr\vin 

Arts patron 

Quincy, Illinois 

.Iohn Mazzola 

President performing arts center 

New York, New York 

ttenry Moran

Executive director of regional arts 

agency 

Kansas City, Missouri 

Richard Oldenburg 

Museum director 

New York, New York 

Bonnie Pitman-Gclles 

Museum education consultant 

New York, New York 

Barbara Robinson 

Union official 

New York, New York 

Theodore Strigglcs 

Executive Director of state arts 

agency 

New York, New York 

Billy Taylor 

Jazz musician, comt)oser 

New York, Nexv York 

Arts Centers and Festivals 

Tho~nas Bacchetti, Chairman

Associate general manager of symphony orchestra 

Atlanta, Georgia 

Wickham Boyle 

Arts administrator 

New York, New York 

Laura Dean 

Choreographer, composer 

New York, New York 

Natalie Hinderas 

Pianist 

Philadelphia, Pennsylvania 

Frank Jacobson 

Arts center director 

Arvada, Colorado 

Wayne Laxvson 

Executive director of state arts 

agency 

Columbus. Ohio 

tlarvey Lichtenstein 

President, performing arts center 

Brooklyn. New York 

Henry Moran 

Executive director of regional arts 

agency 

Kansas City, Missouri 

Jorge Rigau 

Architect, director of student 

activities 

San ,Juan, Puerto Rico 

Robert Stearns 

Arts center director 

Cincinnati, Ohio 

Billy Taylor 

,Jazz musician, composer 

New York, New York 

,lane Weaver

Managing director of opera-theater 

company 

Houston, Texas 

Services to the Field 

George Irwin, Chairman 

Arts patron 

Quincy, Illinois 

Richard Collins 

Arts administrator, fnnd-raiser

Seattle. Washington 

Nancy Englander

Executive director of artist coh)ny 

Peterborough, New Hampshire 

Barnet Fain 

Businessman. arts t)atron 

Providence, Rhode Island 

Sara (;arretson 

Executive director of service 

organization 

New York, New York 

Diana Gohlin 

.Journalist. public relations specialist 

New York, New York 

Carl Petrick 

Former executive director of state 

arts agency 

Boise, Idaho 

Joan Sandier 

Arts administrator, consultant 

New York, New York 

Lnis Tapia 

Visual artist 

Santa Fe, New Mexico 

Carmen Zal)ata 

Actress 

Los Angeles, California 

Special Projects 

In addition to serving on the 

] ntcrdisciplinm’y/Sl)ccial Projects

Panel, all metal)ors of this panel 

served on l)olicy panels in other 

Endowment programs. 

l{.ol)ert Fitzl)atrick, Chair~nan 

President of arts institution 

Valencia. California 

Roger A1)ral~ams 

Folklorist 

Claremont, Califl)rnia 

Fernando Alegria 

Poet, educator 

Stanford, California 

Sally Banes 

I)ance writer, critic 

New York, New York 

Anne Focke 

Media center director 

Seattle, \Vashingtoo 

l)avid Frank

Producing director of theater 

C()l~l t)any 

Buffalo, New York 

Shirley Franklin 

City of finial, arts administrator

Atlanta. Georgia 

Elliott Galkin 

Educator, director of music 

institution 

Baltimore, Maryland 

Ilenry ttol)kins 

bIusemn director 

Sau Francisco, Cahfornia 
Inter-Arts 109 

Sandra Moore Michael Palmer Theodore Striggles 

Architect, environmental designer 

Tallahassee, Florida 

Poet, editor 

San Francisco, California 

Executive director of state arts 

agency 

New York, Ne~v York 

Program funds: $3,776,836 Inter-Arts Grants 

Arts Centers and 

Festivals 

Arvada Center for the Arts and 

Humanities 

Arvada, Colorado 

Atlanta Arts Alliance 

Atlanta, Georgia 

Brooklyn Academy of Music 

Brooklyn, Ne~v York 

California, Regents of the University of 

Berkeley, California 

Carnegie Institute 

Pittsburgh, Pennsylvania 

Central City Opera House Association 

Denver, Colorado 

Denver Center for the Performing 

Arts 

Denver, Colorado 

Franklin Furnace Archive 

New York, New York 

Haleakala 

New York, New York 

Jacob’s PiIlo~v Dance Festival 

Lee, Massachusetts 

Lincoln Center for the Performing 

Arts 

New York, New York 

Los Angeles Music Center 

Los Angeles, California 

Maryland, University of

College Park, Maryland 

Milwaukee County War Memorial 

Performing Arts Center 

Milwaukee, Wisconsin 

Treasury funds: $ 417,000 

Private gifts: $ 417,000 

To assist organizations that present multi-disciplinary programs and 

that have full-time, year-round administrations. Grants aid such 

activities as fundraising and audience development projects. 

Program funds: $459,325 

Treasury funds: $ 82,500 Private gifts: $ 82,500 

For a marketing director and a pnblicity assistant to implement 

a marketing and promotion campaign to increase andience attendance. 

For a market research surrey to aid both the Atlanta MemoNal 

Arts Center and its member divisions by compiling information 

on attendees and ~on-attendees of Alliance erents. 

For a promotion campaign to attract new audiences for an expanded season of music, da~we, and theater performances. 

To pnrchase a computer terminal and printer to aid in managing 

the fiscal operations of The Committee for Arts and Lectures. 

For a part-time journalist to promote the Three Rirers Arts 

Festi~,al. 

To development a~d implement a comprehensire andience derelopment and marketing program for the 1980 Sumn~er Festiral of 

e~,ents. 

For "Festival Caravan,"a series of neighborhood-oriented presentations by Bonfils Theater using minority artists and ethnic 

material, designed to reach low-income a~d minority areas. 

To rent equipment a~d to hire a technician to enable Franklin

Furnace to prescott a broader range of multi-media artists. 

For a pnblicity associate to implement a pnblicity program at 

The Kitchen throngh adrertisi~g in the p~nt media. 

For a public relatio~s director to derelop and implement a joint 

marketing campaign for Jacob~ Pillow Dance Festival and the 

Berkshire Theater Festival. 

For the Lincoln Center Oat-of-Doors Festival, a major audience 

development tool for the constituents of the Center. 

To establish a Music Center Edncation Division to derelop tahitidiscipline programs. 

For market research, planning, a direct mai! campaign, and 

presentations to commnnitg groups to increase participation in 

the snmmer programs at the Maryland Summer Institute for the 

Creative and Performi~g Arts. 

For festirals in minle, jazz, and modern dance which serve as a 

promotional campaign designed to attract black, Hispanic, a~d 

blue-collar a’hite audiences in Milwaukee 

$20,000 

32,600 

17,500 

5,500 

4,000 

25,000 

TF 7,500 

PG 7,500 

6,500 

25,000 

20,000 

TF 50,000 

PG 50,000 

50,000 

7,000 

14,000 
110 I~tler-ArL~" 

Monmouth County Arts Council

Red Bank, Nexv aersey 

Natural Heritage Trust/Artl)ark

Lewiston, New York 

92rid Street Young Men’s and Young 

Women’s Hebrew Association 

New York, New York 

Paramount Tbeater for the 

Performing Arts 

Austin, Texas 

Queens Cultural Association

Flushing, New York 

Real Art Ways

Hartford, Connecticut 

Robin IIood Dell Concerts 

Philadelphia, Pennsylvania 

Sangre de Cristo Arts and Conference 

Center 

Pueblo, Colorado 

Spoleto Festival, U.S.A.

Charleston, South Carolina 

Washington Performing Arts Society

Washington, D.C. 

White Mountains Center for the Arts 

Bretton Woods, New Hampshire 

Wolf Trap Foundation for the

Performing Arts

Vienna, Virginia 

Women’s Interart Center 

New York, New York 

Interdisciplinary/ 

Services to the Field 

American Council for the Arts 

New York, New York 

Arts and Business Council 

New York, Nexv York 

Arts Development Services 

Buffalo, New York 

Association of College, University, and 

Community Arts Administrators* 

Madison, Wisconsin 

Association of Hispanic Arts

New York, New York 

F~r a ~die~u.v dcrdop,~e,t ~, d .fit mt-m isi~g ,ctb’ities for A rtpa rk. 

To rc-opv, the P, ram<m+d The<~tcr t>q hiri,<.l <tml tr~ti>ti+tg .st,ff 

+t+M physical,g, boo#i,9. <t;t<l markcli+~<.l the 1980-81 .seamm. 

For <t++ amlic+wc dereh+pmc,t-pMdic rel, tio,s coordi+mh," ,>M 

for <t direct ,tuil pro,t<>tio++ camp, 1<.1, f,r The<tier i+l the P, rk. 

hire. director of dcreh>pme+lt ++ml to i>tcrc<+s<, the pro.fcs,sio.+d 

st++ff sah~ries. 

..ces .t the Frc&,ric R. 3I..~! 3l.sic
 

For a mttrketi<q ~t~(1 ,mlic~wc dvrvlopmc~tt c<tmp<tig~ desi.qmd
 

to attract a more rc.<liomtll9 b,svd ,retie,co to the Ce,ter.
 

For a comprehcmsirc .f~¢ml drive ~mt ~t, ,mliem’c dcvdotmw,t
 

project.
 

bS," ,u<lic+wc <h’l’elop,l<,+tl ttmt t>romoHo++ul ,ctiritic.~.
 

For ~ +’am pa ig. of pro.totio++ ,rot p++bl icit!t to i.crc+ts<’ <t.<l ic.ces
 

for the White 3lom+t<+i++s Festir, d. 

For a fldl-timc c<tuc.timt coor<li,.tor t<> .d.t bdster a v.rict!! ~f 

p+’~f.rm i.g arts ira [tli~(.I ~ ml e<l.catimml pFOflr<~ts. 

For the I.tcr. rt Festi!’(tl desig,wd I. i~wrc..~e lmrticip.tio~ i. t/tc 

mtdti-t~rts .ctirilies at lhc O’~ter. 

%500 

25,000 

6,000 

19,785 

10,000 

33,500 

30,000 

15,440 

TF 25,000 

PG 25,000 

35,000 

20,000 

20,000 

10,000 

For interdisciplinary services organizations and institutions to offer 

technical assistance, services to special audiences, and special facilities for artists on a regional or national basis. 

Program funds: $623,250 

Treasury funds: $334,500 

Private gifts: $334,500 

arts ma+tage,lc,t lr<ti++i++~.l co+Lferc,ccs, plddicalio+m ttml 

m<t~mtls. ,ml [~form~tio~ serri<’c.s’. 

For the Skills/Ser!’lccs/Rcsm~rccs Bit,ks, which bri,g corp,,’tttc 

vo!. tdt, ers to proft,ssio~t(~ l, coati ~1. ~11 ty. t, ~td el]t ~t ic a ,’Is flrt>i~lm, to 

dcrclop models i. fire cities. 

For thv l++,,:formi+~g Arts [%twl.,r proqr¢t.t which pr+.’ides hm’­

cost ad.tL~.sio+~ to ctdlur.l e+’e+~t,+ aml ~ .l+uh,.~t sld+sid!! to fifty 

arts gro.lm i+t w+,st+,r,~ New York Shth’. 

For o.-sitc .rtistic ,rot mlmi+d.~tratil’e e,,altmtimts <+f .ppro.dother at>plica+~t.s to the I>~ter-A rts Pro<.l+~tm. 

To (’stablish a program to broade~ arts atc<~re.ess a.to.g the 

city’s Hispa~dc amt Nm~-Hispa.ic populatio~ts through p.blic 

i~(formaliom oulreach, educalimt, a~M rest, arch. 

$150,000 

TF 25,0O0
 

PG 25,000
 

16,000 

40,000 

15,000 
Inter-Arts 111 

8,200 

10,000 

15,000 

6,000 

7,500 

TF 24,000 

PG 24,000 

15,000 

5,000 

7,500 

30,000 

20,000 

5,000 

15,000 

17,070 

25,000 

TF 10,000 

PG 10,000 

TF 67,500 

PG 67,500 

TF 24,000 

PG 24,000 

8,750 

20,000 

18,000 

Atlatl 

Phoenix, Arizona 

Bay Area La~vyers for the Arts 

San Francisco, California 

Bilingual Foundation of the Arts 

Los Angeles, California 

Center for Occupational Hazards 

New York, New York 

Community Art Resource 

San Francisco, California 

Cultural Alliance of Greater 

Washington 

Washington, D.C. 

Cultural Council Foundation 

New York, New York 

Cultural Council Foundation 

New York, New York 

Cultural Council Foundation* 

New York, New York 

To establish a network betwee~ twelre western states for the advocacy of b~dian arts programs and activities. 

To establish an arts arbitratio~t ser~ce to provide low-cost and 

efficie~t means of resolving legal problems. 

To train eight to ten potential Hispanic spo~tsors of the performing arts thronghout California. 

To expand the Ce~ter’s program of research and infornmtion on 

hazards in the cisnal arts to incStde the performing arts. 

To expand the tech~tical assistance program to ethnic arts organizations and artists throngh workshops, direct cons~dtation, and 

pttblications. 

For sercices designed to strengthen the planning and managerial 

capabilities of cnltnral institntions and indi~,idnal artists in the 

Washington metropolitan area. 

For the Materials Do,rations Project, which distri@tes surplns 

materials acq~dred from mannfactnrers and corporations to 

more tha~t 200 arts organizations in New York City. 

To ame~d a prerim~s grant to snpport the Center for Arts Informarion progra~s, i~tcl~tdi~tg an arts information clearbtg hoarse, 

an arts administration library and research collection, counseling, publications, reference and referral services for arts of 

ganizations and artists. 

For Bonnie Pitman-Gelles to eraluate previous grantees for the 

development of new g~ddelines for the Learning Thro~tgb the Arts 

pilot category. 

Cultures and Arts of Native AmericansTo proride technical assistance to Natire American artists and 

Norman, Oklahoma 

Cummington School of the Arts 

Cummington, Massachusetts 

Foundation for the Community of 

Artists 

New York, Ne~v York 

Hospital Audiences 

New York, New York 

Labor Institute for Human 

Enrichment 

Washington, D.C. 

Labor Institute for Human 

Enrichment 

Washington, D.C. 

Los Angeles Theater Alliance 

Los Angeles, California 

MacDowell Colony 

Peterborough, New Hampshire 

Metropolitan Cultural Alliance 

Boston, Massachusetts 

Metropolitan Cultural Alliance 

Boston, Massachusetts 

Millay Colony for the Arts 

Austerlitz, New York 

Museums Collaborative 

Ne~v York, New York 

tribes interested in cnltnral projects across the country. 

For the scholarship program of residencies to n’riters, mttsicians, 

and visnal artists. 

To expand the corerage and distribution of Artworkers News, 

artist-run newspaper. 

To derelop, pt~blish, and distribnte a handbook for artists and 

institutional staff concerning arts programmingforolder persons. 

For a national snrrey of the members of the fire major labor 

nnions of performing artists, to include information on employmerit patterns, wages, and training experience. 

For actirities desigtled to enco~rage an a~,vreness of the arts 

amo~tg union n,orkers. 

To derelop and implement a ticket rot~cher system in the Los 

Angeles area proriding ce~ttralized marketing and audience 

development sere’ices to over 100 performing arts grot~ps. 

To continne reside~tcy fellowships for writers, composers, and 

visnal artists. 

To stwngthen the member cultural organizations throngh collaborative programs, information and comn~unication services, 

administration and training services, and b~dldi~g community 

resources. 

Ta amend a preeions grant for s~tpport to del’elop and implement 

a contpnterized acco~tnti~g andfinancial management sercicefor 

cnltnral institt~tions i~ the greater Boston area. 

For the reside~cy program for composers, cisual artists, and 

writers at the Millay Colony. 

For the CMtural Vo~wher Program, serving cultural institutions 

and community organizations. 
National Council on the Aging

Washington, D.C. 

National Council on the Aging

Washington, D.C. 

Nature Conservancy

Washington, D.C. 

North Carolina Department of 

Cultural Resources 

Raleigh, North Carolina 

Opportunity Resources for the Arts 

New York, New York 

Opportunity Resources for the Arts 

New York. New York 

()ssal)axv Foundation 

Savannah, Georgia 

Performing Artservices 

New York, New York 

Performing Arts Services 

San Francisco, California 

I)uhlishing Center for Cultnral 

Resources 

New York, New York 

St. Paul-l{amsey Arts and Sciences 

Council 

St. Paul, Minnesota 

Sangamon State University

Springfield, Illinois 

Southern Arts Federation 

Atlanta, Georgia 

Theater Development Fund 

New York, New York 

Virginia Center for the Creative Arts 

Sweet Briar, Virginia 

Virginia Center for the Creative Arts 

Sweet Briar, Virginia 

Volunteer Urhan Consulting Group 

New York. New York 

Yaddo, CorI)oration of

Saratoga Springs, New York 

7". proride i~(formcttiou, coumdhttio~t. ~tml tcch~ic~tl ~t.~sisht,cc to 

m’g~t ~iz, tio,s i~t rolred i, arts p r.(.lr, m.~ . ~td .~errices .for older 

sdta tiom , ~t dtcch ~ ic, l assi.~tt~ m’~’ t, orb.m, iz, tio,s i, rob’cd i~ 

(IFtS ])t’O(.]F(IIII,~, (llld st’Fr[(’t’s .fro. (lltl(,l" 

For ttrtist reside.,’ics at the Dmhtml Moi~,ttti, Cohm~j. 

rclrcttt for COmlmser.s., .’tilers. ~tml rist,d ttrtisLs.. 

which .’ill 

,pporl for the, rls. 

T~ &’rdop co,,.~’eli,q (~mt placcme,t .,e*’ricv.~ to i,ridmds ttml 

To coml,ct .m’-da!t tcorkshops iu A’e.’ .h’rseq ~tmt I),crto Rico t~ 

prm’idc rm’,tiomd rvhahilil, tio, co,,m’h,’.s .’ilh i~f~rm,thm 

rcg, rdi,ff c(trccr ,lh’rmttires. j.b .pport,,iti~..~. ,ml 

, caihtbh, jbr the h,mtic,pl~ed i, the arts. 

For thv Oss, b,.. l.sl, mt l’rojcct~ residcm’!l tn’oqr~tm fin" a~tists 

~tt Oss, ba,’ l.~’ht,d. ,~ ishtmt .’ihh’rm’s.~" i, Geom.li,. 

groups ~tml imticidmtl.~ iu d,~Ice, lhc,lcr. ~tm! 

[4)r tt licl.’ct c¢mchcr pmu.lr, m i,~rolri.q ,pl)ro..’i,t,h’l?! ~90 per­

,/},’mi~ql grO.lm [~t lh(’ l].!t arc,. 

the 

tda,,i,fl s(’rri<’vs to mmprq!’it ,rls org,,iz, tim~s h> ~whi~’m’ hm’­

,,d qffectirv p,hlic,tio,s. 

arts gro,ps to tmrticilmle 

,mm~ l, stit,tc i, Arts 

To cootdintth’ tt s’rFirs o.f dct.clo!)lnrnl pro(Irttllts 

m’.’ ttrts org,,izati,us ,’lib bt¢.~iltcs.~ .@ills. 

the l)erclop,Ic.t Serl’iccs IS’,>flr~t ,t trh ich prortdes a.s si.~t, m’e 

qf S,’eet Ih’i,r 

7’o ,mcmt , preri.u.s t.lr,,t to im’lmh, mhlitimml scltMarship 

~ .firv .t the (’c,h’r’.~ mai, rv.~idem’< 

For sh.rt-tvr.i rcsidc.<’l(,s for prqfes.~iomds .’,.’l,’i.g i. lit~’r.­

t.rc. thv ris,,l ,rts. .ml m.si(..l r,)mt).sili... 

50,000
 

25.000 

TF 20,000 

PG 20,000 

4,000 

30,000 

5,000 

TF 25,000 

PG 25,000 

TF 253)00 

PG 25,000 

TF 25,000 

PG 25,000 

2O.000 

12.000 

10,000 

15.300 

10,000 

TF 35,000 

PG 35,000 

5.000 

TF 24,000 

PG 21,000 

TF 30,000 

PG 30,000 
Inter-Arts 113 

For projects that are multi-disciplinary, maintain professional stand- Interdisciplinary/ ards, test new ideas that might become widely useful, and do not fit Special Projects A other Endowment categories. 

Academia 

Albuquerque, New Mexico 

AFL-CIO Labor Studies Center 

Silver Spring, Maryland 

Afro-American Historical and 

Cultural Museum 

Philadelphia, Pennsylvania 

Afro-American Total Theater Arts 

Foundation 

New York, New York 

American Dance Festival 

Durham, North Carolina 

Architectural League of Nexv York 

New York, New York 

Boston Foundation 

Boston, Massachusetts 

California Institute of the Arts 

Valencia, California 

Chicago Project New York 

New York, New York 

Connecticut Commission on the Arts 

Hartford, Connecticut 

Cornish Institute of Allied Arts 

Seattle, Washington 

Council for the Arts in Westchester 

White Plains, New York 

Cultural Council Foundation 

New York, New York 

District 1199 Cultural Center 

New York, New York 

Duke University Medical Center 

Durham, North Carolina 

East Los Angeles Community Union

Los Angeles, California 

Haleakala 

New York, New York 

Hoffman, (Byrd) Foundation 

Nexv York, New York 

Hopi Cultural Center 

Second Mesa, Arizona 

Program funds: $705,240 

For A Ceremony of Brotherhood, an anthologg of the works of $12,500 

Natire American and Chicano u,riters, poets, and artists. 

For the Cet~ter~ program of risual and performing arts activities 15,000 

for resident students, the neighboring eommnnity, and labor representatives from the Washington area. 

For "Expressions ’80," a three-day regional celebration to shon,­ 6,000

case black and Hispa~ric risnal and performing artists. 

For "Black Thea ter Festiva l In ternational, "a m onth-longfestival 50,000 

involving internatio~rally known ethnic performing artists and 

organ iza lions. 

For the 1980 choreographers and composers workshop for young 20,000 

professionals, which enables fonr members of each discipline to 

explore the relationship between the art forms. 

For a major trareli~tg exhibition and pnblication which will pre- 15,000 

sent and doenment the collaborations of eleven architect/artist 

teams. 

For arts events at "Jubilee 350," a festival commemorating the 30,000

city~" 350th birthday. 

For a series of seminars entitled "Techniqnes for Surcival," to 6,000 

assist yonng artists with the transition from academic to professional life. 

For the Neu’ York Art Theater Institnte to create two perform- 17,500 

anee events that u4ll highlight the collections of two mnseums in 

New York City. 

For a developme~tt program to npgrade serrqces to Connecticut’s 20,000

rapidly growing Hispanic commnnitg. 

To establish a "Loan ed Executive Program "to snpplemen t man a­ 21,505

gerial resou~ves of arts organizations in the greater Seattle/Puget
 

Sonnd area.
 

For an arts service program, "Exploring Cnltural Opportunities
 10,000

for the Handicapped," to aid New York State arts organizations
 

in complying with Section 504 of the 1973 Rehabilitation Act.
 

To docnment The Arts Connection~ Talent Search Training and 23,875
 

Arts E.rposnre Program which facilitates the earlg ide~tifieation
 

and training of children a’ith artistic potential.
 

To tour Take Care, a mnsical rerue prodnced as part of the 10,000
 

"Bread and Roses Project," to nine cities thronghont tire United
 

States.
 

For tire Cnltaral Sercices Program which makes arts resotoves 10,000
 

acailable to ,staff, patients, and visitors at the Duke Universit!!
 

Medical Center.
 

To in co rpo rate reco m m e n da t ion s of co m m n n ity-b ased artists in to 20,000

the planning for revitalizing Hispanic areas of east Los Angeles. 

For the production of a series of one-minnte video portraits in 10,000 

which contemporar!! visual and performing artists are ash’ed to 

create 60-second pieces snitable for television. 

For public pe~forma~wes of Robert Wilson’s Dialog/Curious 50,000 

George. 

For a co~rsultant to assist the Hopi Tribal Council plan for the 17,500 

Hopi Tricentennial in 1980. 
114 b~ter-Art,~ 

Independent Curators, Inc. 

New York, New York 

International Sculpture Center 

Princeton, New Jersey 

Lower Manhattan Cultural Council 

New York. New York 

Muse() dcl Barrio

New York, New York 

National Puhlic Radio 

Washington, D.C. 

New York Public Lihrary 

New York. New York 

New York School for Circus Arts 

New York, New York 

North Carolina Arts Council 

Raleigh, North Carolina 

On the Boards 

Seattle, Washington 

O’Neill (Eugene) Memorial Theater 

Foundation 

Watcrford, Connecticut 

l)hell)s Stokes Fund, Trustees of the

New York, New York 

St. Mark’s Church-in-the-Bowery 

New York, New York 

St. Mary’s El)iscopal Church 

Washington, I) C. 

Santa Fe Council for the Arts 

Santa Fe. New Mexico 

To derelof f!,~r i,tetdi.s’ciplimtr!! projcct.s" ,’Itich trill be made 18,5()0 

arr~ihthh’ h> m~s~’,m.~, f!,stirals, aml ,,iccrsiti~’.~" across the 

1"0 H I! tFIt. 

15,000 

t"or rt t)r@’rt to .m’ the N~’.’ )%rl," Sld~wa!! S!tst~’.! to hri.q a~ 2,500 

oriqimtl .,ork qf media ~tFl to tt tit~t,~.~ ~ti.lie.ce. 

14,700 

prmlure ~tmt decelof the ar!s 20,0O0 

Edilirm." rt rmti~ m’m.s" pro(.trrt m r~’tmrti.q o. ~ rls erc.ts lhro.qhthe 

50.000 

Ce,h’r o.f Hie N~’,’ Yor/," thddi~" Lit, arq. 

For the Hi~.l Apph’ 10,000 

.s’lmms’ored ticket distrih!¢tio, lh 

b)~r thr. A rtist.s. T~ ¢t i, i~tf! Pro!lrrt m. wtt ich ,s.~i.~t.s ctt rccr ,10,000 

r~rlisls lhrom.lh apprc~#ic~,.~.hit~s to m~tsh,r ,rlisl.~. rtmt procirh’.~" 

~l iD! profi,cls. 

b’or t.w t)e~formi.ff amt two rismtl rt~t~st~" 5,000 

sh~t).~ ¢t~(t public tmljbrm(t~rc,s ̄ e.rplori~q the rdalh,..~hil~ 

7.550 

lihrclli.~.t.s" for lhc 

20,000 

the pr~dm’ti~m ~,f./bl(r .r~rl hi.~tor!! t).hlic~ttirm.~ 5.0OO 

cht.~s pcoph’ lirim.I o. .]Irt.h~tttrt~t ~" Lower 

4,790 

(;e~rq~, Wr~shi,gtml U,i~’crsilt~. to prm’irh’ re’Is ch~.~s~,s .for the 

dderl!t. 

15,250 

Social and Pul)lic Art Resource Centert~’or ~t proqram i~r~drt~fl i.m,r-cit!! !l~dh iil Hie crcrtlim~ aml 25,000 

Venice, (’alifornia 

Special Audiences 

Atlanta. Georgia 

Sun Valley Center for the Arts and 

Humanities 

Sun Valley, Idaho 

Walker Art Center 

Minneapolis, Minnesota 

Young Men’s Christian Association of 

Seattle 

Seattle, Washington 

To derelop imu;vatire approarhes to re’Is (trrcss for the hamtic~)pped i~ Georgia. 

10,000 

Fo r "Th a I A. ’eso .t e Sp(t re. "a p rogra m tf ~’o rksh o Im ~t ~ d h,ct. res 

o~ racists’ percept!ram of the [IYst, m~d how it i~fhwm’es their 

cmwel#io~ of space. 

25,000 

For "Neu’ Music America, "(t fistiral i~t .’kith composers, i’imml 

(~rtists, mu! drawers work with somul i~ e.rperime~tal 

17,500 

For arts actirities duri~tg "Cit~.lF(~ir," ~t f!,stiv~H hehl i~t J,~w 

1980 to celebrate urhm~ America. 

17,500 
Inter-Arts 115 

Interdisciplinary/	 For grants and contracts that benefit portions of the entire arts field 

and are included under Special Projects for accounting purposes. Special Projects B 

Albuquerque, City of 

Albuquerque, New Mexico 

Auxiliary to Bellevue Hospital Center 

New York, New York 

Coe, Linda* 

Cambridge, Massachusetts 

Cohen, Frances*

Potomac, Maryland 

Cultural Resources*

Washington, D.C. 

Detroit, City of

Detroit, Michigan 

Education, Department of

Washington, D.C. 

Larson, Gary* 

Minneapolis, Minnesota 

Lincoln Center for the Performing 

Arts 

New York, New York 

Malvagni-Vaznaugh, Delpha* 

Washington, D.C. 

Moore, Elvi* 

Chicago, Illinois 

Nash, Teixeira*

Washington, D.C. 

New Brunswick, City of 

New Brunswick, New Jersey 

New York, Research Foundation of 

the State University of 

Albany, New York 

Oakland, City of 

Oakland, California 

Phelps Stokes Fund, Trustees of the 

New York, New York 

Reencuentro Cubana 

Miami. Florida 

Rodriquez, Joe Bastida* 

Washington, D.C. 

Program funds: $1,139,022 

For the Arts/Recreation Strategies Program which integrates the $10,000 

arts into recreation planning. This program is made possible by 

a transfer offlmds from the Department of Interior’s Heritage 

Consercation and Recreation Serrice. 

To docnment the ways in which the arts may be introd~ced into a 15,780

hospital environment to improve patient well-being. 

To amend a prerious contract to npdate the Cultural Directory. 1,500 

To decelop and implement a plan for "National Arts in Educa- 3,600 

tion Week," to occ~r in March 1981. 

To amend a prerious contract to develop and conduct long-range 2,584 

programs to enlarge contributions from non-governmental sources 

in s~tpport of the arts. 

For the Arts/Recreation Strategies Program which integrates the 10,000 

arts into recreation planning. This program is made possible by 

a transfer offnnds from the Department of Interior~ Heritage 

Con.~erration and Recreation Service. 

To proride support for the arts component of the Department of 20,000

Education’s "Salnte to Learning" programs. 

To study cnrrent and possible fittnre procedures for npgrading 6,300 

support to the National Conncil on the Arts. 

To re-open the Virian Beanmont Theater, dark since Angust 150,000 

1977. Snpport nqll be prorided to make the theater physically 

operational before regular rise by the public and performers. 

To serve as the liaison for the Arts/Recreation Strategies Pro­ 13,000

gram, a joint project between the Endowment and the Department 

of Interior~ Heritage Conservation and Recreation Serrice. 

To research and prepare for publication a handbook on touring 25,000

and presentation snpport prorided by Endowment programs, 

and to serre as an advisor concerning touring and presentation 

needs in the arts. 

To assist with efforts to improve affirmative action and minority 22,330 

snpport actirities of the Endowment. 

For the Arts/Recreation Strategies Progra~n which integrates the 10,000 

arts into recreation planning. This program is made possible by 

a transfer offnnds from the Department of Interior~ Heritage 

Conserration and Recreation Service. 

To fltrther minority gradnate participation in the MBA/Arts 15,000

Program at the State Unirersitg of Nen’ York at Binghamton. 

For the Arts/Recreation Strategies Program n’hich integrates the 10,000

arts into recreation planning. This program is made possible by
 

a transfer of funds from the Department of Interior~ Heritage
 

Conservation and Recreation Service.
 

To disseminate information concerning the arailability of fitnd- 12,000 

ing sonrces to minority and small arts organizations in the northeast. 

To identiflj and assist Cnban refugee artists by establishing a 17,500

series of vis~tal and performing arts events to showcase their
 

talents.
 

To eontinne serrices related to minority concerns for the Endow­ 39,959

ment, including conducting research, snrreying the needs of
 

minority arts commnnities and proriding assistance throngh
 

workshops.
 
116 [~ter-Arts 

St. Louis, City of 

St. Louis, Missouri 

SBA/NEA Program for Visual Artists

Washington, D.C. 

Tennessee, University of 

Knoxville, Tennessee 

Texas, University of* 

San Antonio, Texas 

Theater Development Fund* 

New York, New York 

U.S. Bureau of Prisons 

Washington, D.C. 

Washburn (Michael) and Associates* 

New York, New York 

Washburn (Michael) and Associates*

New York, New York 

White House Conference on Families 

Washington, D.C. 

Winston-Salem, City of 

Winston-Salem, North Carolina 

Regional 

Representatives 

Affiliated State Arts Agencies of the 

Upper Midxvest 

Minneapolis, Minnesota 

Boston Foundation 

Boston, Massachusetts 

Cultural Council Foundation 

New York, New York 

Cultural Council Foundation 

New York, New York 

Cultural Council Foundation 

New York, New York 

Kansas City Association of Trusts and 

Foundations 

Kansas City, Missouri 

For the Arts/Recreatio~ Strategics Progra m which i~ttegrates the 10,000 

arts into ~vcreatio~t pla~mbt.q. This program is made possible by 

a tra~tsfer of fiords from the Departme~t of Interior~ Heritage 

Co~tserration a~d Reereatio~ Serrice. 

This joint project with the Small Business Administratio~t i~t- 11,684 

eludes three pilot busi~wss and markctb~g semi~ars, and the 

development of a training manual to be used for seminars with 

arts orga~dzatio~m. 

To proride mt outstamtittg arts admbdstrator a’ith the oppof 47,798 

tu~tit!t.to serve temporarily i~, the Endowme~ttk Grants Offire 

under the httergorernmental Perso~mel Art. 

For co~ttittuation of the Hispa~gc/American Task Force, which 11,665 

will make recomme~Malions to the National Cmmeil o~ the Arts 

eo~werning the artistic ~weds of the Hispa~de-A~wriea~t eommun itg. 

To amend a previous contract for the im’estigatiott of professio~tal 4,900 

traini~g a~d career deeelopment opport!o~ities i~ dance, operamusical theater, a~td theater. 

For the artist-i~t-residence project whirh places professio~ml 25.000 

artists i~ ~i~w Federal correctional i~stilutions throughout the 

U~dted States. 

To imph’me~tt the erabmtion amt teclmical assista~u.e phases of 374,257 

the Institutio~tal Advancemettt Pilot Program of the Challenge 

Grant Program and to procide in-depth tech~tical assistance for 

15 g~wffees of the pilot program. 

To evaluate the fund-raising a~M mam~gement capabilities of 208,120 

appro.rimately 320 Rou~d Four Challe~tge Grat~t applicanlsa~td 

to assess the fund-raising climate i~ up to 35 metropolita~t areas. 

For i~tegrating the arts into the agemla of the three major cmtfer- 17,500 

em’es, in Baltimore, Mimwapolis. and Los A~tgeles, amt to support the cultural ecenls that aceompa~ty these co~@renees. 

For the Arts/Recreation Stralegi~,s Program which integrates the 10,000 

arts into recreation pla~d~tg. This progra~t is made possible by 

a transfer offlmds from the Departme~t of b~terior~ Heritage 

Co~serration amt Recreation Serrice. 

To enable regional representatives to provide assistance and information to artists, cultural organizations, and the Endowment. 

Program funds: $849,999 

For Joa~w Soper to serre as the RegiomH Represenlatice $67,770 

Iowa, Minnesota. Nebraska, No~?h Dakota, a~td South I)akota 

~ttil her resig~mtion ~ffectire May 1980, at which time she was 

replaced bg Romalyn Tilghma~t. 

b)n" Rudy Nasha~ to serre as the Regional Representatiee fin" 65,834 

Comwetieut, MaSw, Massaehu,~t, tts, New tIampshire, Rhode 

Isht~d, a~d Vermont. 

For Joh+~ lVessel t<> serve as the Regional Rel>resentati!’e for New 92,943 

Yorl:, Puerto Rico, a~td the Virgin Isla~ds. 

For Eduardo Garcia to seree as the Regimml Represe~ttatil’e far 67,711 

Delaware, Marylamt, New Jersey, amt Pem~syb’ania. 

For Gerald Ness to svrre as the Regional Represcnlative f!>r Vir- 72,128 gbtia. District of Columbia, No~4h CarolSm, South Carolbta, 

Ten~tessee, Kentucky, and West Virgi~da. 

For b~ra~wes Poleet to serce as the Regimml Representalirc for 76,713 

Arkansas, Kansas, Missouri, Okhthoma, and Te.ras. 
Oregon Arts Foundation 

Salem, Oregon 

Sangamon State University 

Springfield, Illinois 

Southern Arts Federation 

Atlanta, Georgia 

Tortes, Virginia*


Los Angeles, California
 

Western States Arts Foundation 

Denver, Colorado 

Western States Arts Foundation 

Denver, Colorado 

*contract; PG - Program Funds; TF - Treasury Funds 

For Dale Kobler to serve as the Regional Representative for 

Northern Califor~da, Hawaii, American Somoa, ~am, and 

Northern Marianas. 

For Bertha Masor to serve as the Regional Representative for 

Illinois, Indiana, Michigan, Ohio, and Wisco~sin. 

For Robert Hollister to serve as the Regional Representatire for 

Alabama, Florida, Georgia, Lo~dsiana, a~d Mississippi. 

For Virginia Tortes to saree as the Regio~al Representative for 

So~#her~t California and Nerada. 

For Bill Jamison to serve as the Regional Representative for Arizona, Colorado, New Mexico, Utah, and Wyoming until his 

resig~tation effectice Febr~ary 1980. He was subseqnently replaced by Louis LeRog in J~dy 1980. 

For Terry Melton to ser~’e as the Regional Representatire for 

Alaska, Idaho, Montana, Oregon, and Washington 

Inter-Arts 117 

73,610 

68,499 

71,131 

59,315 

61,832 

72,524 

119
 

Literature
 

"Literature cannot be turned on and off like a 

tap, quality cannot be commanded or even 

predicted, it can only be hoped for." Michael 

Scammell, "A Modest Proposal" in The Survival 

a~zd E~courageme~t of Literature in Present Day 

Society, Archive Press, 1979. 

From America’s beginning, writers have been at 

the forefront of its culture, extending the edge of 

perception, looking both outward and inward to 

define all that is ours, all that is human. 

A literature that includes a Cotton Mather, a

Louisa May Alcott, a Bernard Malamud, and an 

Alice Walker is by definition rich, diverse, and 

d~batable. But although writers and critics can, 

and do, argue endlessly over standards of 

excellence, over form and content, none deny the 

cultural importance, the cultural necessity of 

literature. 

Yet for many people, comprehending the place 

of writers in contemporary society and the 

fact, they remain among the least employed and 

lowest paid of all creative artists, a class of 

workers not noted for high incomes. And that is 

not because they lack talent. Two of the greatest 

figures in American literature, Walt Whitman 

and Herman Melville, were financial failures in 

their lifetimes. 

Publishers also tend not to be rich in financial 

resources. The profit levels of publishers are far 

lower than those of many other businesses. 

Booksellers are beset with economic woes, and

public libraries are in terrible financial straits. 

Yet these are the primary institutions through 

which writers reach the public. 

While many writers have persevered in the 

face of terrible circumstances, and will continue 

to do so, financial rewards commensurate with 

the cultural value of their work are rightfully 

important to them. Although no Endowment 

program can begin to insure such rewards, the 

Literature Program always has supported 

specific nature of their problems is difficult ifindividual writers of excellence through its 

not impossible, in part because literature’s value fellowships, which we see as investments in the 

and impact on society are simply not quantifiable. creativity of individual writers. This portion of 

Not only is writing itself a solitary art form, butour Program is of the highest significance. We 

more often than not it is read and appreciated in 

private. Unlike the mural or the public monument, unlike music and theater performed 

before audiences, most novels and poems are 

created to reach one person at a time. Literature’s 

demonstrated power to embrace groups, to 

shape generations, and to change history lies in 

the controlling genius of the writer. 

But such dramatic effects--the impact of 

Thoreau’s Walden on Tolstoy and, through him, 

on Gandhi and the liberation of India, or of 

Harriet Beecher Stowe’s Uvcle Tom’s Cabin on 

the Northern public prior to the Civil War--can 

occur only when the writer’s words reach the 

public. 

Ultimately, the Literature Program is devoted 

to helping that contact happen. 

First we are concerned with the creators of 

literature. Whether they are novelists, poets, or 

even script writers, writers are rarely able to 

support themselves directly from their ~vork. In 

remain convinced that the literary return on our 

investment will be long-lasting and of far 

greater value than the modest funds we are able 

to offer. The creative work accomplished by the 

900 writers who have received Endo~vment 

fellowships has been substantial. Their diverse 

contributions to literature and to the public have 

already been of consequence. In all our planning 

for the future, our commitment to the writer 

remains foremost; helping to support the 

excellence of American ~vriters affirms the 

primacy of the creative individual in art and in 

society. 

Helping to enlarge the opportunities for 

writers to get their work into print is equally 

crucial. Freedom of expression in literature 

requires publication of the writer’s words. 

Unfortunately, access to commercial publication 

is no longer certain today, not even for the very 

best writers. Commercial magazines publishing 

serious fiction and poetry have virtually disap­
WRITERS READING
 

ROBERT HAYDEN
 

MONDAY, FEBRUARY 18
 

FRANKLIN PATIERSON LOUNGE
 

HAMPSHIRE COLLEGE 8PM
 
Literature 121 

peared. As the book industry becomes increasingly beleagured, noncommercial publishing--the 

"little" magazines and small presses--has assumed ever greater importance. In fact, for 

many writers, poets particularly, these outlets 

provide their only opportunities for their works 

to reach the reading public. And yet these 

noncommercial publishers are also in difficult 

straits; their financial and managerial resources 

are often marginal. Here, too, the Literature 

Program recognizes a responsibility: By helping 

excellent small presses and little magazines 

fulfill their artistic goals and achieve their 

fullest potential, we believe that we can make a 

genuine contribution to literature and those who 

read it. Our only regret is that we are able to do 

so little. In 1980 there was an unusually large 

number of applicants in this category--a 

demonstration of the vitality and growth of the 

field--but we were able to offer actual grant 

support to only 60 percent of the small presses 

and little magazines recommended for funding, 

which means that less than 40 percent of all 

those applying received grants. 

These grants to noncommercial publishers of 

books and magazines are relatively few each 

year, even if we include the grants made by the 

Coordinating Council of Literary Magazines, 

which once again received support from the 

Literature Program. But there are other ways to 

contribute to the field: In recent years, for 

example, a number of organizations have been 

formed in order to serve the varied needs of 

noncommercial publishers in the areas of design, 

production, and distribution. Recognizing the 

value of these organizations, the Literature 

Program in 1980 expanded and fully realized its 

"Distribution and Promotion" category, through 

which we offer modest support to a broad range 

of projects. There is little question that, in 

coming years, the organizations supported in 

this category will become increasingly important 

to the Program’s efforts toward making the full 

range of contemporary literature available to 

the broadest possible audience. 

While publishing and disseminating the written word is the most obvious means of writers 

reaching the public, we believe that the contact 

between writers and their audiences made 

possible by readings and residencies is often of 

equal importance. Apart from providing valuable 

sources of income for writers, these activities 

bring writers as flesh-and-blood residents into 

communities nationwide. There they have become 

part of people’s lives. They have helped to write 

local histories, they have created publications, 

collected oral literatures, written films and 

plays about the places Americans live. They 

have also used their skills and sensitivities in 

working with the elderly and the handicapped to 

stimulate creativity and validate their experiences as individuals. Other writers have participated in local reading series and have brought 

their words to life in front of audiences, often the 

only way a writer can hear his or her own words 

resonate. Funds in this category have never been 

sufficient, but in 1980 far more applications 

were received, and more grants given, than in 

any previous year. 

What motivates us is a commitment to 

literature. What excites us is the sheer quantity 

and breadth of current work. What challenges 

us is the complexity of the scene, the fact of 

change, and the difficulty of assessing the 

variety of new voices. What encourages us is our 

vision of what literature has always meant, and 

continues to mean, to human beings individually 

and to society as a whole. For millions of living 

Americans, contemporary literature offers perspectives about the human experience, especially the human experience that is our nation. 

Because of its diversity and, sometimes, its 

difficult complexities, we are often confused 

about its meanings--just as we may be confused 

by the complexities of contemporary society. But 

no matter how difficult, literature has alxvays 

helped to lead us out of confusion. Contemporary 

literature does no less. 

David Wilk 

Director, Literature Program 
Literature Advisory Panel
 

Policy Panel 

Fran McCullough, Chairman 

Literary editor 

New York, New York 

Doris Betts, Co-Chairman 

Fiction writer, novelist 

Sanford, North Carolina 

Janet Bailey 

Bookseller 

Chicago, Illinois 

Rita Mac Brown 

Novelist 

Charlottesville, Virginia 

William Gass 

Novelist, philosopher 

St. Louis, Missouri 

Lyn Itejinian 

Poet, small press editor 

Berkeley, California 

Josephine Jacobsen 

Poet, fiction writer 

Baltimore, Maryland 

Audre Lorde 

Poet 

Staten Island, New York 

James McPberson 

Fiction writer 

Charlottesville, Virginia 

Mark Medoff 

Playwright, screenwriter 

Las Cruces, New Mexico 

Paul Metcalf 

Fiction writer, poet 

Chester, Massachusetts 

Barbara Neal 

State arts agency administrator 

Denver, Colorado 

Michael Palmer 

Poet 

San Francisco, California 

Charles Ro,vell 

Small press editor, poet 

Lexington, Kentucky 

Ricardo Sanchez 

Poet 

Salt Lake City, Utah 

Ted Wilentz 

Bookseller, publisher

Chevy Chase, Maryland 

Suzanne Zavrian 

Literary magazine editor, poet 

New York, New York 

Grants Panel 

David Antin 

Poet, translator

San Diego, California 

Nicholas Delbanco 

Novelist 

Bennington, Vermont 

Mary Feeney 

Translator, poet 

Minneapolis, Minnesota 

Barbara Garson 

Playwright 

New York, New York 

George Gibson 

Distributor 

Boston, Massachusetts 

Literature Grants
 

Jessica Hagedorn

Poet, playwright 

New York, New York 

Arthur Kopit 

Playwright 

Wilton, Connecticut 

Jerre Mangione 

Author 

Philadelphia, Pennsylvania 

Sheila Nickerson 

Poet 

Juneau, Alaska 

Robert Payne 

Translator 

New York, New York 

Anne Pride 

Distributor 

Pittsburgh, Pennsylvania 

Gregory Rabassa 

Translator 

ttampton Bays, New York 

Jerome Rothenberg 

Poet, translator

Encinitas, California 

Raincr Sehulte 

Translator, poet 

Richardson, Texas 

Lorenzo Thomas 

Poet 

Salt Lake City, Utah 

Leslie Ulhnan 

Poet, associate fellow coordinator 

E1 Paso, Texas 

AI Young 

Novelist, screenwriter 

Palo Alto, California 

Program funds: $4,727,750 

Residencies
 

for Writers
 

To enable organizations and public institutions such as state arts 

agencies, libraries, theaters, museums, art centers, prisons, hospitals, 

colleges, and professional groups to sponsor residencies by published 

xvriters. 

Program funds: $437,600 

Actors Theater of Louisville 

Louisville, Kentucky 

For a pla~jwrig/~t-i~t-residc~we fi)r t/w Artor’s TI eater New Pla!! 

Program. 

$5,000 

Actors’ Theater of St. Paul 

St. Paul, Minnesota 

For a pla!twriffltt-i~t-rcsidc~we. 5,000 
Literature 123 

Alaska, University of 

Juneau, Alaska 

Alaska, University of 

Juneau, Alaska 

Allentown Community Center 

Buffalo, New York 

Allentown Community Center 

Buffalo, New York 

American Conservatory Theater 

Foundation 

San Francisco, California 

American Place Theater 

New York, New York 

Arizona Commission on the 

Arts and Humanities 

Phoenix, Arizona 

Arizona Commission on the 

Arts and Humanities 

Phoenix, Arizona 

Arizona, University of 

Tucson, Arizona 

Arts Exchange

Concord, New Hampshire 

Aspen Leaves 

Aspen, Colorado 

Austin Peay State University 

Clarksville, Tennessee 

Bethlehem Public Library 

Delmar, New York 

Bilingual Foundation of the Arts 

Los Angeles, California 

Black Theater Alliance 

New York, New York 

Boise State University 

Boise, Idaho. 

Bowling Green State University

Bowling Green, Ohio 

Burk (Frederic) Foundation

for Education 

San Francisco, California 

Case Western Reserve University 

Cleveland, Ohio 

Center for Community Action

Minneapolis, Minnesota 

Center for the Exploratory 

and Perceptual Arts 

Buffalo, New York 

Centrum Foundation 

Port Townsend, Washington 

Chelsea Theater Center 

New York, New York 

Chicago Theater Group 

Chicago, Illinois 

For writers’ fees for a readings series to be held in Juneau, 

Ketchikan, and Sitka. 

5, 000 

For writers’ fees and travel for the Southeast Alaska Village 

Writers’ Series, sponsored by Douglas Community College. 

For u~’iters-in-residence with Niagara Erie Writers. 

5,000 

5,000 

For writers-in-residence with Just Buffalo. 5,000 

For playwrights’fees for residencies at American Conser~vtory 

Theater. 

5,000 

For playwrights’fees for "The Women’s Project" at the American 

Place Theater. 

5,000 

For writers’fees for readings and short-term residencies in small 

Arizona commnnities. 

2,500 

For n’riters’ fees for workshops at the Arizona State Prison at 

Florence a~d T~tcson. 

5,000 

For writers’ fees for the Visiting Poets and Writers Reading 

Series at the University of Arizona Poetry Center. 

For writers’ fees for readings in rural communities in New 

England. 

For writers’fees for readings at the fifth Aspen Writers’ Conference. 

2,500 

16,000 

2,000 

For writers’ fees for readings and a residency at the Writers’ 

Workshop. 

For a writer-in-residence at the Bethlehem Pnblic Library. 

2,500 

3,500 

For a bilingual playwrigt~t-in-residence. 1,500 

For a playwright’s fee for a residency with Black Theater 

Alliance. 

5,000 

For uviters’ fees for t]~e Boise Public Readings Conso~¢inm. 5,000 

For writers’fees for the Visiting Writers Program. 5,000 

For writers’fees for a residency with cancer outpatients at Mt. 

Zion Hospital in San Francisco. 

20,000 

For writers’ fees for a readings series. 1,100 

For a playwright-in-residence u,ith the Mixed Blood Theater 

Company. 

1,920 

For writers’fees for a residency u~th the CEPA Writing Workshop. 1,300 

For writers’ and playwrights’fees while in residence at Ceutr~m 

Foundation. 

9,400 

For plagwrights’ fees for readings, workshops, and commissioned 

works. 

5,000 

For a playw~qght-in-reside~ce at the Goodman Theater. 5,000 
124 Literature 

Cincinnati, University of 

Cincinnati, Ohio 

Circle Repertory Theater Company 

New York, New York 

City College of New York, 

Research Foundation of the 

New York, New York 

Clark (Sterling and Francine) 

Art Institute 

Williamstown, Massachusetts 

Community Arts Foundation 

Chicago, Illinois 

Creative Writing Center 

of Santa Barbara 

Santa Barbara, California 

Cricket Theater Corporation 

Minneapolis, Minnesota 

Delaware, University of 

Newark, Delaware 

Direct Theater 

Ne~v York, New York 

Double Image Theater 

New York, New York 

Drake University 

Des Moines, Iowa 

East Tennessee State University 

Johnson City, Tennessee 

80 Langton Street 

San Francisco, California 

Empty Space Association 

Seattle, Washington 

Fine Arts Work Center 

in Provincetown 

Provincetown, Massachusetts 

Guthrie Theater Foundation 

Minneapolis, Minnesota 

Hamilton College 

Clinton, New York 

Hampshire College 

Amherst, Massachusetts 

Hartford Playxvrights 

Hartford, Connecticut 

Hartwick College 

Oneonta, New York 

Houston, University of 

Houston, Texas 

Illinois Arts Council 

Chicago, Illinois 

India, Inc. 

San Luis Obispo, California 

Institute for the Preservation and 

Study of African-American Writing

Washington, D.C. 

For u~’iters’ fees for various reside~wies.
 

For plagwrights’fees for resideucies at Circle Repertorg Theoter.
 

For u,riters-in-reside~ce.
 

For u,riters’ fees for readi~gs.
 

For fees for playwrights-i~-reside~ce u’ith the Body Politic 

Theater. 

For u,riters’ fees for .~ho~4-term reside~eies. 

For playu,rights-in-reside~ce.
 

For writers-in-residence.
 

For playn,rights-in-residenee.
 

For playwrights-in-residence.
 

For writers’ fees for the "Monday Writers" reading series.
 

For writers’ fees for residencies.
 

For writers’ fees for short-term residencies at the gallery of 80
 

Langton Street.
 

For a playwright ~ fee for a residency at the Empty Space Theater.
 

For writers’ fees for residencies at the center.
 

For playwrights-in-reside~ce.
 

For fees for visiti~g and in-reside~we writers at Hamilton College
 

and in senior citizen homes i~ the area.
 

For writers’ fees for readings, at Hampshire College, Mount
 

Holyoke, Smith College, and the University of Massachusetts.
 

For fees for playwrights for staged readings in cooperation u,ith
 

Hartford Stage Company.
 

For writers’ fees for residencie.~.
 

For writers’ fees for residencies.
 

For writers’fees for readings and residencies thronghout the state.
 

For writers’ fees for midwestern a~d eastern poets and fiction
 

writers to participate in readi~gs in the rural coastal area.
 

For writers’fees for the Asce~sion Poetry Reading Series which
 

.sponsors both local and out-qf-tou,n poets.
 

3,750 

5,000 

5,000 

3,200 

3,000 

5,000 

5,000 

2,000 

4,280 

1,375 

3,550 

3,000 

5,000 

5,000 

5,000 

4,340 

3,000 

9O0 

3,380 

4,400 

5,000 

4,200 

3,750 

700 
Intersection 

San Francisco, California 

Japantoxvn Art Movement 

San Francisco, California 

Jewish Community Center of 

Kansas City 

Kansas City, Missouri 

Julian Company Theater 

San Francisco, California 

Kansas Arts Commission 

Topeka, Kansas 

Kansas State University 

Manhattan, Kansas 

Kansas, University of 

Lawrence, Kansas 

Kentucky Arts Commission 

Frankfort, Kentucky 

Linfield College

McMinnville, Oregon 

Lion Walk Performing Arts Center 

Pittsburgh, Pennsylvania 

Looking Glass Theater 

Providence, Rhode Island 

Los Angeles Actors’ 

Theater Foundation 

Los Angeles, California 

Manhattan Theater Club 

New York, New York 

Marshall University

Huntington, West Virginia 

Michigan, University of 

Ann Arbor, Michigan 

Middlebury College

Middlebury, Vermont 

Milwaukee Repertory Theater 

Milwaukee, Wisconsin 

For writers’ fees for I~tersection’s Poets and Writers Series.
 

For u’riters’ fees for Asian-American writers-in-residence at
 

Japantown Art and Media Workshop.
 

For writers’fees for readings at the Jewish Community Center.
 

For playwrights-in-residence.
 

For five writers-in-residence at the second annual Conference on Alternative Jourualism and Popular Culture.
 

For writers’ fees for residencies.
 

For u~riters’ fees for residencies.
 

For writers’fees for readings and workshops in Kentucky rural
 

county libraries.
 

For a fiction writer-in-residence.
 

For writers’ fees for readings and workshops at the State Correctional Institute in Pittsburgh. 

For a playwright-in-residence. 

For playwrights-in-residence. 

To commission playwrights to work on new plays for the Manhattan Theater Club.
 

For writers’ fees for short-term residencies.
 

For writers’ fees for residencies at the Residential College.
 

For a writer-in-residence.
 

For a poet-in-residence to work with four members of the acting 

company on public readings and performances of the poet’s work. 

Literature 125 

5,000 

5,000 

5,000 

5,000 

2,000 

3,900 

5,600 

5,000 

2,620 

4,310 

4,500 

5,000 

5,000 

2,000 

2,160 

2,245 

Missouri, Curators of the University of For writers’fees for residencies. 2,500 

Columbia, Missouri 

National Radio Theater of Chicago 

Chicago, Illinois 

New College of California 

San Francisco, California 

New Playwrights’ Theater of 

Washington

Washington, D.C. 

New Poets Series 

Baltimore, Maryland 

New York, Research Foundation of 

the State University of

Albany, New York 

Northeast Missouri State University 

Kirksville, Missouri 

Northwestern State University 

Natchitoches, Louisiana 

For writers’fees for the creation of original plays for the 1980-81 4,760 

Chicago Radio Theater series and subsequent national broadcast. 

For poets’ fees for residencies. 5,000 

For a playwright-in-residence. 5,000 

For fees for poetry readings at the Angel Tavern in Baltimore. 3,525 

For a playwright-in-residence at the Empire State Youth Theater. 3,800 

For writers’ fees for residencies seining the greater Kirksville 2,462 

area. 

For a writer-in-residence. 1,250 

625 
Oberlin College 

Oberlin, Ohio 

Pacifica Foundation 

Los Angeles, California 

Philadelphia Company 

Philadelphia, Pennsylvania 

Play Group 

Knoxville, Tennessee 

Portland Poetry Festival

Portland, Oregon 

Radford College 

Radford, Virginia 

Real Art Ways 

Hartford, Connecticut 

Salisbury State College 

Salisbury, Maryland 

Santa Fe Council on the Arts 

Santa Fe, New Mexico 

Silvera (Frank) Writers’ Workshop 

New York, Ne~v York 

South Dakota Arts Council 

Sioux Falls, South Dakota 

Southern Mississippi, University of

ttattiesburg, Mississippi 

Stephens College 

Columbia, Missouri 

Symbrinek Associates 

Williamsport, Pennsylvania 

Texas Commission on the 

Arts and Humanities 

Austin, Texas 

Theater for the Nexv City 

New York, New York 

Theater, Inc. 

New York, New York 

Utah, University of

Salt Lake City, Utah 

Walker Art Center 

Minneapolis, Minnesota 

Washington Drama Society

Washington, D.C. 

Wayne State College 

Wayne, Nebraska 

West Virginia Arts and Humanities 

Council 

Charleston, West Virginia 

Western Illinois University 

Macomb, Illinois 

Western Massachusetts Broadcasting 

Council 

Amherst, Massachusetts 

2,000 

For writers’ f!~es fi~r radio programmi~g tI~ro~fll~ IVBAI i~ New 

For writers’ f!’es for readittgs, worksltops, a~td eo~tferet~ces. 

1,100 

York City.
 

For a playwright-i~t-reside~tce.
 5,000 

5,000 

For fees for writers participatStff i~t tlte festi~’al. 4,950 

For writers’ fees for readi~gs a~td works]tops at t]w Highla~d 2,610
 

S~t miner Co~@,re~tce.
 

For writers’ f!)es for reside~cies.
 

For playwrights-i~-reside~ce a’itlt tl~c La~rel Writers Pr@’ct.
 

5,000 

For writers’fees fi)r sltort-term reside~tces on Ma rqla~td~ Easter~ 2, 000 

For a poet’s a~d a playwright’s fees a~td trarel eype~tses for resi­ 4,750 

debacles i~t logo" locatio~ts, i~tcl~tdi~g New Me.cieo Sc/wol for the 

Dea~ New Me.rico State Pe~ite~ttiary, Radi~,m Spri~*gs Ce~tter 

Jbr Wome~t, a~M La Compa~ia de Teatro de Alb~qtterque. 

For phtywrigltts-5~-reside~tce. 4,750 

For writers’ f!’es for reside~tci¢,s i~t seeeral Iocatimts t]o’ot,gl~otd 3,000 

t]~e state.
 

For writers’ fees for reside~tctes.
 5,000 

5,000 For writers’ fi’es for reside~cies.
 

For a writer~ f!,es for reside~cies witlt state a~td federal cor­ 2,730 

rectio~tal i~tstit~dim,s.
 

For fees for poets i~t a readit~g eirctt it of 11 colleges t]wot~gtmut t]te 2,750
 

state.
 

For playwrigltts-i~t-reside~tce.
 3,500 

For playwrig]tts-St-rcside~tce at the P]toe~ix Tl~eater. 5,000

2,845 

For writers’ f!’es for readi~t9,~ i~t tlw greater Mi~wapolis-St Pard 4,700 

For fi’es for playu’rig]tts participati~tg i~t tlte Arem* Stage "I~ tire 5, 000 

Process" progra m.
 

For fees for poets’ reside~wies. 3,725
 

For writers’ fi, es f!)r readStgs a~td works]raps i~t 20 eommu~tities 5,000
 

tlwottg]to~tt the state.
 

For writers’ f!’cs for reside~cies.
 

For poets’ fees for readi~tgs at t/~e Utalt :ill,scum of Fi~w Arts.
 

1,460 

For poets’ fees fi)r 26 poets to be ]teard o~t "Poems to a Liste~wr, "a 1,300

half-hot~r weekly radio program o~t IVFCR-FM. 
340 

Literature 127 

Whitman (Walt) International Poetry 

Center 

Camden, New Jersey 

Whole Theater Company

Montclair, New Jersey 

Wilkes College 

Wilkes-Barre, Pennsylvania 

William and Mary, College of 

Williamsburg, Virginia 

Wisconsin, University of 

Green Bay, Wisconsin 

Wisconsin, University of 

Milwaukee, Wisconsin 

Women’s Community 

Los Angeles, California 

Writer’s Center 

Glen Echo, Maryland 

Wyoming Council on the Arts 

Cheyenne, Wyoming 

Distribution 

and Promotion 

Alameda County Neighborhood 

Arts Program 

Oakland, California 

Alameda County Neighborhood 

Arts Program 

Oakland, California 

Alameda County Neighborhood

Arts Program 

Oakland, California 

Alameda County Neighborhood 

Arts Program 

Oakland, California 

All Cooperating Assembly 

Minneapolis, Minnesota 

American International Sculptors’ 

Symposium 

New York, New York 

Arts Journal 

Asheville, North Carolina 

Associated Writing Programs

Norfolk, Virginia 

Beyond Baroque Foundation 

Venice, California 

Carnegie-Mellon University 

Pittsburgh, Pennsylvania 

For poets’ fees for short-term residencies at the Poetry Center. 4,800 

For playwrights’ fees for readings and residencies. 1,500 

For writers’ fees for readings and residencies. 4,000 

For writers’fees for readings and workshops at the annual spring 4,800 

literary festival. 

For writers fees for readings at the Writers’ Union. 

For writers-in-residence. 5,000 

For writers’fees for residencies at the Woman’s Building. 5,000 

For writers-in-residence to conduct readings and workshops at 5,000 

the center. 

For writers’ residencies throughout the state. 2,500 

For projects designed to increase the public’s access to contemporary 

literature. 

Program funds: $741,385 

For Small Press Distribution to distribute and promote small $27,500 

press volumes. 

For Barbary Coast Distribution Company to distribute and 9,500 

promote Bay Area literary press volumes throughout northern 

and central California. 

For the West Coast Print Center to offer training, law-cost offset 133,000 

printing and educational services to the non-commercial literary 

publishing community. 

For the Ten Mile River Poets’ Cooperative to promote local 4,300 

writers by increasing payments for works appearing in Big 

River News Poetry Page and Poetry on the Radio programs. 

For training of literary professionals at Haymarket Press in 13,500 

printing, to enable them to produce more attractive, yet more 

economical books, chapbooks, magazines, and promotional 

material. 

For Poetry in P~blic Places program of placing 2,020 placards 33,470 

containing poems by contemporary American ~’iters on bus 

systems throughout the state. 

To support those sections of The Arts Journal which review and 5,000 

promote new literary works. 

For salary and related expenses for an assistant director for 20,570 

publication and distribution. 

For the New Comp Graphics Center to continue operation and 20,630 

expansion of a facility providing low-cost quality phototypesetring and related graphics services to literary publications in 

southern California. 

For the Poetry on the Buses program, which places placards of 22,000 

contemporary American works on transit systems throughout the 

country. 
128 Literature 

Center for Book Arts 

New York, New York 

COMPAS 

St. Paul, Minnesota 

COMPAS 

St. Paul, Minnesota 

Cultural Council Foundation 

New York, New York 

Cultural Council Foundation 

New York, New York 

Cultural Council Foundation 

New York, New York 

Cultural Council Foundation 

New York, New York 

Dutchess County Arts Council 

Poughkeepsie, New York 

Friends of Books and Comics 

San Francisco, California 

Generalist Association 

New York, New York 

Generalist Association 

New York, New York 

Hollow Spring Artists and 

Writers Guild 

Stony Hills, Massachusetts 

Intersection 

San Francisco, California 

JCM Associates-Applied Research 

Washington, D.C. 

Kansas Arts Commission 

Topeka, Kansas 

Maine State Commission on the 

Arts and Humanities 

Augusta, Maine 

Maine State Commission on the 

Arts and Humanities 

Augusta, Maine 

National Public Radio 

Washington, D.C. 

Netzahaulcoyotl Historical Society 

Berkeley, California 

Netzahaulcoyotl Historical Society

Berkeley, California 

New Class Room 

Washington, D.C. 

New Mexico Arts Division 

Albuquerque, New Mexico 

For the operations of a letterpress print shop to provide quality 5,000 

printing at a reasonable cost to literary publishers and individual u~’iters. 

To amend a previo~a~ grant to suppo~¢ Boo "kslinger’s promotion of 2,700 

small presses and distribution of literary magazines during 1980. 

To support Bookslinger’s promotion of small presses and distri- 30,000 

bution of literary magazines during 1981. 

For projects related to future publication of The American 7,690 

Review, a national review magazine. 

For the Nen, York Book Fair, the largest exposition of small press 10,000 

book and literary journal publishers in the United States. 

For the Poetry Mobile, a large van accommodating five or six 5,000 

writers, which will travel to various locatio~ in the New York 

City area. 

For The Print Center to offer at-cost quality printing to small 42,750 

press and literary magazine publishers, and to teach techniques 

of production. 

For the Open Studio Print Shop to offer high-quality, low-cost 40,000 

book production to individual n,riters and independent small 

publishers. 

To publish a special issue of the San Francisco Review of Books, 12,500 

focusing on small presses and western publishing. 

To amend a previons grant to support the promotion of small 1,800 

press publications through a syndicated review column which 

appears in rural newspapers. 

For the Prison Project, a program of providing free literary mag- 4,900 

azines and books to prison inmates. 

For a fourth issue of Stony Hills, The New England Alternative 7,500 

Small Press Review. 

For the distribution and promotional activities of the Small Press 19,000 

Book Center. 

For Energy Earth Communications’ book fairs at 13 sites in the 29,620 

south and southwest, and for mail order and general distribution 

operations of the organization. 

For Midwest Distributors’ programs of distribution, promotion, 12,000 

and festivals of contemporary literature throughout the lower 

midwest. 

To support distribution and promotion activities of the Maine 11,000 

Writers and Publishers Alliance. 

For the New England Small Press Association’s projects related 1,200 

to future publication of the Puckbrush Review, a journal on 

small press literature in Maine. 

For the commentary, "Off the Wail, "a weekly three-to-five-minute 4,000 

program on the work of small press publishers. 

For the multi-cultural distribution and promotional activities of 30,000 

Before Columbus Foundation. 

For Mackintosh and Young’s typography, letterpress printing, 15,000 

and hand-binding operations and apprenticeship and technical 

assistance programs. 

To develop the Poets’ Audio Center distribution program and 9,500 

clearing house for poetry on tape. 

For distribution and promotion activities of Southwest Literary 7,665 

Express. 
Literature 129 

New Wave Corporation 

Columbia, Missouri 

Ne~v Wilderness Foundation 

Ne~v York, New York 

Oregon Arts Commission

Salem, Oregon 

Poetry Society of America 

New York, New York 

Promise of Learning 

New York, New York 

Pushkin Press 

Washington, D.C. 

Seque Foundation 

New York, New York 

Ten Penny Players 

Ne~v York, New York 

Visual Studies Workshop 

Rochester, New York 

Visual Studies Workshop 

Rochester, New York 

Woodland Pattern 

Milwaukee, Wisconsin 

Writer’s Center 

Glen Echo, Maryland 

Youngstown Area Arts Council 

Youngstown, Ohio 

ZBS Foundation 

Fort Edward, New York 

Assistance 

to Literary

Magazines 

Coordinating Council of Literary 

Magazines 

New York, New York 

To establish the first comprehensive audio library of American 7,925
 

prose writers reading from their own works.
 

For the 12th International Sound Poetry Festival, the first to be 10,000
 

held in the United States.
 

For a statewide traveling exhibit of largeoformat pieces created by 6,600
 

small presses and calligraphers, which feature works of Oregon
 

poets.
 

To catalogue the library, to expand its information services and 22,500 

outreach programs to communities not served by existing organizations, and to develop a distribution plan for remaindered 

poetry books. 

For the distribution activities of the New York State Small Press 5,000 Association. 

For promotional activities for literary magazines and small 6,500 presses through Northeast Rising Sun. 

For the distribution and promotional activities of the Seque 3,440 Distribution Project. 

For Bard Press’s series of mini-book fairs on the waterways 5,000
 

around New York City, Long Island Sound, Lake Erie, St.
 

Lawrence Waterway, the Finger Lakes region, and other areas of
 

the state adjacent to water.
 

For the Book Bus Distribution Program, which includes a mail- 30,000
 

order facility.
 

For a three-day bookfair conducted by the New York State Liter- 6,000
 ary Center in Rochester.
 

To create a book center and library resource for the greater 23,100
 

Milwaukee area.
 

To provide at a reasonable price access to production equipment
 9,400 and production assistance for literary magazines and small 

presses in the area. 

For the first small press bookfair in Ohio. 

For writers’fees for a 13-week radio series introducing over 100 6,825 

American poets and their work. 

To help support not-for-profit magazines that regularly publish

poetry, fiction, plays, or literary criticism. Grants finance special 

issues, efforts to improve format, design, production, or readership, 

and in a few cases, long-range development. 

Program funds: $792,645 

For CCLM’s program of subgrants to literary magazines and $482,000 

related services. 

The following literary magazines received support for projects related to future publications: 

American Poetry Review 

Philadelphia, Pennsylvania 

For publication of the magazine. $5,000 

Anderson, Elliott 

Evanston, Illinois 

For Triquarterly. 3,375 

800 
130 Literot~re 

Andrews, Bruce 

New York, New York 

Arts and Humanities Council of Tulsa 

Tulsa, Oklahoma 

Beyond Baroque Foundation 

Venice, California 

Black World Foundation 

Sausalito, California 

Cedar Rock 

Nexv Braunfels, Texas 

Centro Cultural de la Raza 

San Diego, California 

Chelsea Associates 

New York, New York 

Chouteau Arts 

Kansas City, Missouri 

City College Fund 

New York, New York 

Clausen, Jan 

Brooklyn, New York 

Confluence Press 

Lewiston, Idaho 

Cornell University 

Ithaca, New York 

Cultural Council Foundation 

New York, New York 

Cuomo, Joseph

Flushing, New York 

De Loach, Allen W. 

Buffalo, New York 

Estrin, Jerry 

San Francisco, California 

Giorno Poetry Systems Institute 

New York, New York 

Gnosis Charitable Trust 

New York, New York 

Grossinger, Richard 

Richmond, California 

Halpern, Daniel 

New York, New York 

Haxvaii Ethnic Resources Center: 

Talk Story 

Aiea, Hawaii 

Hogan, Ed~vard J. 

Somerville, Massachusetts 

Hollins College Corporation

Hollins College, Virginia 

Hollo~v Spring Artists’ and Writers’ 

Guild 

Chester, Massachusetts 

Houston, University of 

Houston, Texas 

For L-A-N-G-U-A-G-E. 

For Nimrod. 

For Beyond Baroque. 

For Black Scholar. 

For Cedar Rock. 

For Maize. 

For Chelsea. 

For Chouteau Review. 

For Fiction. 

For Conditions. 

For Slackwater Review. 

For Epoch. 

For Unmuzzled Ox. 

For A Shout in the Street. 

For Intrepid. 

For Vanishing Cab.
 

For "Dial-a-Poem."
 

For Gnosis.
 

For Io.
 

For Antaeus.
 

For Bamboo Ridge.
 

For Aspect.
 

For The Hollins Critic.
 

For Hollow Spring Review of Poetry.
 

For Revista Chicano-Riquena. 

1,500 

5,000 

3,990 

30,000 

5,000 

5,000 

5,000 

4,000 

5,0O0 

2,400 

1,167 

2,800 

4,0O0 

3,440 

5,000 

4,200 

5,000 

5,000 

5,000 

5,000 

1,330 

1,200 

1,000 

2,400 

30,000 
Literature 131 

India, Inc. 

Atascadero, California 

Institute for Southern Studies 

Chapel Hill, North Carolina 

Karlins, Mark 

New York, New York 

Kenyon College 

Gambier, Ohio 

Kenyon Hill Publications 

Hanover, Ne~v Hampshire 

Kolumban, Nicholas 

Somerville, New Jersey 

Leyland, Winston 

San Francisco, California 

McCune, Katherine 

Seattle, Washington 

Mele, Jim 

Woodhaven, New York 

Messerli, Douglas 

College Park, Maryland 

Mississippi Mud 

Portland, Oregon 

Montemora Foundation 

New York, New York 

Naropa Institution 

Boulder, Colorado 

New Mexico, University of 

Albuquerque, New Mexico 

New York Quarterly Poetry Review 

Foundation 

New York, New York 

New York University 

New York, New York 

Ohio University 

Athens, Ohio 

Oklahoma State University 

Stillwater, Oklahoma 

Oregon Development Fund, 

University of

Eugene, Oregon 

Panjandrum Press 

Los Angeles, California 

Parker, Miles D., III 

Providence, Rhode Island 

Perelman, Bob 

San Francisco, California 

Performing Arts Journal 

New York, New York 

Poetry in Review Foundation 

New York, New York 

Proscenium Press 

Newark, Delaware 

For Cafe Solo. 

For Southern Exposure. 

For Text. 

For Kenyon Review. 

For New England Review. 

For Footprint Magazine. 

For Gay Sunshine. 

For The Seattle Review. 

For Cross Country. 

For Sun and Moon. 

For publication of the magazine. 

For Montemora. 

For Bombay Gin. 

For New America. 

For The New York Quarterly. 

For The Drama Review.
 

For Ohio Review.
 

For Cimarron Review.
 

For Northwest Review.
 

For Panjandrum.
 

For Northeast Journal.
 

For Hills Magazine.
 

For publication of the magazine. 

For Parnassus. 

For Journal of Irish Literature. 

3,200 

5,000 

5,000 

5,000 

3,400 

950 

5,000 

1,690 

4,815 

3,500 

4,600 

5,000 

1,290 

3,430 

5,000 

5,000 

4,980 

2,640 

4,000 

5,000 

630 

3,600 

5,000 

5,000 

5,000 
132 Literature 

Reed, Ishmael
 

Berkeley, California
 

Rondinone, Peter
 

Ne~v York, New York
 

St. Andrews Presbyterian College


Laurinburg, North Carolina
 

Schneider, Harold
 

Manhattan, Kansas
 

Second Coming
 

San Francisco, California
 

Self-Help Graphics
 

Los Angeles, California
 

Stanford, Judith
 

Tyngsboro, Massachusetts
 

Stephens College
 

Columbia, Missouri
 

Tem, Steve Rasnic
 

Denver, Colorado
 

Tennessee, University of
 

Chattanooga, Tennessee
 

Texas, University of
 

Richardson, Texas
 

13th Moon
 

New York, New York
 

Valine, Robert
 

Berkeley, California
 

Warsh, Lewis
 

Henniker, New Hampshire
 

Washington Review of the Arts,
 

Friends of the
 

Washington, D.C.
 

Watten, Barrett
 

San Francisco, California
 

Weiss, Theodore
 

Princeton, New Jersey
 

West Virginia Wesleyan College


Buckhannon, West Virginia
 

Will, Frederic
 

Amherst, Massachusetts
 

Assistance 

to Small Presses 

Alameda County Neighborhood 

Arts Program 

Oakland, California 

Alta 

Berkeley, California 

For Quilt. 

For City Magazine. 

For St. Andrews Review. 

For Kansas Quarterly.
 

For publication of the magazine.
 

For ChismeArte.
 

For Jam To-Day.
 

For Open Places.
 

For Umbral.
 

For The Poetry Miscellany.
 

For Mundus Artium.
 

For pnblication of tl~e magazine.
 

For West Coast Plays.
 

For United Artists Magazine.
 

For Washington Review of the Arts.
 

For This.
 

For Quarterly Review of Literature.
 

For Laurel Review.
 

For Micromegas.
 

5,000 

2,900 

2,813 

4,500 

2,150 

5,000 

3,500 

1,800 

1,550 

5,000 

5,000 

4,800 

1,800 

1,500 

2,500 

5,000 

1,560 

3,000 

To help small, independent presses publish and distribute creative 

prose and poetry that might not otherwise be published. This includes the work of new writers and experimental work by established 

writers. 

Program funds: $400,795 

For Ten Mile River Press. $9,100 

For Shameless Hussy Press. 9,000 

285 
Literature 133 

Angel Hair Books 

Henniker, New Hampshire 

Arnold, David C. 

San Francisco, California 

Blue Moon Press 

Tucson, Arizona 

Bruchac, Joseph, III 

Greenfield Center, New York 

Cart, Dann 

Charlestown, Massachusetts 

Centro Cultural de la Raza 

San Diego, California 

Craig, Gordon S. 

San Francisco, California 

Crawford, John F. 

Cambridge, Massachusetts 

da Silva, Rachel 

Seattle, Washington 

Dayton, David 

Ithaca, New York 

Ellis, Donald S. 

Berkeley, California 

Ford, Steven 

Birmingham, Alabama 

Foundation for the Advancement of 

Modern Poetry 

Greensboro, North Carolina 

Four Seasons Foundation 

Bolinas, California 

Fox, Robert 

Pomeroy, Ohio 

Gluck, Robert 

San Francisco, California 

Graalfs, Gregory Thomas 

Yarmouth, Maine 

Halpern, Daniel 

New York, New York 

Hamady, Walter 

Mount Horeb, Wisconsin 

Hawaii Ethnic Resources Center: 

Talk Story 

Aiea, Hawaii 

Inner City Cultural Center 

Los Angeles, California 

Iowa State Arts Council 

Des Moines, Iowa 

Iowa State Arts Council 

Des Moines, Iowa 

Isthmus Poetry Foundation 

Fairfax, California 

JCM Associates-Applied Research 

South District Heights, Maryland 

For publications. 

For Trike Press. 

For publications. 

For Greenfield Review Press. 

For The Four Zoas Press. 

For Maize Press. 

For S Press International. 

For West End Press. 

For The Seal Press. 

For Alembic Press. 

For Creative Arts Book Company. 

For Thunder City Press. 

For Unicorn Press. 

For publications.
 

For Carpenter Press.
 

For Black Star Series.
 

For Gregory Thomas Graalfs Press.
 

For The Ecco Press.
 

For Perishable Press.
 

For Bamboo Ridge Press.
 

For Inner City Press.
 

For Penumbra Press.
 

For Toothpaste Press.
 

For Red Hill Press.
 

For Common Ground Press.
 

6,000 

3,550 

7,750 

10,000 

8,800 

5,000 

6,700 

6,600 

7,050 

8,940 

10,000 

2,600 

10,000 

8,000 

8,000 

2,800 

1,000 

10,000 

10,000 

2,970 

10,000 

5,150 

10,000 

6,600 

7,175 
134 Literature 

Kelsey Street Press 

Berkeley, California 

King, Susan E. 

Venice, California 

Lange, Gerald 

Madison, Wisconsin 

Lawson, Paul 

Washington, D.C. 

Malki Museum 

Banning, California 

Mason, Christopher J. 

Baltimore, Maryland 

McCurdy, Michael 

Lincoln, Massachusetts 

Miller, Yvette E.

Pittsburgh, Pennsylvania 

Mills, Donna 

Chicago, Illinois 

Mudfoot, Judy 

Santa Barbara, California 

Netzahaulcoyotl Historical Society

Berkeley, California 

New Classroom 

Washington, D.C. 

New Victoria Publishers 

Lebanon, New Hampshire 

Ne~v Wilderness Foundation 

Ne~v York, New York 

Ostrow, Eileen 

Oakland, California 

Panjandrum Press 

Los Angeles, California 

Performing Arts Journal 

New York, New York 

Peterson, Thomas 

Oakland, California 

Pody, James M. 

Austin, Texas 

Poulin, A., Jr. 

Brockport, New York 

Proscenium Press 

Ne~vark, Delaware 

Robertson, Kirk 

Fallon, Nevada 

Rolens, Linda 

Santa Barbara, California 

Second Coming 

San Francisco, California 

Sheep Meadow Press 

New York, New York 

Steier, Rodney 

West Hartford, Connecticut 

For p~blicatio~s. 

For Paradise Press. 

For the Bider Press. 

For The Charioteer Press. 

For Malki Museum Press. 

For Widemmdh Tapes. 

For Penmaen Press. 

For Latin America~ Liter~ry Review Press. 

For Elpenor Books. 

For Mudborn Press. 

For Tu~le Island Fom~dation. 

For publicatiot~s. 

For publication,s. 

For publicatio~ts. 

For Sea Urchin Press. 

N)r p~blicatio~ts. 

For p~blicatim~s. 

For Dog,hie Dance Press. 

For Place of Hero~s Press.
 

For BOA Editim~s.
 

For p~blicatio~s.
 

For D~ck Dow~ Press.
 

For Ogster Press.
 

For p~blicatio~s.
 

For p~blicatio~s.
 

For Bartholomew~ Cobble.
 

3,840 

3,770 

10,000 

2,730 

3,190 

2,400 

8,615 

10,000 

2,700 

6,650 

10,000 

10,000 

3,500 

9,000 

4,000 

10,000 

10,000 

2,000 

10,000 

10,000 

10,000 

3,890 

7,320 

10,000 

1,150 

4.530 
Sykes, Michael 

Point Reyes Station, California 

Teter, Holbrook 

Healdsburg, California 

Van Vliet, Claire 

West Burke, Vermont 

Wolfe, Michael 

Bolinas, California 

Zavatsky, Bill 

New York, New York 

Creative Writers’ 

Fellowships 

For Floating Island. 

For Zephyrus Image. 

For The Janus Press. 

For Tombouctou Books. 

For Sun Press. 

Inter-Arts 135 

6,300 

3,200 

10,000 

9,225 

10,000 

To allow published writers to set aside time for writing, research, or 

travel, and generally to advance their careers. 

Program funds: $1,470,000 

The follo~ving creative writers were awarded $10,000 each: 

Anderson, Rodney L. 

New York, New York 

BelviIle, Lance S. 

St. Paul, Minnesota 

Berger, Lou G. 

Brooklyn, New York 

Bishop, John D. 

New York, New York 

Bosakowski, Philip 

San Francisco, California 

Breuer, Lee

New York, New York 

Bro~vn, James W. 

Palo Alto, California 

Bryan, C. D. B. 

Guilford, Connecticut 

Burns, Timothy W.

Los Angeles, California 

Campbell, Bebe Moore 

Takoma Park, Maryland 

Carter, Randolph 

New York, New York 

Carter, Steve 

Rego Park, New York 

Carver, Raymond C. 

Tucson, Arizona 

Cavallaro, Ann A. 

West Haven, Connecticut 

Chambers, George J. 

Peoria, Illinois 

Charyn, Jerome 

New York, New York 

Cherry, Kelly 

Madison, Wisconsin 

Cheuse, Alan S. 

Knoxville, Tennessee 

Chin, Frank C. 

Seattle, Washington 

Claiborne, Sybil 

New York, New York 

Clayton, John J. 

Montague, Massachusetts 

Cole, Charles T. 

Kent, Connecticut 

Collier, Peter A. 

Oakland, California 

Corpora, James 

Escondido, California 

Creeley, Bobble L. 

Bolinas, California 

Davidson, John P. 

Austin, Texas 

DeHaven, Tom 

Jersey City, New Jersey 

Du Jong, Constance 

New York, New York 

Early, Robert B. 

Bowling Green, Ohio 

Emshwiller, Carolyn F. 

Wantagh, New York 

Epstein, Sandra 

Oxford, Connecticut 

Fales, Nancy 

Brooklyn, New York 

Fetler, James M. 

Mountain View, California 

Fine, Warren L. 

Lincoln, Nebraska 

Ford, Richard 

North Pownal, Vermont 

France, Richard X. 

Appleton, Wisconsin 

Franklin, Jennie E.

Saratoga Springs, New York 

Gammon, Catherine 

Fredonia, New York 

Gavin, Thomas M.

Middlebury, Vermont 

Gioffre, Marisa E. 

New York, New York 

Glass, Joanna M. 

Guilford, Connecticut 

Goldberg, Lester 

Cranford, New Jersey 

Goldsmith, Martin M. 

Sherman Oaks, California 

Gordone, Charles E. 

North Bergen, New Jersey 

Gray, Ernest A. 

Milwaukee, Wisconsin 

Gray, Spalding 

New York, New York 

Hall, James B. 

Lexington, Kentucky 

Hansen, Ronald T. 

Omaha, Nebraska 

Harington, Donald D. 

Putney, Vermont 

Harrigan, Stephen M. 

Austin, Texas 

Hebert, Ernest B. 

Keene, New Hampshire 
136 Literature 

Heidish, Marcy G.


Arlington, Virginia
 

Heller, Steve F.
 

Stillwater, Oklahoma
 

Henry, DeWitt P.
 

Watertown, Massachusetts
 

Hightower, Robert
 

Philadelphia, Pennsylvania
 

Hoggard, James M.
 

Wichita Falls, Texas
 

Humphreys, John R.
 

New York, New York
 

Jackson, Angela R.


Chicago, Illinois
 

Jackson, Laura Riding
 

Wabasso, Florida
 

Jenkin, Len R.
 

New York, New York
 

Johnson, Charles R.
 

Seattle, Washington
 

Jones, William B.
 

Lawndale, California
 

Joselovitz, Ernest A.
 

Washington, D.C.
 

Josephs, Allen
 

Pensacola, Florida
 

Kavaler, Rebecca
 

New York, New York
 

Kessel, John J.
 

Overland Park, Kansas
 

Kesselman, Wendy A.
 

New York, New York
 

Khan, Faizul R. A.
 

Bronx, New York
 

Kiilens, John O.
 

Brooklyn, New York
 

Kinder, Chuck
 

Beekley, West Virginia
 

Kingston, Maxine H.
 

ttonolulu, Hawaii
 

Kistler, Vera P.
 

Darlington, South Carolina
 

Krieh, John K.
 

Berkeley, California
 

Kullman, Ellen G.
 

New Orleans, Louisiana
 

Le Sueur, Meridel
 

St. Paul, Minnesota
 

Lewis, Ira
 

New York, New York
 

L’Heureux, John C.
 

Stanford, California
 

Liebman, Herbert
 

New York, New York
 

Litwak, Leo E.
 

San Francisco, California
 

Lowry, Beverly F.
 

Houston, Texas
 

McCaig, Donald R.


Williamsville, Virginia
 

McCully, Emily A.


Brooklyn, New York
 

Magdalany, Philip
 

New York, New York
 

Markus, Julia
 

Washington, D.C.
 

Marowitz, Charles
 

New York, New York
 

Mason, Clifford L.
 

New York, New York
 

Meschery, Joanne M.
 

Truckee, California
 

Moore, Rod V.
 

Cayey, Puerto Rico
 

Myers, Bernard


Washington, D.C.
 

Neipris, Janet L.
 

Winchester, Massachusetts
 

Nelson, Richard J.


Brooklyn, New York
 

Nicholson, Joseph 

Lock Haven, Pennsylvania 

Noonan, John F. 

New York, New York 

O’Brien, John A.

Roxbury, Massachusetts 

O’Morrison, Kevin 

New York, New York 

Orlock, John M. 

St. Paul, Minnesota 

Pennybacker, Mindy 

Davis, California 

Pcrera, Victor H. 

Capitola, California 

Pesetsky, Bette 

Dobbs Ferry, New York 

Pifer, Drury L.

Wilmington, Dela~vare 

Porter, Bernard H. 

Belfast, Maine 

Porter, Joe A. 

Murray, Kentucky 

Poverman, Charles E. 

Tucson, Arizona 

Prising, Robin J.
 

New York, New York
 

Prose, Francine C.
 

Krumville, Ne~v York
 

Rabin, Arnold M.
 

Maplewood, New Jersey
 

Rachlin, Nahid
 

New York, New York
 

Rao, Katherine
 

New York, New York
 

Reel, Arthur
 

New York, New York
 

Richards, Caroline A.
 

Richmond, Indiana
 

Rivero, Andres
 

Miami, Florida
 

Romero, Orlando A.
 

Santa Fe, New Mexico
 

Rose, Louise B.
 

New York, New York
 

Sanchez, Saul O.
 

Laredo, Texas
 

Shefner, Evelyn
 

New York, New York
 

Sheiness, Marsha
 

Waterford, Connecticut
 

Sherman, Martin G.
 

New York, New York
 

Simckes, Lazarre S.
 

New Haven, Connecticut
 

Simmons, Lydia
 

New York, New York
 

Sims, Patsy


Washington, D.C.
 

Solotaroff, Ted
 

New York, New York
 

Sommer, Scott R.


South Orange, New Jersey
 

Spielberg, Peter
 

New York, New York
 

Steadman, Mark S.
 

Central, South Carolina
 

Stegner, Page
 

Santa Cruz, California
 

Sukenick, Ronald
 

Boulder, Colorado
 

Swails, Laurell J.
 

Lake Oswego, Oregon
 

Sweet, Jeffrey W.
 

New York, New York
 

Taylor, Mary A.
 

Sadieville, Kentucky
 
Literature 137 

Tesich, Steve 

Conifer, Colorado 

Vasta, Edward 

South Bend, Indiana 

Vaughn, Stephanie R. 

Wooster, Ohio 

Veitch, Thomas M. 

Grafton, Vermont 

Vivante, Arturo 

Wellfleet, Massachusetts 

Vogel, Paula A. 

New York, Nexv York 

General Services 

to the Field 

Allentown Community Center 

Buffalo, New York 

Associated Writing Programs

Norfolk, Virginia 

Beyond Baroque Foundation 

Venice, California 

Burk (Frederic) Foundation 

for Education 

San Francisco, California 

Columbia University of the City of 

New York, Trustees of 

New York, New York 

Cultural Council Foundation 

New York, New York 

Fine Arts Work Center in 

Provincetown 

Provincetown, Massachusetts 

New Dramatists 

New York, New York 

O’Neill (Eugene) Memorial Theater 

Center 

Waterford, Connecticut 

P.E.N. American Center 

New York, New York 

P.E.N. American Center 

New York, New York 

Poets and Writers 

New York, New York 

~t. Mark’s Church-in-the-Bowery 

New York, New York 

Wallace, David R. 

Oakland, California 

West, Paul 

University Park, Pennsylvania 

White, John E.

Charles City, Vermont 

White, Sharon A. 

Brownville, Vermont 

Wolff, Geoffrey 

Warren, Vermont 

Yankowitz, Susan K. 

New York, New York 

Zacharias, Lee A. 

Greensboro, North Carolina 

Zachary, Saul 

New York, New York 

Zagoren, Marc A. 

Montclair, New Jersey 

Zeitz, Eileen M. 

Duluth, Minnesota 

Zimpel, Lloyd A.
 

San Francisco, California
 

Zweig, Paul L. 

New York, New York 

For a limited number of service organizations to provide assistance 

to Amerlcan writers and to fund projects not eligible for support 

through other grant categories. 

Program funds: $885,325 

For Jnst Buffalo’s program of readings and workshops. $9,925 

To provide services to writers and creative writing departments 57,490 by acting as a clearing house for information abont publications 

and placement services. 

For the services of Beyond Baroqne’s Small Press Library. 23,100 

For the American Poetry Archive, a lending library of video and 39,565 

audio tapes of contemporary American writers in live perfo~nance. 

For translators’fellowships, two conferences, and daily activities 66,000 of the Translation Cettter. 

For The Writers’ Room, a communal u’orkspace in mid­ 4,900 Manhattan, located near research and library facilities. 

For fellowship stipends for writers, staff salaries, and program 28,000
 

costs of the Fine Arts Work Center.
 

For New Dramatists’ effort to serve playwrights re#side New 14,585 York City. 

For New Drama for Television u’orkshops. 6,290 

For the United States representative service organization of 80,560 International P.E.N. and programs of serzqee to American 

writers. 

For regional conferences to establish P.E.N. regional branches. 20,000 

For the national information and research ser~qces provided by 297,000 the organization, and for the publication of Coda, a bbnonthly 

journal. 

For the Poetry Project and its programs of readings and 28,625 workshops. 
138 Literature 

St. Mark’s Church-ln-the-Bowery 

New York, New York 

For an administratire assista~t for ttw Poetr!! Center a~(l the 

production of a two-rolume recordi~g of material from the 

9,345 

center~ archire of readb~gs. 

Teachers’ and Writers’ Collaborative 

New York, New York 

For the serNce p~tblic~ttions for writers, teachers, and other particlpants in the Poetry-b~-the-Schools program. 

74,000 

Wesleyan University Press 

Middletown, Connecticut 

To p~&lish Hogans: Navajo Houses and House Songs, n col~m~e 

of Nm’ajo poetry and smogs i~ translation. 

6,000 

Senior Fellowships	 Funds from Services to the Field have been used to begin a pilot category, Senior Fellowships. The purpose of this category is to support (Pilot)	 creative xvriters xvho have had a substantial impact on our literary 

heritage, but who are not widely known outside the literary field. 

These awards xvill allow the writers to set aside time to continue their 

creative efforts and will bring their work to the attention of a xvider 

audience. 

The following writers were awarded $15,000 each: 

Barnes, Djuna 

New York, New York 

Brmvn, Sterling 

Washington, D.C. 

Oppen, George 

San Francisco, California 

Bo~vles, Paul 

New York, New York 

Duncan, Robert 

San Francisco, California 

Trask, Willard 

Savannah, Georgia 

Boyle, Kay 

San Francisco, California 

Miles, Josephine 

Berkeley, California 

140 Media Arts 
141 

Media Arts: Film/


Radio/Television
 

Media are impure, and that impurity is to be 

cherished. So much is done in their name (we 

hear) that media get a bad rap. Does print 

answer for the fact that the IRS tax forms use the 

same language as Shakespeare’s sonnets? Media 

--vigorous, banal, vulgar, and endlessly fascinating (a little like America itself)--have an 

uncomfortable relation to our formal expectations 

about art. This is to their advantage. Ideas about 

art arrive when a medium is about to swoon into 

that useful museum of culture we call tradition. 

Even media are not immune from those social 

discriminations masquerading as esthetics-­

movies are "film," a higher kind of art; television 

is "video." Only radio is radio, though when I 

hear "audio art" I know its time is coming. The 

impurity of media, however--the brusque, 

unprotected congruity of excellence with kitsch 

--is to be lamented only by purists whose 

idealism conceals, I feel, an authoritarian urge. 

Media are pervasive, messy, and, like life, 

generally uncontrollable. While in the Media 

Arts Program we all carry around our little 

Platonic diagrams about how our Program 

might be designed, they are corrected by the 

unruly nature of the field itself. The first 

question asked in this department--and which 

always needs to be asked-- is: When do media 

become "art"? 

Like print or movement or sound, media 

become art when they are used surpassingly 

well. As in the other arts, this is irrespective of 

content. No forms of content are proscribed-­

you can’t tell a flower painter not to paint 

dahlias. The aesthetic rationale--the artist’s 

freedom to create in whatever area he or she 

determines--quickly leads to issues of social 

responsibility, especially in the case of media, 

~vhen the content is often seen before the art. 

When this Program was founded in 1972, its 

definition of media was two-fold: Media were 

conceived as a kind of all-purpose utensil to 

carry other arts to the audience; and also as an 

activity through xvhich artists conducted that 

process of free inquiry so familiar in the other 

arts. This philosophy--of media as vessel and as 

avant-garde exercise--served the early Program 

well. By the late seventies two changes occurred 

with such reciprocal precision, indeed elegance, 

that the field had to be redefined. 

In one of the more important social changes of 

the seventies, film and video artists moved from 

a marginal position into the social and cultural 

mainstream. As the media arts community grew 

in numbers, achievement, and energy, this 

department grew with it. The effectiveness of 

this community depends on a support system of 

media art centers, exhibition centers, access to 

post-production equipment and, of course, to the 

audience. We are now witnessing the growth of 

this framework within which media artists 

conduct their professional lives. The early Media 

Arts Program (then called Public Media) made a 

pioneering commitment to equipment, to hardware, encouraging public access and education. 

We are now hoist on our own hardware. Often 

used 24 hours a day, that hardware has worn out, 

and replacement costs are beyond this Program’s 

capacity. Possibly surplus GSA equipment may 

help resupply this hardware, but our constituents 

are currently finding their tools breaking in 

their hands. This is a critical problem for the 

field. 

The phrase "independent media community" is 

deceptive. It includes a variety of genres (narrative film, documentary, experimental film and 

video, animation) and a multitude of esthetic, 

ideological, and social viewpoints. In this it reflects the country’s pluralism. This community 

now has a formidable presence; it increasingly 

affects public opinion as it transfers the arts to 

an ever-wider audience. Its role is thus educational in the best democratic sense, in that it 

adds new and responsible voices to the national 

dialogue. 

If the health of a democracy is judged in part 

by the degree to which it encourages selfexamination then the independent media community is a national asset. In the exercise of its 

diverse modes, the independent community 

often intersects with the issues of the day in a 

way not available to most other arts. Thus this 
142 M~,~tia Arts 
Media Arts 143 

department’s definition of media has broadened. 

So enters the question of art’s proper province. 

Should it concern itself with "art," a selfcontained, self-regulated entity, or should it be, 

as Matthew Arnold described poetry, a criticism 

of life? This may be one of those rather spurious 

alternatives we are sometimes asked to face; to 

some degree the activity of the media artist has 

answered it. 

The arrival of the independent media community coincides ~vith the greatest revolution 

since the inventior~ of broadcasting: the translation of the long-imminent technological utopia 

into a matter of urgent empirical readings. 

Satellite, cable, and disc are complex technologically. But their effects can be understood by 

anyone who uses a telephone. These systems 

(hardware) have multiplied the modes of 

delivering programs and information (software). 

Indeed, they have so outstripped the available 

programming that ~ve are now in the midst of a 

great software hunger. The network monopolies, 

which sustained the illusion of a unified society 

comfortably residing ~vithin its media-generated 

myths, has been joined by a polyglot chorus. 

Local communities and special interests once 

again emphasize the country’s pluralism, now 

powerfully augmented by media. For each 

special interest may identify and consolidate a 

cable audience. Numerous interests are asking 

this question: Is there an audience for an allsports network, an all-news network, an over-50 

network, an all-black network? Television thus 

follows the evolutionary law of print and radio. 

General interest magazines give way to special 

interest magazines (popular electronics, golf, 

"little" magazines). Radio (all news, all classical, 

all talk, all rock, all disco) sieves through the 

audience to retain configurations of like taste. 

Each special interest closes its circle and 

questions the market: Does it have the numbers? 

Do the arts have the numbers? No area has 

provoked such excitement around the electronic 

smorgasboard. In May 1980 the PACE (Performing Arts Culture and Entertainment) Report 

brilliantly sketched a self-supporting structure 

for a cable arts network. No~v ABC and ct~s 

have drawn up plans for subscription arts 

networks to begin in mid-1981. New material is 

being commissioned; old material recovered 

from the memory bank where film and video lie 

frozen; arts institutions are speculating on their 

cable and disc futures. What will be the effect of 

this new world--a world of marvellous entrepreneurial excitement--upon the arts? 

Predictions of the effects of new technology 

are notoriously inaccurate. We nearly always 

forget the vulnerable and self-serving biped that 

turns it off and on, and we cannot read the 

economic factor sharply enough. The multiple 

cable channels, each offering their specialty, will 

of course compete with each other, as radio 

stations do now. Each offering must be financed 

and sold to our attention. How many arts 

channels can we sustain? And for what kind of 

arts? The performing arts are now being 

harnessed to the arts coach. Their real time fits 

snugly into television time. The establishment 

performing arts--opera, symphony, drama, and 

dance--should flourish up to a saturation point 

located no one knows quite where. The non-performing arts will have a more difficult time, as 

they have had on public television. Since their 

formats have to be invented, the producer’s 

imaginative leap has to be greater. Indeed, 

where are the directors and producers, the 

successors to the pioneers who set the first wave 

of performing arts rolling on public television 

with such programs as Da~ce in America 

and Live from Lincoln Center? Next year, the 

Endowment plans to support a small apprenticeship program to pass on the skills that make that 

complex, hybrid art when media are used to 

transfer the other arts. 

What of small-audience, advanced art? Cable 

has been seen as its obliging benefactor. It is 

essential that such advanced art maintain itself. 

Indeed, a strong case can be made that it is the 

guarantor of our cultural health. Confining it to 

a single channel may ghettoize it. Using it to 

diversify the arts offering on an establishment 

channel will tend to co-opt it. If such art-­

difficult, sometimes opaque, and often controversial--fails to fit into the multiplied access 

spectrum, it would be a cruel paradox. Ultimately, access is either a regulatory problem 

and/or a funding problem. (It’s no secret that the 

structure of nongovernment funding has undergone changes that are not all for the better, but 

this is not the place to examine them.) The 

present cornucopia of opportunity on cable may 

be deceptive. It is probably limited to a few 

exhilarating years. How do we gain access for, 

and preserve the vitality of, say, video art, ~vhich 

resolutely pursues its own image in a massmedium and in which this country is the 

undoubted leader? Cable will, I think, affect the 

circulation between the dialectically counterposed energies of establishment art and advanced art, the definers of a healthy culture. 

These, then, are the two great changes within 

which our activities are being redefined: the 

maturing of the independent community and of 

the technological utopia. What of our response to 

all this? Since July 1979, the Endowment has 

been concerned that the new opportunities for 

cable access not be left exclusively to the 

serendipitous curve of commerce. With new 
144 Media Arts 

media, commercial use comes first, then its vigorous discourse on issues, esthetic and otheresthetic assimilation follows. This is history’s wise, that define the nature and direction of the 

blunt lesson and the Endowment has learned it. arts. 

So this department’s short-term goals include No art is more subtly inflected by its display 

showcasing the brilliant performances of theenvironment than film, video, and radio. Judgindependent media artist over the past eight 

years by taking advantage of satellite cable 

opportunities. The nature of this programming 

is pungent, individual, alert; the pulse of the 

country’s many cultures beats through it. It 

shows the strength and independence of communities, an obstinate pluralism characterized 

by an engaging and often aggressive lack of 

cant. Through a grant to the Appalachian 

Community Service Network (ACSN), a nonprofit educational net~vork with a national 

footprint, six hours a week of this programming 

will go to a million homes in the late spring of 

1981, with limited rights to material secured on 

a non-exclusive basis. This experiment should 

encourage communities’ traditional roots to 

strike deeper, test whether the artistic nugget 

can attract the viewer from the glittering 

surfaces of commercial broadcasting, and enhance the self-awareness of the independent 

community. 

The ACSN project is part of the Programming in 

the Arts venture, the Endowment’s attempt, now 

eight years old, to give large audiences access to 

the arts through the media. This endeavor now 

has its own tradition: the notable Vision,s series 

of original plays for television (1974-1978), Lily 

.fro~ Li~coh~ C~,~tcr and from the Metropolit~ 

Opcr~, D~w(, i~ America, now in its sixth year, 

and the Documentary Fund at the TV lab of 

WNET (begun in 1978). Programming in the Arts 

was made an Endowment priority for fiscal year 

1981: its budget doubled to $6.2 million. This 

year’s plans will be matured out of next year’s 

funds to realize the strongest initiative since 

Programming in the Arts began. Already a jazz 

series is in production at KCET. Los Angeles: a 

$700,000 grant for a series on architecture and 

design has been made to WETA, Washington, 

D.C.: an invitation for proposals for a music theater series has harvested a good response; a 

visual arts series with the filmmaker/art historian Barbara Rose is in production: an ll-part 

series on folk music will be broadcast next 

spring. The Ameri(’~ M~.~tcrs series, in ~vhich 

films are made intermittently on major American artists for present and future audiences, 

continues with these recent additions: Lee Strasberg and the Actor’s Studio, the photographer 

Ansel Adams, the novelist ,John Dos Passos, and 

the .jazz composer Mary Lou Williams. Future 

plans center around a broadcast magazine of all 

the arts which will, it is expected, encourage a 

ments on quality seem to echo where and how
 

they xvere seen. Is this an indication of how slippery and mutable the media, particularly film,
 

are? Now that modes of delivering fihn are
 

undergoing radical revision (cable, disc, cassette), what will this do to our viewing habits?
 

Many of us were incubated in the film-goer’s
 

classic monad--the screen irradiated by a cone
 

of light, the fugitive shadows on a membraneous
 

space, the darkness enfolding its collective of
 

wonder and suspense. Is this to become a nostalgic fragment of period iconography? What will it
 

take to get us out of our homes? Where will this
 

leave an initiative begun this year: the packaging and circulation of film’s classic and contemporary canon, thus offering irreplaceable
 

field work for the interested audience? Will the
 

new home-bound technology, as Virgil Grillo
 

speculates, inversely emphasize the curatorial
 

tradition of our media arts and exhibition centers, clarifying their task and transferring to
 

them the care of the great tradition of film itselF?
 

Already the numbers are not negligible; over
 

txvo million people left their homes this year to
 

participate in Endowment-supported media exhibitions.
 

Exhibition, along" with Media Arts Centers 

and Production, is a priority for Media Arts Program funding: all are nmv under the stewardship of the nexv Assistant Director for Media 

Arts, Virgil Grillo, former Director of the Rocky 

Mountain Film Center. Another theme this year 

was the further diversification of production 

grants into regional and emerging artists fellowships. Also, this year saw a splendid new phase 

in the life of our largest grantee, the American 

Film Institute. Rather than elucidate these and 

other programming modifications, it seems more 

important to comment on the major changes in 

the media field, xvhieh are also reflected in the 

ehanged administrative strueture of this department. Our commitments to the media arts 

eonstitueney and to programming in the arts 

have expanded to the point where each needs the 

guidance of an assistant director. With the 

expansion of Programming in the Arts, Catherine 

Wyler, formerly Assistant Director of all the 

departments, will focus on this area. For the first 

time radio xvill have its own department in the 

Media Arts Program under the rare of Donald 

Druker. 

There is a saying among younger radio professionals that "the future of television is radio." 

This seems true insofar as radio has already 
tested many of the technological strategies now 

available to television. Well before public television, radio was delivering programs nationally 

by satellite, making possible those communities 

of interest and taste not bounded by geography-­

~vhat Daniel Boorstin calls "everywhere communities." Technically, radio’s advances have been 

extraordinary, and they coincide with the emergence of a brilliant new generation of radio producers. Until recently, the cumbersome system of 

monaural broadcasting by telephone line ~vas in 

use. But now radio producers are able to offer 

high quality stereo programming to groups of 

stations in one area, or to stations specializing in 

a particular format (e.g., Spanish language) 

~vherever located, or to the entire public radio 

system. This protean adaptability makes radio 

the most supple of media. Thousands of stations 

have no~v experimented with formats, specialized programming, interaction with listeners, 

and with non-broadcast distribution of software. 

Satellite distribution has been grafted onto this 

body of experience. Radio is now poised to hatvest the country’s diversity by suddenly reforming communities of interest depending on the 

"cut" made through its millions of listeners. 

So this year’s report is made against a backMedia Arts 145 

ground of massive change. Film is making 

strong liaison with the small screen via satellite, 

disc, and cassette. Disc is showing an omnivorous appetite for information, which it regurgitates with impeccable precision. Radio is capitalizing on satellite, on its portability (like a 

dog, it follows its master everywhere), and on the 

producing talents of a new generation. An influential constituency of independent artists have 

gained access to that small screen--which, with 

its fluid strengths, magical displacements, spatial flatness, and temporal compressions is the 

most versatile of man’s invented spaces. However we conceive the arts--as a mere special 

interest or as transcendental propaganda--that 

small screen is going to convey them to huge 

audiences in ways that will circle back to touch 

on the nature of the arts themselves and how we 

receive them. 

Brian O’Doherty 

Director, Media Arts Program 
146 Media Arts 

Media Arts Advisory Panel
 

Policy Panel 

James Blue, Co-Chairman 

Independent filmmaker, professor 

Buffalo, New York 

Jeanne Muicahy, Co-Chairman 

Television producer 

Los Angeles, California 

Richard Brandt 

Film distributor, exhibitor 

New York, New York 

Red Burns 

Communications specialist 

New York, New York 

Sally Dixon 

Film curator, media arts center director 

St. Paul, Minnesota 

Anne Focke 

Media arts center director 

Seattle, Washington 

Virgil Grillo 

Media arts center director, professor 

Boulder, Colorado 

Ed Hugetz 

Filmmaker, media arts center director 

Houston, Texas 

Lucy Kostelanetz 

Arts administrator 

New York, New York 

Adan Medrano 

Media artist, scholar 

San Antonio, Texas 

William Siemering 

Radio producer

Philadelphia, Pennsylvania 

Jim Taylor 

Filmmaker 

Chicago, Illinois 

Programming in the Arts 

Hazel Bryant 

Director, playwright, performer 

New York, New York 

Peggy Charren 

Children’s television executive 

Boston, Massachusetts 

Virginia Duncan

Television producer 

San Francisco, California 

Katherine Dunham 

Dancer, choreographer
 

East St. Louis, Illinois
 

William Greaves 

Filmmaker
 

New York, New York
 

J. Ronald Green 

Professor
 

Columbus, Ohio
 

Jack Kroll 

Theater and film critic 

New York, New York 

Nancy Malone 

Actress, film producer

Los Angeles, California 

Peter Pastreich 

Symphony orchestra executive director 

San Francisco, California 

Michael Rice 

Television producer, communications 

expert 

Washington, D.C. 

Programming in the Arts: 

Jazz Series 

Peter Andrexvs 

Television and film producer 

Los Angeles, California 

Emile Ardolino 

Televison producer 

New York, Nexv York 

Virginia Duncan 

Television producer 

San Francisco, California 

Lawrence Fraiberg 

Television producer 

New York, New York 

Michael Grofsorean 

Radio producer, jazz shoxv host 

Ann Arbor, Michigan 

James Jo rd an Arts administrator 

New York, New York 

Shep Morgan 

Television producer 

Miami, Florida 

Marquita Pool 

Television producer 

New York, New York 

Benny Powell 

Jazz musician 

Los Angeles, California 

In Residence/Workshop 

Nash Cox 

State arts council director 

Frankfort, Kentucky 

Ruby Dee 

Actress 

New Rochelle, New York 

Gall Waldron 

Media center director 

San Francisco, California 

Film/Video Exhibition 

William Judson 

Film curator, scholar, media arts 

center director 

Pittsburgh. Pennsylvania 

Robert Laemmle 

Film exhibitor 

Los Angeles, California 

Jennifer La~vson 

Filmmaker, arts administrator 

New York, New York 

Mary MacArthur 

Media arts center director 

New York, New York 

Patricia Mellenkamp

Film professor, scholar 

Milwaukee, Wisconsin 

Ruby Rich

Film critic, film programmer 

Chicago, Illinois 

American Film Institute 

Lucy Kostelanetz 

Arts administrator 

New York, New York 

Kathleen Nolan 

Actress 

Los Angeles, California 

Robert Sitton 

Media arts center director 

Portland, Oregon 

Daniel Taradash 

Screenwriter 

LOs Angeles, California 

Roy White 

Film exhibitor 

Cincinnati, Ohio 
Media Arts 147 

Robert Wise 

Film director, producer 

Holly~vood, California 

Media Arts Centers 

Jaime Barrios 

Filmmaker 

New York, New York 

Lucy Fischer 

Film scholar
 

Pittsburgh, Pennsylvania
 

J. Ronald Green 

Professor 

Columbus, Ohio 

Ed Hugetz 

Filmmaker, media arts center director 

Houston, Texas 

Jennifer Lawson 

Filmmaker, arts administrator 

New York, New York 

Michael Rothbard 

Video-maker, media center director 

Bayville, Ne~v York 

Video Fellowships 

Jaime Davidovich 

Video artist
 

New York, New York
 

Gayla Jamison 

Media center director
 

Atlanta, Georgia
 

David Ross 

Museum curator
 

Berkeley, California
 

Ira Schneider 

Video artist
 

New York, New York
 

Radio Production 

PatriciaAnderson 

Independent radio producer, audio 

center director 

Fort Edward, New York 

Teresa Clifford 

Radio Executive
 

Washington, D.C.
 

Denise Oliver 

Radio producer, commentator
 

Washington, D.C.
 

David Ossman 

Radio producer 

Santa Barbara, California 

Steve Robinson 

Radio development director 

Newark, New Jersey 

Film/Video Production: 

Organizations 

William Greaves 

Filmmaker 

New York, New York 

Robert Northshield 

Television producer 

New York, New York 

John Ptak 

Talent agent 

Los Angeles, California 

Jose Luis Ruiz 

Film producer, director 

Los Angeles, California 

Norie Sato 

Video artist 

Seattle, Washington 

Willard van Dyke 

Documentary film and television 

producer 

New York, New York 

Melinda Ward 

Film exhibitor 

Minneapolis, Minnesota 

Film/Video Production: 

Individuals 

Karen Cooper 

Film exhibitor, critic, scholar
 

New York, Nexv York
 

Edith Kramer 

Film curator 

Berkeley, California 

Anne Focke 

Media center director
 

Seattle, Washington
 

Philip Mallory Jones 

Video artist; video center director 

Ithaca, New York 

Victor Nunez 

Independent filmmaker
 

Tallahassce, Florida
 

Services to the Field 

Henry Baker 

Media center director 

Syracuse, New York 

Sally Dixon 

Film curator, media arts center director 

St. Paul, Minnesota 

Kit Fitzgerald 

Video artist 

New York, New York 

Cliff Frazier 

Filmmaker 

New York, New York 

Virgil Grillo 

Media arts center director, professor 

Boulder, Colorado 

Gayla Jamison 

Media center director 

Atlanta, Georgia 

Adan Medrano 

Media artist, scholar 

San Antonio, Texas 

Gerald O’Grady 

Film scholar, media arts center 

director 

Buffalo, New York 

Ted Perry 

Film scholar
 

Middlebury, Vermont
 

John Reilly 

Video-maker, media arts center director 

New York, New York 

Jesus Trevino 

Television and film producer 

Los Angeles, California 

Gail Waldron 

Media center director 

San Francisco, California 

Challenge Grants 

Teresa Clifford 

Radio Executive
 

Washington, D.C.
 

Dee Davis 

Arts adiministrator 

Whitesburg, Kentucky 

J. Ronald Green 

Professor
 

Columbus, Ohio
 
148 Media Arts 

Media Arts Grants Program funds: $7,216,200

Treasury funds: $1,230,000 

.Programming the Arts 

Television Grants 

Action for Children’s Television 

Newtonville, Massachusetts 

American Federation of Arts 

New York, New York 

American Jexvish Congress 

New York, New York 

Academy of Educational Development

Washington, D.C. 

Arts Management Corporation 

Philadelphia, Pennsylvania 

Brooldyn Opera Society 

New York, New York 

Children’s Television Workshop 

New York, New York 

Columbia University 

New York, New York 

Community Television Foundation of

South Florida/WPBT

Miami, Florida 

Community Television of Southern 

California 

Los Angeles, California 

Council for Positive hnages

Los Angeles, California 

Cultural Council Foundation 

New York, New York 

Educational Broadcasting Corporation 

New York, New York 

Educational Broadcasting Corporation 

New York, New York 

Private gifts: $1,317,000 

To develop series of programs on the arts for national broadcast on 

television or radio. 

Program funds: 

Treasury funds: 

Private gifts: 

$1,361,204
 

$1,230,000
 

$1,230,000
 

To compile a fil.tograph9 of arts-related programs a~td films 

geared to ~tou.g a~dicm’c.s for di,~tributim~ to broadca,~ters, cable 

operators, rideo-dise producers, a~M exhibitio~t programmer,~. 

To ameml a prerious grand fi~r film,taker amf art hi.~toria, 

Ba rba ra Rose h) produce films o, Patrick He~ rg Br,ce." A met’ica. Art of the 30~ (trot 30’s; aml (.t U.icermd Limited Art Editimt,s’, a lithography workshop tm Lo~tg Ish~mt. 

For the derelopme~d of a si.r-part tderisim~ drama series 

Laureate I. B. Si~g(’r:~ short stories s(’t i~ America. 

For the Appalarhia~t CommtoHt!t Serried, Network to package 

amt di,s’tribute arts programs th 

For folklorist He,w!! Ghtssie to develop a trcatme~d f!)r a m a jot 

teh, l,isio~ serivs deali.g with America~t folklore. 

To complete a telerisio, prod.ctimt of Pucci. i’s Madama Butterfly dircrled b!l Robert IViegaml at the Broo.~’l!t~t Bota,ic Garde,. 

To prod.re five half-ho!¢r programs i.temted 

develop the m~tural artistic abilities aml aesthetic 

childre~ age,s" ,~ia’ to 

To ameml a previous gra~tt to romplch, A Recorded Treasury of 

Black Folk Song. maki~tg hmtdreds ~f recordi<qs deposited [~t the Library of Co<qress available to the lmblic. 

For the research a~d derelopme~d o.f the "So,gs of the Th,mh’rbird" series, si.r row-hour programs proridi,g a riew of North 

America~t history aml cMtm’e from the distim’tire rie,’poi~t o.f 

the Native Americmt. 

For the produrtimt o.f a pilot program o~t fltzz.for publ ir telerisio~t 

(tml radio. The pilot ,’ill be a 90-mim~te tribute to three qf the 

.fomMers qf Bcbop--Charlie Parker, Dizzy Gillespie, aml Thelo~tius 3lo~k~i~wlmti~t9 twtfor,tam’e footage to be .~.hot i~t co~wert. 

For a series of half-hour pro.qram.~ docume.tim.l di.~ti~g~dshcd 

eldvrly arti.~ts amt srholars, i~wlmli~g guitari.~t La.rimlo AImeida, m usicia~ Elizabeth Cotte., (t ml poet aml m ms’i(’ia~ Ivor 

Da r reg. 

b’or h~depemte~d Cim,ma Artists amt Prodm’ers to distrih.te the 

work of imtcpcmle~lt film aml rideo arli,s.ts throi~gh cable sy,~te.!.s. 

To ame~td a pr~,t,ioits grand for ~t~’.’ producliom~ [~ the si,rl]t seamm ~f "Dam’e i~t America." 

For the Script Derelopme.t U.it at !IWET, trhich works with 

leadi~tg Am(’rica~ writers to del’elop dramatic material for tch’­

risiom 

$25,000 

40,000 

30,500 

100,000 

3,000 

5,500 

30,000 

7,500 

18,000 

35,000 

TF 115,000 

PG 115,000 

50,000 

15,000 

TF 500,000 

PG 500,OO0 

75,000 
Media Arts 149 

Educational Broadcasting Corporation	 To docnment ten important figures in the history of the MetropoliNew York, New York	 tan Opera. The material u,ill be nsed in a five-part documentary 

series on the Met ~ history to be broadcast during its centennial in 

1983. 

17,500 

250,000 

10,000 

2,690 

56,769 

10,000 

50,000 

25,000 

10,000 

TF 50,000 

PG 50,000 

TF 275,000 

PG 275,000 

TF 100,000 

PG 100,000 

TF 150,000 

PG 150,000 

25,000 

6,245 

100,000 

48,000 

10,000 

50,000 

16,000 

20,000 

Educational Broadcasting Corporation 

New York, New York 

Educational Broadcasting Corporation 

New York, New York 

Educational Facilities Laboratories 

New York, New York 

Educational Media Associates of 

America 

Berkeley, California 

ETV Endo~vment of South Carolina 

Spartanburg, South Carolina 

Film America 

New York, New York 

Haleakala, Inc. 

Ne~v York, New York 

Haleakala, Inc. 

New York, New York 

KQED 

San Francisco, California 

Lincoln Center for the Performing 

Arts 

New York, New York 

Los Angeles Philharmonic Association

Los Angeles, California 

Metropolitan Opera Association 

New York, New York 

Music Project for Television 

New York, New York 

National Opera Institute

Washington, D.C. 

Ne~v York Foundation for the Arts 

New York, New York 

New York Foundation for the Arts 

New York, New York 

Northeastern Pennsylvania
 

Educational Television Association
 

Pittston, Pennsylvania 

O’Neill (Eugene) Memorial Theater
 

Center
 

Waterford, Connecticut 

PTV Production 

Mill Valley. California 

WGBH Educational Foundation 

Boston, Massachusetts 

For the third year of the Independent Docnmentary Fund for 

Pnblic Television, which supports the production of independent 

film and video documentaries for public telerision broadcast. 

To complete a one-hour documentary by John Huszar on American composer Virgil Thomson. 

To amend a previous grant for additional costs of a conference on 

t~e development of a television series on architecture/design. 

To produce Diaghilev and His Ballets Russes, three one-hour 

programs docnmenting the achievements of the composers, designers, choreographers, and dancers who collaborated u,ith 

Diaghilev. 

To snpport the acquisition for pnblic television broadcast of 

"Shock of the New, "a BBC television series on 2Orb-century ~qsual 

arts, prod~tced in co@tnction with Time/Life. 

For a one-hour documentary film on contemporary photographer 

Ansel Ada~ns. 

For completion of the production of Robert Ashley~ Perfect Lives 

(Private Parts), an opera in seven half-honr episodes designed especially for television. 

For production of a series of one-minnte video portraits of composers, choreographers, vis~tal and performing artists, to be distNbuted to broadcast television. 

For a live nationwide broadcast of the San Francisco Ballet’s 

prodnction of The Tempest. 

For the fifth season of "Live From Lincoln Center." 

For a series of fonr telerised concerts featuring Carlo Maria 

Ginlini and the Los Angeles Philharmonic. 

For a series of four live telecasts of the Metropolitan Opera. 

For a one-hour television docnmentary portrait of composer 

Aaron Copland, to be prodnced by Alan Miller. 

For a three-dag n~eeting to formulate plans for a pilot series o.f 

opera and musical-theater telecasts. 

For Barbara Rose and Gall Jansen to prod~tce "Artist in America," a 13-part film series on several contemporary artists, 

inclnding Jackson Pollock, lVillem de Kooning, Robert Motherwell, Nancy Graves, Sam Gilliam, and Romare Bearden. 

For an hottr-long docnme~ttary by Arica Slesin on the milieu and 

members of the Algo~tqtdn Rou~M Table, inclndi~tg George S. 

Kaufmam Alexander lVoollcott, Harold Ross, Dorothy Parker, 

Robert Benchley, Ed~ta Ferber, and Marc Cmmel!g. 

For the plaything and derelopment for pnblic telerision of "An 

American Festical: Concerts at the Capitol." 

For completion of a 90-mi~ode telerision special on the art of 

kabuki, Japan~ classical theater dati~tg from the 17th centnr!t. 

For the derelopment of a 90-mind,re film, Swallowing America 

Whole, derired from the life and work of John Dos Passos. 

For prodtwtio~t of a pilot program for a telerision series on 

lemporary m tmic. 
150 Media Arts 

Radio Grants 

American Music Conference 

Wilmette, Illinois 

Minnesota Public Radio 

St. Paul, Minnesota 

National Public Radio 

Washington, D.C. 

National Public Radio 

Washington, D.C. 

National Public Radio 

Washington, D.C. 

National Public Radio 

Washington, D.C. 

Ncxv Wave Corporation

Columbia, Missouri 

Media Arts Centers 

Art Institute of Chicago 

Chica:	o, Illinois 

California, Regents of University of

Berkeley, California 

Colorado, Regents of University of

Boulder, Colorado 

Downtoxvn Community Television 

Center 

New York, New York 

Film in the Cities 

St. Paul, Minnesota 

Global Village Video Resource Center 

New York, New York 

Media Study

Buffalo, New York 

For "America i~t Cmxert," a ~mlional we@l!! series of o~e-hour 

radio progra ms of life pe@.’ma ~ces by A m eric(m o~vhestras a ~ul 

chamber e~tsembles. 

For "A Prairie Home Compa n ion, "a a’eeklt! l ire progra m broadcast from a cariety of locations throughout the upper midwest, 

i~corporati~tg traditio~ml music, jazz. ethnic music, satire, a~td 

storytelli~tg. 

For "Earplay," a 26-part series of origimtl drama for radio. 

For "Radiovisio~m," a 13-part radio series in which each 

hour program a’ill be a collaboratimt bet.’ecn an imtepe~tdeut 

radio producer and lcadi~g contvmporarg composers and musiFor the arts coverage compone~tt o.f"Morning Edition, "a program 

~f mini-(locume~taries, reports, i~ttcrri(,.’.~, mM commentaries on 

lhe arts. 

For prod.ction of four special programs in the series "Jazz 

Alice," 5wluding New Year:~ ’79, Jazz Festiral, Jazz Club, and a 

tribute to a major jazz artist. 

For a~t audio librar!l qf Americmt prose writers readi~tg their 

ow~t works to bc produced in 15 om’-]mur progrant,s" fi)r ~tational 

distributim~ o~t radia. 

$15,000 

TF 40,000
 

PG 40,000
 

150,000 

15,000 

20,000 

12,500 

7,000 

To assist Media Arts Centers to undertake a variety of projects xvhich

xvill make the arts of film, video, and radio more widely appreciated 

and practiced. Centers may be independent or associated with another organization such as a museum, university, or state arts agency. 

Program funds: $446,000 

For actirities of the Film Center, i~wludi,g e:’hibition programs. $30,000 

Imblicatio.s, maintem~m’e of a .fdm stmly colh’clio., a~d risiling 

artist programs. 

film aml video e,rhibitio~m, presentation of cideo i.stal- 40,000 

lations and pe~formam’vs, residcm, ies by artists aml critics, 

iu.~truclion and access to stmly 

maintemt.ce ~f a film aml cidco collection at the Pacific Film 

Arehice. 

Rocky 3Iom~tai~t Film Cc~ttcrk pro:lrams, i.ch.li.g.film- 34,000 

makcrs-in-residem.e, the btterm~tional Film Series, aml ava~dgamh, amt chihh’en~ film series. 

For media center actiritics, im’lmling workshop space, a ridco 22,000
 

cquipme~tt ha.k, a cideo tape libram!, two ~’.rhibitimt series,
 

high-school workshops.
 

For media center programs, im’lmti,ff.fdmmaki~g workshops. 34,000 

a.s’sociotv degree pFogFalt~s itl film .tbr area schools, cim.malhcquc 

aml regular e.rhibitio,s qf i,dcpemh’~t .film.~. a .filmmakers’ 

access cenh.r, i~([brmalhm .s.erciccs. and a, C.rlu’rimenlal .s.o,ml 

For media ce~tter acticities, i~tcl~Mi~tgfilm a~d rideo exhibitio~m 34,000
 

a~t(l festivals, publicatimts, workshops, video equipme~tt access,
 

a~d produetio~t.
 

For media ce~tter programs, incl,.ling media arts progrmnmi~tg, 40,000
 

workshops, equipme~tt access, artist-in-residence programs, and
 

publications.
 
Museum of Modern Art 

New York, New York 

Pittsburgh Film-Makers

Pittsburgh, Pennsylvania 

Portland Art Association 

Portland, Oregon 

South Carolina Arts Commission 

Columbia, South Carolina 

Southwestern Alternate Media Project 

Houston, Texas 

Walker Art Center 

Minneapolis, Minnesota 

Aid to Film/Video

Exhibition 

and/or service

Seattle, Washington 

and/or service

Seattle, Washington 

Archdiocesan Communication Center 

San Francisco, California 

Artists’ Television Net~vork 

New York, New York 

Baltimore Film Forum 

Baltimore, Maryland 

Berks Filmmakers 

Reading, Pennsylvania 

Center Screen 

Cambridge, Massachusetts 

Chicago Filmmakers 

Chicago, Illinois 

Collective for Living Cinema 

New York, New York 

Contemporary Media Study Center

Dayton, Ohio 

Craft and Folk Art Museum 

Los Angeles, California 

Media Arts 151 

For acti~qties of the film department, including exhibition pro­ 43,000

grams, program notes and documentation for distribution, Cineprobe series of screenings, and the Video Viewpoints series. 

For media center activities, including access to equipment, work- 34,000 

shops, film exhibitions, publication of a quarterly journal, and 

preservation of films by area filmmakers. 

For Northwest Film Study Center’s activities, including film and 38,000 

rideo exhibitions, appearances by filmmakers, an annual Young 

People’s Film Festival, a regional film festival, film and video 

courses, administration of filmmakers-in-schools, and publications. 

For media center activities, including access to equipment work­ 34,000

shops, conferences, circulating film programs, and a Young Filmmakers Festival. 

For media center activities, including a film and lecture series, 34,000 

access to film and video equipment; "Texpo ’80, "an exposition of 

southwest films; prodnction of "The Territory, " a series featuring 

the work of Texas independent filmmakers; and publications. 

For media center activities, including showings by regional fibn 29,000 

and videomakers, filmmakers and lecturers-in-residence, outreach programs for minority groups, circulating film programs, 

and a resource library. 

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: $253,000 

For a film and video exhibition program during 1980. $9,000 

For a film and ~qdeo exhibition program during 1981. 10,000 

For ~qdeo exhibitions, installations, and performances uqth the 9,000
 

artists present.
 

For an exhibition of artists’ tapes on cable television, and for 9,000
 

regional and international exhibition programs.
 

For a film exhibition program, including a tu,o-week festival, an 5,000
 

independent filmmakers’ competition, monthly film programs, a
 

lO-u,eek lecture-film-discussion series, and a Fre~wh film series.
 

For a film exhibition series of avant-garde works, skou’s by Penn- 4,000
 

sylvania filmmakers, a documentary series, the Magic Lantern
 

series, and open screenings.
 

For a film exhibition program focnsing on independent cinema 15,000
 

and rarely screened 35ram feature films.
 

For an exhibition program of works by independent filmmakers. 9,000 

For an exhibition program of independent and classic narrative 8,000 

films, with program notes and appearances by fiImmakers. 

For an exhibition program of film screenings, guest appearances 4,000
 

by film and videomakers, video installation, s, and a reg~dar exhibition series.
 

For a~ exhibition program of presentations by independent film- 7,000
 

makers, presentations on the history of the arant-garde cinema,
 

a~d a featnre film snrvey.
 
152 Media Arts 

District of Columbia, University of 

Washington, D.C. 

Everson Museum of Art 

Syracuse, New York 

Facets Multimedia 

Chicago, Illinois 

Film Art Fund 

New York, New York 

Foundation for Art in Cinema 

San Francisco, California 

Inter-Media Art Center 

Bayville, New York 

Kent State University 

Kent, Ohio 

Long Beach Museum of Art 

Long Beach, California 

Los Angeles Independent Film Oasis 

Los Angeles, California 

Los Angeles Institute of Contemporary

Art 

Los Angeles, California 

Mississippi Museum of Art

Jackson, Mississippi 

Moving Image 

New York, New York 

Nebraska, University of 

Lincoln, Nebraska 

Neighborhood Film Project 

Philadelphia, Pennsylvania 

New England New Media 

Nor~vich, Vermont 

Ohio State University 

Columbus, Ohio 

Pasadena Film Forum 

Pasadena, California 

Real Art Ways 

Hartford, Connecticut 

Rising Sun 

Santa Fe, New Mexico 

San Francisco Art Institute 

San Francisco, California 

Sun Ship Communications 

Buffalo, New York 

Upstate Films 

Rhinebeck, New York 

Walnut Street Theater 

Philadelphia, Pennsylvania 

For the Black Film h~stitute’s e2"hibition a~d lecture program 10,000 

consisting of historically important feature a~d independent 

films by black filmmakers. 

For an exhibitio~ program of rideotapes, rideo installatimm, a~d 9,000 

a lecture series. 

For an exhibition program of thematic programs, work,@ops with 6,000 

visiting9 filmmakers, seminars, a children’s film festival, a film 

study program for schools, and a programming resource ee~tter. 

For a rideo exhibition program at rarious gallery spaces, and a 9,000 

series on Manhattan Cable Television. 

For th e fil m e~h ibitio n p rogra m of Ca n yo n Cin e m a th eq ue a n d th e 9,000 

publication of Cinemanews. 

For an exhibition program consisting of mnlti-media perform- 7,000
 

anee, single-chan~wl rideo works, i~stallatio~s, holographic
 

works, a~d film showings.
 

For the Filmworks and Tuesday Cinema exhibition program. 5,000
 

For a video exhibition program in the museum a~td the new Sta- 9,000
 

tion Annex, consisting of exhibitions, i~stallations, a video art
 

cable television series, film/~qdeo performance presentations,
 

and seminars Mth video artists.
 

For an exhibition program featuring works by independent film- 8,000 ntokeFs. 

For an exhibition program featuring works by independe~t 3,000 

videomakers. 

For the New Sonth Film Center’s exhibitimt program of independ- 3,000 

e~t films and eideo presentations. 

For Film Forum’s exhibition program. 15,000 

For the film exhibition program of the Shehton Film Theater. 9,000 

For the Inter~mtimml Honse of Philadelphiak exhibition pro- 15,000 

g Fo in. 

For the Shadow Boa" Theater~ film exhibition program. 4,000 

For a film/eideo exhibitio~t program, a weekly series of inter- 5,000 ~mtional releases, and extensire program notes. 

For a film exhibition program consisti~g of n,orks by independ- 3,500 

ent filmmakers and programs of multi-media or mixed-media 

works. 

For exhibitions of contemporary film and cideo a’orks. 5,000 

For a film/~qdeo exhibition program of documentary, experi- 5,000 

mental, and narrative works. 

For a video installation program. 3,000 

For the exhibitio~t program of the Oscar Micheaux Theater, 7,000 

For a film exhibition program including a guest speaker series. 5,500 

For film and rideo exhibitions, im’ludi~g a special series o~t the 9,000 

handicapped. 
Media Arts 153 

To enable organizations to invite renowned film and videomakers, In Residence/

Workshop Program radio producers, and critics for lectures, workshops, or residencies.

Academy of Media and the Arts 

San Francisco, California 

Archdiocesan Community Center 

San Francisco, California 

Cambridge Arts Council

Cambridge, Massachusetts 

Center Screen 

Cambridge, Massachusetts 

Chicago Editing Center

Chicago, Illinois 

Chicago Filmmakers 

Chicago, Illinois 

Collective for Living Cinema 

New York, New York 

Community Film Workshop 

Chicago, Illinois 

Foundation for Art in Cinema 

Larkspur, California 

Hawaii, University of 

Honolulu, Hawaii 

Independent Media Artist 

Atlanta, Georgia 

Los Angeles Institute of Contemporary 

Art 

Los Angeles, California 

Maine Film Alliance 

Portland, Maine 

Mills College 

Oakland, California 

Minnesota State Arts Board 

Minneapolis, Minnesota 

Mississippi Museum of Art

Jackson, Mississippi 

Nebraska, University of 

Lincoln, Nebraska 

Program funds: $152,000 

To hire an artist to derelop a collaborative theater/media arts $2,000
 

u’orkshop project.
 

For a residency by film and video scholar and curator John Han- 1,000
 

hardt for west coast rideomakers.
 

For a residency by video artist Dan Sandin at various institu- 3,000
 

tions in the Cambridge area, including Massachusetts Institute of
 

Technology, Massachusetts College of Art, and the Boston Film/
 

Video Foundation.
 

For public lect~re-presentations by 12 visiting filmmakers, rideo- 8,000
 

makers, and media performance artists as part of the New England Independe~t Film and Video Touring Circuit.
 

For residencies for local videomakers by video artists Joel Gold, 5,000 

Skip Blumberg, Dee Dee Halleck, and James Mulligan, the results of u’hich will be broadcast on public television station 

WTTW in Chicago. 

For resident filmmaker Michael Humphreys to work with 30 8,000 

young adults to produce a half-hour sound narratire fiction film. 

For intensive filmmaker seminars taught by filmmakers Alan 5,000 

Berliner, Bette Gordon, Heleue Kaplan, Ken Ross, Richard 

Levine, Bill Brand, and Jon R~bin, inclnding special seminars 

on technical and theoretical aspects of filmmaking. 

For visiting artists to present their works and cond~ct u’orkshops 3,000

for Chicago area filmmakers in a variety of aspects of filntmaking. 

For visits by 30 i~dependent filmmakers, to include public 5,000 

screenings, discnssions, and workshops at the San Francisco Art 

Institute. 

For a series of five-day residencies by seven filmmakers. 4,000 

For two 11-u’eek courses in basic filmmaking and animation, 7,000 

offered in cooperation with Georgia State University of the Atlanta College of Art, a~d taught by animator Sara Petty and 

filmmaker Art Zipperer. 

For a residency by video artist Peter d’Agostino, to result in an 2,500 

exhibition of videotapes, the production of a major new u’ork, a~d 

public discussions. 

For a series of 12 public lecture-screenings on film and video, 5,000 

featuring nationally knou~n media artists. 

For residencies at the Center for Contemporary M~sic by rice 2,000 

media artists, involving three-day workshops in film and ~deo 

and in mixed media performance. 

To assist the state in developing domonstration sites for residen- 9,000 

cies by film and video artists, to continue workshops for stateu,ide 

sponsors, to provide technical assistance to commnnities in 

creating local film/video programs, and to derelop a stateu’ide 

netu,ork of media centers. 

For a series of five short-term residencies by ~Ssual artists for the 5.000

purpose of presenting their work and conducting hands-on workshops. 

For a visiting film artist series at the Sheldon Film Theater, 6,000 

during u’hich film and videomakers screen and discuss their 

work with live a~die~wes and over Nebraska ETV. 
154 Media Arts 

Neighborhood Film Project 

Philadelphia, Pennsylvania 

New Mexico, University of

Albuquerque, New Mexico 

Portable Channel 

Rochester, New York 

Real Art Ways 

Hartford, Connecticut 

School of the Art Institute of Chicago 

Chicago, Illinois 

Southern Educational 

Communications Association 

Columbia, South Carolina 

Southxvestern Alternate Media Project 

E1 Paso, Texas 

Sun Ship Communications 

Buffalo, Nexv York 

Tucson Museum of Art 

Tucson, Arizona 

University Student 

Telecommunications Corporation 

Minneapolis, Minnesota 

Walnut Street Theater 

Philadelphia, Pennsylvania 

Womcn/Artist/Filmmakers 

New York, New York 

Women in Film 

Atlanta, Georgia 

Young Filmmakers Foundation 

New York, New York 

Endowment/

Corporation for 

Public Broadcasting

Joint Program 

Global Village Video Resource Center 

New York, New York 

Haleakala 

New York, Ne\v York 

For 15 p.blic lecture-prese~tations at Internatiomd House of 5,000
 

Philadelphia by i~depemte~t filmmakers, ten public lect~o’es by
 

~mtio~mlly reeog~dzed critics, a~M for guest programmer Warren
 

Bass to be i~wluded in the reg.lar ea’hlbition prO~lram.
 

For Co.lposb~g for Radio, a~ b~te~lsire three-dat! workshop, 8,000
 

directed b!! audio artists lVarrev B.rt and Net Sublettc, engineer
 

Michael Wolff. a~M composer John Cage.
 

For a residency program brb~gb~g in folo" artists to comlucl 5,000
 

workshops with film a mt videomakcrs, a ml to (’o~din ue m’w work
 

for broadcast.
 

Forthe Reside~w9 Program for Film aml Video, bri~gi~gtogether 5,000
 

26 artists’, critics, oral filmmakers for discussio~m, workshops.
 

(llt(t S(’DI inars.
 

For a program of public lectures, sem im~rs, and hamts-m~ work- 5,000
 

shops bg 18 filmmakers.
 

For a workshop for radio producers i~ theater and radio produc- 5,000
 

tim~. in which a n origimd work cam m issiom’d by SECA .’ill be
 

produced m~der the directim~ qf "Earplag" prod.cer Karl
 

Schmidt at station WBHM in Birmingham. Alabama.
 

For a public lect~o’e-screenb~g program im’olvi.g g.cst film- 1,500
 

makers Sta~ Brakhage, Da~g Lgo~, James Broughtom a~M
 

Carolee Schne(’ma~t.
 

For rcside~wies by black filmmakers Monica Freema~ amt War- 5,000
 

rington Hudlin.
 

For a series of scrceuings and workshops b~.! imh,pe~Mcnt filnt- 5,000 

mal,ers. 

For residence by three cisitblg vidca artists.for Un iversitg 5,000
 

m ml it!l Video.
 

For a series of eight sltort-term residencies coml.ctcd bqfilm a~ld 8,000
 

rideo artists who will scree~ amt discuss their work.
 

For a series of semimw-worl,’slmps at Global Village Video 5,000
 

Resources Center amt at a group of libraries lhrm..thm~t New
 

Yorl," Slate, with filmmal;crs A~la Thacher, George Gr~ffb~.
 

Doris Chase.
 

For a master <’lass workshop briaqi<q toqethvr women bu’olred in 1,000
 

film production i~ Georgia with aotable .’omc~ in the commercial
 

film imllcstr!l.
 

For the Directors’ Prqject, i.ch.ling opt. workshops in film 8,000
 

directorial tech.iqucs aml script analgsis, dirccti~g scmi~mrs
 

with im’ited directors amt actors, amt a thr<,c-u’eek i~t(msire


master class taught bq ~]l(’am." Perrg a~d ttou’ard Koch.
 

The Media Arts Program xvorks xvith the Corporation for Public 

Broadcasting by jointly funding specific projects xvhich foster the 

arts on public television. 

Program funds: $94,000 

For a series of regional .,orl,’shop~ <lesigu<’d lo prcl>are the imlc- $,10,000 

pcmh,.l prodt¢cer for the public broadcast sgstcm. 

For a cideo sgmt>osiu,! bri+~gia,i togethrr cltltural hisloria+~s, 6,000 

<wstheticia~s, artists, a.d critics .for three dags qf dis<,ussio, to 

e.ra mine lhe a rt form, its c+m nect+<m to lelerisi+m, <t ml ils im pact 

o~ socict!t. 

International Film Seminars For the tenth ammal "l+ublic 7"ch’risiou am! the btdepcmle~tt 48,000 

New York, New York Film" seminar, com’cntrati~tl <m works by mi~toritics. 
Media Arts 155 

Short Film Showcase 

Foundation for Independent Video 

and Film* 

New York, New York 

The Foundation for Independent Video and Film administers for the 

Endowment a program to distribute selected short films by independent filmmakers to commercial movie theaters throughout the 

United States. 

Program funds: $120,000 

To amend a previous contract for additional administrative costs $105,000 

necessary to co,tirade the Short Film Showcase program. 

The following filmmakers were awarded $2,500 each for the use of their films in the Short Film

Showcase program. 

Anderson, Michael J. 

San Anselmo, California 

Davidson, Carson C. 

New York, Nexv York 

American Film 

Institute 

American Film Institute 

Los Angeles, California, and 

Washington, D.C. 

AFI/Endowment

Archival Program 

American Film Institute* 

Los Angeles, California, and

Washington, D.C. 

American Film Institute* 

Los Angeles, California, and 

Washington, D.C. 

AFI/Independent 

Filmmaker 

Fellowships 

Noyes, Eliot Slesin, Aviva 

Ne\v York, New York New York, New York 

Seder, Rufus B. Spaull, Malcolm G. 

Boston, Massachusetts Rochester, New York 

Support for the American Film Institute for its work in preserving 

and developing the nation’s artistic and cultural resources in film. 

The Institute concentrates on the following areas: archives, education, advanced filmmaker training, filmmaker grants, and research

and publication. 

Program funds: $1,800,000 

For support of program activities in areas such as exMbitio~, $1,800,000 

educatio~, membership serrices, workshops, st~de~t film distribution, and the film co~ser~vtory. 

To help organizations locate, preserve, and catalogue films of artistic 

value. 

Program funds: $650,000 

For serrices related to the AFI/Arts Endowme~t Film Archival $487,500 

Program, i~cluding s~bgra~ts for preserratio~, coordb~atio~, 

and admi~istrative costs. 

To amend a pre~’io~ts cow, tract for serrices related to the AFI/Arts 162,500 

Endowment Film Archival Program. 

The AFI administers for the Endowment a program of grants to 

filmmakers working in animated, documentary, experimental, and 

narrative film. 

Program funds: $450,000 

American Film Institute* For the I~depe~de~t Filmmaker Awards Program. $450,000 

Los Angeles, California. and 

Washington, D.C. 
156 Media Arts 

Production Grants Includes three subcategories: Fihn and Video Grants advance the 

arts of film and video through support of single production by taxexempt organizations or individuals. Radio Grants support single 

radio productions and series by tax-exempt organizations or individuals. Video Artists’ Fellowships, jointly funded by the Media Arts 

and Visual Arts Programs, enable artists to set aside time, purchase

materials, and generally advance their careers as they see fit. 

Program funds: $1,030,500 

Film and Video Grants: Organizations 

Agee (James) Film Project

Johnson City, Tennessee 

Black Filmmaker Foundation 

New York, New York 

Chinese Culture Foundation 

San Francisco, California 

Collective Black Artists 

New York, Ne~v York 

Colorado, University of 

Denver, Colorado 

Columbia University 

New York, New York 

Educational Broadcasting 

Corporation 

New York, New York 

Emancipation Arts 

Los Angeles, California 

Evergreen Foundation

Seattle. Washington 

Fairmount Theater for the Deaf 

Cleveland, Ohio 

Film Arts Foundation 

San Francisco, California 

Film Workshop of Westchester 

Westchester, New York 

Fund for Theater and Film 

Cambridge, Massachusetts 

Global Village Video Resource Center 

New York, New York 

Haleakala, Inc. 

New York, New York 

For a 90-minute film portrait by Ross Spears on the Temwssee $25,000 

Volley Authority, includi~g its history, its effect on the Tem~essee 

Volley, and its role in the future of energy production. 

For The Electric Drummer, an hour-long documentary film by 10,000 

Warri~tgton Hudlin abrupt the way la~tguage contributes to black 

America~t culture. 

For Sue Yung Li a~d Shirley Sun to complete Cities in China, 10,000 

three o n e-h o u r doe u m e n ta ry film s rap rese ~ ti~g diffe re~ t aspects 

of Chinese culture. 

For The Power of the Gospel Song, a m~e-hourdoeume~taryfilm 20,000 

by George Nierer~berg. 

For Barrio Healing, a 52-mixture, bili~gual film by Don Car- 10,000 

de,ms about social healing processes based o~ the religion,s thought 

a~M practice of Hispanic people. 

For a half-hour documentary film by Hilar!l Harris o~ Gha~la’s 10,000 

Ewe poetry. 

For a one-hour videotape for ~mtional public telerision by Eel 25,000 

Em sh u’iller, explo ri~g va rio us uses of digita I co m p u tar gropb ics, 

combining film images and rideo technology M a dramatic 

framework. 

To complete Corrido del Valle, a feature-le~gtb documentary film 25,000 

by David Sa~tdaral a~d Hart Perry e.rploNng the bistor!! and 

culture of the migrator farm workers of the lower Rio Grande 

River Valley of south T¢.ras. 

For research and derelopment of a dramatization of Dee Brown~ 10,000 

Bury My Heart at Wounded Knee. 

For a videotape by Deborah Dahl of a theater production per- 10,000 

formed in si.cp~ la~guage, designed for natimml public telerisio~. 

To complete Sisters, a 45-minute color docume~taryfilm by Ilana 12,000 

Bar-Din which e.rami,es the lices of four you~g Jewish sisters at 

a time of major transition i~ their liras. 

For a o,e-bour documentary film by Joa~ne Burke o~ fl~zz musi- 25,000 

cian Mary Lou |Villiams. 

For Mary Be~@tmin to complete Eight Minutes to Midnight, a 15,000 

o~wqtour documentar!l film o~ Dr. Helen Cahlicott. a~ Australia~ pediatricia, concerned with the medical dangers of ~uclear 

e~ergy. 

For Our Children, a rideotape documet~tary b!! J, lie Gustafson 15,000 

am! Joh~ Reilly usi,g si.r sets of parapets from diffe~ e,t ecmmmic 

backgrouml.~ to illustrate their chihlren~ promlems a~d the 

equities a~d opportm~ities arisi~tg out of the l.w’aili,g social 

Mr,el,re. 

For Perfect Lives (Private Parts), an opera created by Robert 30,000 

Ashley for voices and instruments in a video environment, designed as seven half-hour programs for television and radio 

simulcast. 
Media Arts 157 

Health Video Services 

New York, New York 

Ithaca Video Projects 

Ithaca, New York 

Kineholistics Foundation 

New York, New York 

National Council of Churches 

New York, New York 

Netzahaulcoyotl Historical Society 

Berkeley, California 

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 

New York, Research Foundation of

the State University of

Albany, New York 

Ohio State University 

Columbus, Ohio 

On Television 

New York, New York 

Raindance Foundation 

New York, New York 

Syracuse University

Syracuse, New York 

Vasulka Corporation 

Buffalo, New York 

Washington Community Video Center

Washington, D.C. 

WGBH Educational Foundation 

Boston, Massachusetts 

For a documentary film by Ira Wohl on the psychological sequellae 15,000 

of cosmetic breast surgery. 

For Soldiers of a Recent and Forgotton War, a one-hour video- 12,000 

tape designed for national public telezqsion by Philip and C~nilla 

Mallory Jones, presenting six Vietnam veterans, their families, 

their environments, and how they have been affected by their war 

experiences. 

For the expansion of a series of interactive video projects by 5,000

Wendy Clarke. 

For Zimbabwe, a 50-minute documentary film by Robert Van 15,000 

Lierop examining that country’s history and early resistance to 

British influence. 

For Personal Problems, a 90-minute narrative film by Ishmael 20,000 

Reed exploring relationships between family members. 

For a film for teenagers and adults by Linda Feferman on teen- 25,000 

age pregnancy, exploring reasons for its increase and solutions to 

the problem. 

For a one-hour film by Manny Kircheimer on the lives and memo- 15,000 

ries of German-Jewish refugees in New York’s Washington 

Heights. 

For a one-hour film documentary by Richard Leacock on film 25,000 

actress Louise Brooks. 

For Meeting Half Way, a film by Alan Shapiro concerning the 5,000 

American juvenile justice system, featuring two boys on a probation work program. 

For a documentary film by Don Alan Pennebaker exa~nining two 15,000 

different approaches to a work by Samuel Beckett. 

30,000 

Cinema, a onc-hour documentary film by George Stoney on the 

importance of cinema in conveying social reality. 

For The Plow and the River: Documentation of America in 

For On Television, a pilot television program by Mary Mcgee 25,000
 

examining the social, cultural, and economic impact of American
 

television.
 

For a 26-minute color zqdeotape by Juan Downey on the use of 12,000
 

mirrors in western painting, from Fle~nish primitives to contemporary American examples.
 

For "Fusion," a national public television series of 13 artists’ 10,000
 

videotapes.
 

For Steina and Woody Vasulka to produce two half-hour broad- 4,000
 

cast quality tapes expanding their explorations uqth computer-


generated video imagery.
 

For America: Right, Left, and Center, a public television pro- 20,000
 

gram on political responses to key issues in a national election,
 

and with short documentary portraits of diverse groups in several
 

American cities.
 

For "Spaces Between," a project in which the New Television 20,000
 

Workshop at WGBH commissions independent ~Sdeo artists
 

to create short tapes for the Public Broadcasting Service.
 

Film and Video Grants: Individuals 

B, Beth and Scott For a feature-length film exploring the evolution of American $7,500 

New York, New York social and intellectual mores as influenced by philosophy, religion, science, politics, and history. 
158 Media Arts 

Blumberg, Skip 

San Francisco, California 

Bundy, Peter 

Northfield, Minnesota 

Cohen, Maxi 

New York, New York 

Davis, Donglas 

New York, New York 

Doob, Nicholas 

New York, New York 

Duvall, Robert 

New York, New York 

rink, Kenneth 

New York, New York 

Fisher, Morgan 

Santa Monica, California 

Friedman, Barton 

Woodstock, New York 

Galloxvay, Kit and Sherrie Rabinoxvitz 

North Hollywood, California 

Gehr, Ernie 

Brooklyn, New York 

Griffin, George 

New York, New York 

Hutton, Peter 

New York, New York 

King, tlugh

Philadelphia, Pennsylvania 

Kozck, Bonnie 

Venice, California 

Lando\v, George

Chicago, Illinois 

Maiwald, Ch rista 

New York, New York 

Matias, Bienvenida 

New York, Nexv York 

McCullough, Barbara 

LOs Angeles, California 

Morales, Sylvia 

Los Angeles, California 

NMmark, Michael 

Cambridge, Massachusetts 

Nixon, Pamela

Washington, D.C. 

For t~ rideo documentary o~ the ~trtists’ ~tnd writers’ bast’ball 10,000
 

game in Amaga~mett, New Yorl;
 

For Northern Rocky, ~[ ].df-ho.r film e rph, ri.g the people 10,000
 

em,irow~ of wester~ Monta,m, m,’thern Utah. IV!lomim.!
 

htako.
 

To write a fet~ture script t~bout two video (trtists who document 5,000
 

their o!
,~ lires o~ rMeo.
 

For a lice rideo t~vnsm ission ri~ i,dermttional s~ttellite hook-up. 5,000 

Au e.rperimental rideo work performed by ri&’o ~rtist Douyh~s 

Davis at the Whitney M, seum qf Americ~ Art will be relayed to 

.four cm~,tries, gem’rati~g audio feedback from particip<tt~g 

musemns i~ Salt Fr(~neisro. Tokyo, I)ttris, ttmt Brisb~w. 

To complete a one-hour docum(,~ltt~ryfilm ¢~bold a New York City 15,000 

s~nit¢~tion crew (~<l the f!~milies o.f the crew members. 

For Angelo, My Love, a fe~tturc .film b¢~se<l ou the lift, of ~, 7,500 

Gyps!l boy. 

complete a one-hour documeMt~ry film on a cottl minim.l corn- 5,000 

unity of souther~t West Virgi,im 

For si.r short films o~ the for,md problems implicit in Imndling 7,500 

the film medium. 

To create a video e~rironment ,rot of three chamtcters portrtt!ted 

by faces o~t ri&’o monitmv. 

For ~ life, interactire satellite comwctim~ bctu,ee~ two 5,000 

v~ciromm,.ts. In Los A~qleles aml New York City a video camera, tz h~rye scree~ projector, (t,d ttn amtio system will be 

stalled M <~ del~(~rtme,t store wimlow fat’i~g the sid(,w~dk. Thv 

two wimtow in,s’talh~tions ,’ill he co,m,eted ria satellite so th~tt 

pedestri~tms passi~g by at both .sitvs will see, he~tr, ~tnd talk with 

those ctt the other site. 

For (~ e.vperime~btl film .]u.rt(um.N~g mldtiple im¢~gvs 10,000 

somMs from d~ffer(’nt times ~ml places in New }~r/¢ City 

Brooklyn. 

For a lS-m imdc anim(~ted film ,m the hum’Jr’am’ (~ml tidal w(t re 15,000

whirh destroyed most qf G<dc(’ston. Te.cm~. iu I9O0. ,.~’i~g photographic dor,me,t~ttim~ ~tnd imagim~ticv recrerdio, qf the ece~t. 

For ~ film i, h igh-spced bhwk-a ,M-wh ite presc,ti,g a risimm ry 12,000 

portra it of ,ll(t,h~tta n. 

To com ph’te a o,e-ho,r docume~d~tryfilm on the trolled’force i, the 10,000 

City of Ph ihuh’Iph 

To mtra~we the art of hologr(~phy by producing ~t three-d imensiomd 10,000 

film b~ts(’d on the Gre(,I; mqth o.f Ledt~ aml the Swam 

5,000 

For Dream-Watcher Blues, a half-ho!st cideottu~e which is ~, 7,500 

t,.rlwrim(,,htl ,armtt[ve drttmm 

For ¢t film doc,me~tti,g the clm,ges m,lergm," t,! black ¢t~M 10,000 

Pm’rto Ri(’a~ teemtqe boys.from imwr-city m’ighborhoods" who 

receive schoh~ rsh ips to a u r~fl,e ut Bosto, .s,tm rlm~ h iqh school. 

For t~ onr-hour do(’,me,t~try.fih, o, jazz a,’lids i*t Los A.geh’s, 7,500 

St. Lo.is, Chicayo, (~mt New 

For (i oue-hmo" dor!¢mc~d(tr!t.fih, e.qdoring ho,’.fire Lalimts (tm’ 7,500 

shapvd by i~stit,tion.~ within a,d outsMe thdr c,lt,rcs. 

For 12 short film pieces desigm’d to be .~(’rcem’d o. ~t.film l.’@’ctm" 5,000 

theft mores ctroto,1 the phuttm(’]; sp¢tce. 

For a om’-hmo" doc,menhtrll.film e ,’ph.’i.q tlw plifht qf hmm’h’ss 10,000 

5.000 
Media Arts 159 

Parkerson, Michelle 

Washington, D.C. 

Pincus, Ed

Roxbury, Vermont 

Preloran, Jorge

Inglewood, California 

Rappaport, Mark 

Ne~v York, New York 

Ritz, Lan 

Hollywood, California 

Rubin, Jon 

New York, New York 

Rumfelt, Ed 

Atlanta, Georgia 

Whitney, John

Pacific Palisades, California 

Radio Grants: Organizations 

Appalshop 

Whitesburg, Kentucky 

Brattleboro Music Center, Friends of 

Brattleboro, Vermont 

Children’s Radio Theater 

Washington, D.C. 

Community Information Network 

Oakland, California 

Creative Music Foundation 

Woodstock, New York 

Jack Straw Memorial Foundation 

Seattle, Washington 

Los Angeles Philharmonic Association 

Los Angeles, California 

Mabou Mines Development 

Foundation 

New York, New York 

Minnesota Public Radio 

St. Paul, Minnesota 

New Dimensions Foundation 

San Francisco, California 

Pacifica Foundation/KPFK-FM

Los Angeles, California 

Pacifica Foundation/KPFK-FM

Los Angeles, California 

Pacifica Foundation/WPFW-FM

Washington, D.C. 

To complete a one-hour documentary film on the jazz vocalist 5,000 

Betty Carter. 

To complete a four-hour film diary documenting how a family 8,000 

changes over a five-year period, focusi~g on the filmmaker’s 

family and friends. 

To complete a 40-minute documentary film on Argentinian pup- 3,000 

peteer Hector di Mauro. 

To u’rite a feature-length narrative film script which explores 5,000 

family mythology, based on a Prosper Merimee story called 

"Lokis. " 

For a release print of a feature-length documentary film, Annie 2,500 

Mae--Brave Hearted Woman, on the recent history of Native 

Americans. 

For films to be projected in various outdoor settings. 7,500 

To complete a 15-minute documentary film on sculptor George 5,000 

Beasley. 

To complete Ideas About Visual Harmony, a film using computer 7,500 

graphics arm optical printing. 

For five half-hour programs based on the Roadside Theater’s $7,000 

production of Red Fox/Second Hangin’. 

For a 13-part series of choral and chamber music from the Brat- 2,400 

tleboro Music Festiral. 

For 25 half-l~our programs, focusing on fairy tales, fables, plays 15,000 

written by children,, social issues, and family relationships. 

For a series of programs, including two dramas and two profiles 12,000 

of outstanding artists. 

For a 13-part radio series including performances, workshops, 5,000 

rehearsals, lectures, and inter~qews. 

For "Great Ether Bank, 1980, ’"consisti~g of n’orks commissio~ed 5,000 

for radio broadcast from Seattle-area artists. 

For a series produced by the California Radio M~tsic Network, 10,000 

featuring the Sequoia Stri~g Quartet in reside~ce a~d eight 90­

minute programs with contemporary Califor~ia composers. 

For production of the final episodes in the radio play, Keeper, 6,000 

by Dale Worsley. 

For production of "Artist’s Showcase," a se~qes of life or live-o~- 5,000 

tape concert a~d recital broadcasts by Min~esota artists and 

musical organizations. 

For "Buckminister Fuller: The Fifty-Year Experiment, "a series 5,000 

of fire one-hour radio doc~tmeutaries. 

For prod~tctio~ of a series of life radio broadcasts featuri~g 8,000 

cow, temporary music i~ both the ara~t-garde and jazz traditio~s. 

For productio~ of "Los Angeles Theater of the Ear," a series of 8,000 

life dramatic prese~tatio~s for radio. 

Far productiott of tlw Readerk" Theater, a daily one-ho~tr series of 7,000 

prcse~tatio~ts of ~torels, plays, and short stories, featuring u,orks 

by minoritie.~. 
160 Media Arts 

Radio Foundation 

New York, New York 

South Carolina Educational Radio 

Network 

Columbia, South Carolina 

Vermont Council on the Arts 

Montpelier, Vermont 

Vermont Public Radio 

Windsor, Vermont 

WNYC-FM 

Ne~v York, New York 

WUHY-FM 

Philadelphia, Pennsylvania 

Radio Grants: Individuals 

Christy, Veta C. 

Boone, North Carolina 

Farber, Peggy J. 

New York, New York 

Frank, Joseph L. 

Washington, D.C. 

Hagen, Carlos 

Malibu, California 

Hoffman, Frank H. 

Windsor, Vermont 

Klein, Karen B. 

La Selva Beach, California 

Kriegman, Mitchell 

New York, New York 

Miles, Ginger V. 

New York, New York
 

Nisker, Wesley C.
 

San Francisco, California
 

Sombke, Laurence R.
 

Columbia, Missouri
 

Thorington, Helen
 

Sugar Run, Pennsylvania
 

Valdez, Daniel 

San Juan Bautista, California 

Warrilow, David 

New York, New York 

For prodnction of "Listener Sponsored Larry, "a weekly program 10,000
 

produced by Larry Josephson combining phone calls, mnsic,
 

interriews, sonnd collages, and commentary, to be aired on leased
 

air time at a commercial radio station in New York City.
 

For the production of "Marian McPartland~ Piano Jazz," a 4,000
 

series of duets and conversations between jazz pianist and composer Marian McPartland and noted pianists from all areas of
 

jazz. 

For "In Performance," a radio series featuring Vermont artists. 5,000 

For a 13-part series based on the Helen Hartness Flanders Col- 5,000 

lection of Folk Songs of Nen, England. 

For production of "O/Aural Tradition," six one-honr programs 7,000 

presenting rersions of the 8th-century Beowulf, and of Tristan and 

other works from the 12th and 13th centuries. 

For "Dance on Your Radio," a half-hour program designed to 1,000
 

provide listeners uqth an introduction to dance mo~,ement.
 

For seren half-hour docnmentaries on the state of the arts in $2,100
 

North Carolina.
 

For a series of fire o ne-h onr progra ms based o n folklore collected 5,000
 

in New York City in the 1930’s by the WPA Federal Writer’s
 

Project.
 

For a nightly program to be broadcast orer station WNYC-FM in 10,000
 

New York, featu~qng sketches, imprm,isational theater pieces,
 

mock interviews, and stories.
 

For a series of radio documentaries exploring the varieties of 10,000
 

Latin-American music.
 

For fonr one-hour radio documentaries on the state of the arts in 3,000
 

Vermont, focnsing on musicians, designers, potters, dancers, and
 

octors.
 

For a six-part radio series on "Women Outlaws of the West," 4,000
 

combining radio drama and docnmentary.
 

For a telephone soap opera, consisting of 15 short episodes spe- 10,000
 

cifically created to be heard via telephone, both in museum installations and orer a toll-free telephone hook-up.
 

For completion of a series of 15-minute audio pieces portraying 3,000
 

familiar roles and scenes from male-female confrontations.
 

For The Last News Shmv, a satirical docn-drama, composed of 4,000
 

audio collages, interriews, and mnsic.
 

For the pilot program "Landscapes,"a series of radio docnmen- 1,500
 

taries on midwest cultare.
 

For a one-hour radio CB opera, combining country and a,estern 10,000
 

music, elements of old-fashioned melodrama, and CB eont,ersatious.
 

For Poema y Cancion, a one-hour bilingual radio program ex- 10,000
 

ploring Chicano musical traditions and history.
 

For production of ten hours of programming on the Song of Songs, 2,000
 

the Psalms, and works by Beekett and Shakespeare.
 
Media Arts 161 

Video Artists’ Fellowships 

The following video artists received fellowships totalling $10,000 each, the funds of which were 

granted through two different Endowment programs: Media Arts awarded $2,000 and Visual Arts 

awarded $8,000 for each fellowship. 

Beirne, Bill 

New York, New York 

Burden, Christopher 

Venice, California 

Crane, Dena 

Windham, New York 

Darling, Loxvell 

Sacramento, California 

Do~vney, Juan 

New York, New York 

Fried, Howard 

San Francisco, California 

Friedman, Barton 

Woodstock, New York 

Gillette, Frank 

New York, New York 

Jonas, Joan 

New York, New York 

Kubota, Shigeko 

New York, New York 

Lord, Charles 

San Francisco, California 

Meyers, Rita 

New York, New York 

Milano, Susan 

New York, New York 

Palestine, Charlemagne 

New York, New York 

Reeves, Daniel 

Burdett, New York 

Sturgeon, John 

Herber City, Utah 

The following video artists received fellowships totalling $3,000 each, the funds of which were granted 

through two different Endowment programs: Media Arts awarded $1,000 and Visual Arts awarded 

$2,000 for each fellowship. 

Backus, Jules 

San Francisco, California 

Bergery, Benjamin 

Cambridge, Massachusetts 

Blumberg, Skip 

San Francisco, California 

Brettschneider, Jane 

New York, New York 

Broderick, Timothy 

Del Mar, California 

Buchana~ Nancy

Los Angeles, California 

Buckner, Barbara 

New York, New York 

Cohen, Maxi 

New York, New York 

Despota, Nick 

Chicago, Illinois 

DeVito, Cara 

New York, New York 

Duane, Hildegarde 

Los Angeles, California 

Gillerman, Jo Ann 

Oakland, California 

Gold, Joel 

New York, New York 

Gorewitz, Shalom 

New York, New York 

Grace, Sharon 

San Francisco, California 

Gussella, Ernest 

New York, New York 

Harris, Bob 

New York, New York 

Iatrou, Mildren 

New York, New York 

Iimura, Taka 

New York, New York 

Kriegman, Mitchell 

New York, New York 

Latham, Barbara

Chicago, Illinois 

Logue, Joan 

New York, New York 

Lucier, Mary 

New York, New York 

Mack, Theresa 

New York, New York 

Maiwald, Christa 

New York, New York 

Marpet, William 

New York, New York 

McClard, Michael 

New York, New York 

McCray, Melvin 

New York, New York 

Nelson, Lisa 

Northampton, Massachusetts 

Pulido, Guillermo 

Houston, Texas 

Rosier, Martha 

San Francisco, California 

Rush, Cynthia 

New York, New York 

Sandlin, Daniel 

Chicago, Illinois 

Stensberg, Brad 

La Jolla, California 

Velez, Edin 

New York, New York 
162 3h’dht Arts 

Services to the Field 

Conferences 

American Film Institute 

Washington, D.C. 

Atlantic Productions 

Tampa, Florida 

Black Filmmaker Foundation 

New York, New York 

Colorado, Regents of the University of 

Boulder, Colorado 

Film Fund 

New York, New York 

Film Society of Lincoln Center 

New York, New York 

Film Society of Lincoln Center 

New York, New York 

!tampshire College, Trustees of 

Cambridge, Massachusetts 

IIisl)anic Urban Center

Los Angeles, California 

IIoward University 

Washington, D.C. 

New Ground Presentations 

New York, New York 

New Wave Corl)oration/KOPN-FM

Columbia, Missouri 

Oblate College of the Southwest 

San Antonio, Texas 

O’Neill (Eugene) Memorial Theater 

Center 

Waterford, Connecticut 

ILadio Foundation 

New York, New York 

Sinking Creel+ Film Celebration 

Greeneville, Tennessee 

Temple University

Philadelphia, Pennsylvania 

U.S. Fihn-National Film Formn 

Salt Lake City. Utah 

Includes six subcategories: Conferences and seminars on important

issues in film, radio, and video. Research into existing and new media, 

includlng technical research into preservation. Distribution of 

media works, including circulating exhibitions. Informational Ma­ terials, such as newsletters or journals. Facilities and Working 

Spaces for independent media artists to complote their projects. 

Combined Services grants are awarded for projects xvhich provide a 

combination of the above. 

Program funds: $832,496 

Private gifts: $ 87,000 

PG $87,000 

5.000 

7’o bri,g bhtck .filmmttker.~ together .for scrce~H,!/s, 20,000 

aml mectim.lS with reprcsentatire.~ o.f media orgm~izaliou,~’. 

For the re, coral mttiomtl coH, fem,~w~, qf media arts 21,000 

For the Imh’twmh’nt Feature Project, desigm,d to assist imh’w,d- 8,000 

e,t.fil,! ,tal:ers in .~ec, ring f, mli,!l, d i.~trib,tio,, aml ~,.,’h ihiti,n 

for .fcat, rc .film.~. 

For the ni,th amHml pre.~e,t(~tim! of "New l)ir~’ctm’.~/New 15,000

Films," a serie.~ qf.film.s" h!l t(de,tcd dircctm’s Mtosc wm’k might 

md othemvise fie see, b!t the.film comm,,itq. 

For an indepcmh~nt film prvgram at the A¥,’ Ym l, Film I~’cstir~d. 10,000 

For a .~,,!,ler i,stibde on the owdia ml.s im’lmti,g h’ct,r~s. 15,000 

,~CF~’t’~I [llfls, ~t tttt 

To sl,m’c~se .fil,t.s fro,! L~ti, A,wrtcm I’tle~to Rico. amt 8,000 

8,000 

trib,timl, , ml c.&ibition. 

To ameml a precious !lraut to stq~l;ort the lSth Ara~tt-Garde 5,000

I’)’st i ra l. 

I:ot" tl (’oIIfPI’PtI(’P to PY};Iot’¢ IIIItt l:l’oDto[¢’ liP(’ t’tltl[o (tl’tlllltl lifo- 9,000

For a mm-compctitire Hispanic .f!l,t .fcstic~tl h!t O,ntro Video. 12,000 

For tlw New Drama .for Tch, risio, Project, dc.~igm,d to em.~mr~tqe 20,000 

their work. 

the th ird 15, 000 

gether producers, shttim~ m’l)m,,~eHtat~cc,~, amt m’tL~ts .lbr tape 

li.~’h, n inq 

15,000 

"The l, depemtc,t Prodm’cr m~d (’¢thh’ TK." .ll(~ki,q (%mu’c- 5,000 

tmlL~’," a two-da!l cmLft’rem’e. 

I"or a cmLfere,ce to dis(’u.~s the tmph’,lc,hrtio, o.f . .~m~tmer.fil,! 5,000 

b~stitute which will hring hu.lcthcr imh.pemh’,t .fvaturc .filmmakers aml lop profe.~siomds from 
Media Arts 163 

Utah Media Center 

Salt Lake City, Utah 

Wisconsin, Board of Regents of the 

University of 

Milwaukee,Wisconsin 

Research 

Center for Visual Communications 

Philadelphia, Pennsylvania 

Cultural Council Foundation 

New York, New York 

Jacoby, Roger 

St. Paul, Minnesota 

Lipton, Lenny 

Point Richmond, California 

Distribution 

American Federation of Arts 

New York, New York 

Cine Information 

New York, New York 

Colorado, Regents of the University of 

Boulder, Colorado 

Columbia Art Association 

Columbia, South Carolina 

Front Range Educational Media 

Corporation 

Boulder, Colorado 

Georgia Council for the Arts and the 

Humanities 

Atlanta, Georgia 

Ithaca Video Projects 

Ithaca, New York 

National Federation of Community 

Broadcasters 

Washington, D.C. 

Northwest Media Project 

Portland, Oregon 

WGBH Education Foundation 

Boston, Massachusetts 

Informational Materials 

California Press, University of 

Berkeley. California 

For a regional media conference to discuss priorities and pro- 4,000 

grams for media organizations and f!lmmakers in Utah and 

other western states. 

For "Cinema and Film: Conditions of Presence, "an international 8,000 

conference sponsored b!! the Center for Ta,entieth Century Studies 

designed to explore the problem of snbjeetivity in film. 

For visnal anthropologist Jay Rnby to spend a year in a Pen,a~yl- $15,000 

vania community researching the role of film in the everyday lives 

of the people. 

For ~vsearch into holographic films, with regard to enhancing 10,000 

image qnality, size, and riewin9 angle, as well as exploring potential for a realistic color process. 

For ~vsearch a~td experimentation on the effect of changing the 5,000 

traditio~tal dyes in color film. 

To ~vseareh and write a book on stereoscopic filmmaking. 4,000 

For circulating exhibitio~ts of independent film to media arts $10,000 

centers, museums, libraries, and universities. 

To help filmmakers distribnte their work, inclnding the sharing 14,500 

of eompnterized mailing9 lists. 

To help commmtity-based organizations in Colovado develop film 10,000 

exhibition programs. 

For the "Sonthern Circuit,"a tonring exhibition featnring i~de- 15,000 

pendent filmmakers and their work. 

To acquire and package independent films and videotapes for 10,000 distribntion to public teleeision stations. 

To screen independent works in 17 commnnities throughout 5,000 

Georgia. 

For the annnal Ithaca Video Festival, a national touring exhibi- 9,000 

tion and public telerision broadcast series of works b~j independent rideo artists. 

To distribnte progvams to public radio stations and to procide 15,000 

information and tech~dcal assista~tce to independe~tt radio 

producers. 

To tour programs of independent film to regional art centers 12,000 

the northwest. 

To develop a librarg of short, high qnalitgfilms and eideotapes to 10,000 

be used as short progvam material by public broadcasters. 

To commission special in-depth studies and i,~crease contribntor’s $4,000 

fees for Film Quarterly. 
164 Media Arts 

Collective for Living Cinema 

New York, New York 

Film Society of Lincoln Center 

New York, New York 

Hailer, Robert 

Pittsburgh, Pennsylvania 

Neiman, Christina 

New York, New York 

Rutgers University 

New Brunswick, New Jersey 

Schenkel, Thelma 

New York, New York 

Shared Communication Systems* 

New York, New York 

Tortes, Louis 

Los Angeles, California 

Trelles, Louis 

ttato Rey, Puerto Rico 

Vasulka Corporation 

Buffalo, New York 

Visual Studies Workshop 

Rochester, New York 

Washington Community Video Center

Washington, D.C. 

Facilities and Working Spaces 

and/or service

Seattle, Washington 

Archdiocesan Communication Center 

San Francisco, California 

Austin Community Television 

Austin, Texas 

Chicago Filmmakers

Chicago, Illinois 

Community Film Workshop 

Chicago, Illinois 

Creative Outlet 

Portland, Oregon 

Double Helix Corporation 

St. Louis, Missouri 

Electron Movers, Research in the 

Electronic Arts 

Providence, Rhode Island 

Electronic Arts Intermix 

New York, New York 

For Idiolects, a ~tewsletter of reviews a ~d criticism of indepe~dent 5,000 

ci~wma, a~d for publication a~d distribution of program ~otes on 

films exhibited at the Collective. 

For writers’fees for Film Comment, a bimonthly magazi~w that 5,000 

i~wludes a~mb./ses, i~#errieu’s, renews, a~d ~w,’s related to film. 

biography of experime~tal .filmmaker Stan Brakhage. 3,000 

6,500 

and Fra~wine Bailey, volumes two and three qf "The Legend of

Maya Deren." 

To research, i~ collabon~tion with VeVe Clark, Millice~t Hodson, 

To complete amt publish o~t microfilm all e.rtant film catalogues 10,000 

of producers a~d distributors in the U~ited States from the 

beginni~g of commercial film to the present. 

To prot,ide i~t-depth, critical analyses of the atdmated film .qemv 9,000 

for lmblicaliott in film jour’nals and other solaces. 

To amemt a prel’ious contract for a ha mlbook for media artists on 7,000 

film distributiom rideo amt radio programming through satellites to cable systems, public broadeasti~q, a~d other potential 

outlets. 

For the bimonthly Chicano Cinema Newsletter. 4,000 

For a book o~t the history o.f films i~t P.erto Rico. 5,000 

For a series of informatiottal t,ideota pes eom’er~t i~tg the comlmter- 3,000 

ge~wration of cideo imagery, to be distributed to artists 

media ce~tters. 

For criticism a~td twu’s corerage qf actirit!! i~t indepcnde~t film 10,000 

aml video i~t Afterimage. 

For Televisions, a quarterly magazim" on the cideo arts, im’lml- 10,000 

i~fl ~wws, program eralualio~, and i~(formatio~t ab(mt satellite 

programmi~tg a~M public access to the arts. 

To proride video editi~g serriccs to m.’thwcstvr~ media artists. $8,500 

f~r workshops, access to rideo equip,lent for video artists, 4,000 

publication o.f a catalogue o.f the work o.f west coast cideomakcrs. 

To e,rpamt serrices aml fiwilities to media artists comph’ti~t9 4,000 

proqra ms for a irStg orer A CTV% cabh, cham,’l. 

To proride 16mm filmmaking and post-prod~wtiou facilities, 6,000 

co~sMtatio~ serrices, gFaitts ma>taqemeut sercices, and s(,mimtrs. 

To provide 16ram f!lmmaking facilities, training, a~t(l work- 8,000 

shops in film a~td ddeomakin.q. 

To provide 3/4" and 1/2" video editi~gfi~cilities to media artists 3,000 

in the northwest. 

For workshops and access to video production and post-production 9,000 

facilities. 

Ta provide 3/4"video productio~t a~td post-productiott fiwilities to 10,000 

New Et~gland artists. 

For the Artists’ Video Tape Re.~o’urces, consisti~g of editing and 25,000 

post-production facilities and a videotape distribution service. 
Media Arts 165 

Electronic Body Arts 

Albany, New York 

Experimental Intermedia Foundation 

Ne~v York, New York 

Experimental Television Center

Binghamton, New York 

Film Arts Foundation 

San Francisco, California 

Fondo del Sol Media Center 

Washington, D.C. 

Ha~vaii Film Board 

Honolulu, Hawaii 

Independent Media Artists of Georgia, 

Etc.
 

Atlanta, Georgia
 

Inter-Media Art Center 

Bayville, New York 

Ithaca Video Projects 

Ithaca, New York 

Long Beach Museum Foundation 

Long Beach, California 

Mills College 

Oakland, California 

Museum of Holography 

New York, New York 

New Orleans Video Access Center 

New Orleans, Louisiana 

Real Art Ways 

Hartford, Connecticut 

Rising Sun 

Santa Fe, New Mexico 

Sidewalk, Inc. 

Hartford, Connecticut 

University Student 

Telecommunications 

Minneapolis, Minnesota 

Video Action Center 

Columbus, Indiana 

Women’s Interart Center 

New York, New York 

Young Filmmakers Foundation 

New York, New York 

To provide access to the Pantomation Studio, allowing work in 4,000 

dance, mime, video, electronic music, and motion graphics. 

To provide video and audio facilities to media artists. 3,000 

To provide access to advanced video image processing systems 14,000 

and studio facilities under the continuing residency program. 

To provide access to film post-production facilities at the Berkeley 8,000 

Film Institute, and to expand their newsletter. 

For workshops, publications, and provision of video and film 8,000 

facilities to artists. 

To provide post-production facilities to filmmakers in 16ram and 4,000 

super-8, as part of the activities of the Visual Media Center. 

To provide film and video facilities to southeastern media artists, 9,000 

and for the Atlanta Independent Film and Video Festival. 

To provide video production and post-production facilities and 12,000 

workshops in the use of portapacs, studio production, and basic 

video skills. 

To provide production and post-production video facilities to 4,000 

artists. 

To provide video facilities, for maintenance of a video archive, 6,500 

and for publications for the museum’s video center. 

For the Center for Contemporary Music to provide audio record- 8,000 

ing, mixing, synthesizing, and editing facilities for independent 

filmmakers. 

To provide access to holographic equipment for artists, and travel 5,000 

costs to enable artists to use these facilities. 

To provide video facilities as well as video workshops, technical 6,000 

assistance, and internships for video artists. 

To provide access to film and video facilities and sophisticated 4,000 

audio equipment for use by artists working in audio art. 

To provide 16ram editing and post-production facilities to film- 4,000 

makers in the southwest. 

To provide post-production video facilities to artists, and an 3,000 

artist-in-residence program involving six videomakers for two 

weeks each. 

To provide video facilities and video workshops in the Turn 10,000 

Cities region, and for publication of the Portable Video Handbook. 

To provide video production and post-production facilities to 3,000 

artists in Indiana and Kentucky. 

To provide access to film and video post-production equipment for 4,000 

artists. 

For film and video equipment loan services, television studio 18,000 

access, the Young Filmmakers/Video Arts Film Bureau, and 

publications. 

Combined Services 

Alabama Filmmakers Co-op 

Huntsville, Alabama 

For the Coalition of Southern Media Organizations to develop 

strategies to coordinate the mutual use of resources in ten southern 

$8,000 

states. 
166 Media Arts 

Center for Southern Folklore 

Memphis, Tennessee 

For a media intern to update American Folklore Films and 

Videotapes: An Index, and to decelop a series of film and t,ideo 

workshops. 

6,000 

Colorado, University of 

Boulder, Colorado 

Educational Film Library Association 

New York, New York 

Film Fund 

New York, New York 

Foundation for Independent Video 

and Film 

New York, New York 

Foundation for Independent Video 

and Film 

New York, New York 

Great Lakes Film Festival 

Milxvaukee, Wisconsin 

Image Co-op

MontpeIier, Vermont 

Media Center for Children 

New York, New York 

Ohio University 

Athens, Ohio 

Washington Area Filmmakers League

Washington, D.C. 

Writers Guild of America, East, 

Foundation 

New York, New York 

Prospective Archives 

(Pilot) 

WGBH Educational Foundation 

Boston, Massachusetts 

WGBH Educational Foundation 

Boston, Massachusetts 

To enable an outstandh~g arts admi~tistrator to scrre temporarily 48,996

in the E~dou’ment~ Media Arts Program u,der the b~le~qm’ernmental Pe~onnel Act. 

16,000 

sonal films; Sightlines magazi~w, a quarterlyjourm~l on film and 

rideo: the Independent Film/Video Guide, a quarterly index to works e.rhibited in major showcases; amt a video exhibition 

circuit. 

For "Film as Art," u circulatit~g exhibitimt of ara~t-garde perTo proride tech~dcal assista~we to filmmakers i~ accm~tti~lg, 18,000

ma~agement, fund-raising, a~d marketi~g strategy. 

For the Media Awareness Project, to acquai~tt media artists with 15,000 

the restrueturi~g of natio~ml media orga)lizatio~ts a~td cham.littg 

federal reg~dations which affect the media arts. 

To proride a number of serrices to media artists, i~tcludi~g 15,000 

screeni~tgs, lectures, workshops, a ~wwsletter, a~td a festicals 

bltre(t~l. 

For a resource center for area film makers, a t~v reli~g f!lm e.rhi- 5,000 

bitiom a regional filmmakers’ directory, aml the third a)mual 

Great Lakes Film Festiral. 

For a ~wwsletter, a guide to rideo resources i~t Vermmtt, pro~,isimt 5,000 

of exhibition a~d meeti~tg space, a ttd dist~4butio~t assista~ce. 

For workshops desig~wd to prm’ide assista~we to filmmakers a~d 5,000 

e.rhibitors i~t chihtre~’s media. 

9,000 

tion of the film quarterly Wide Angle, a cmlfere,ce mt film a~td 

culture, a~u! the I, depe~de~tt Film a~d Video Reso~ree Library. 

For film a~M rideo scree~ti~tgs, to,ri~tg exhibitio~s, the publicaFor a newsletter a~td mo~tthly programs, i~wludi~tg scree~in,q.~, 5,000 

lectures, a~td discussiom 

To procide small fellowships to writers i~t rolred i~t film u’ritS~g 15,000

projects. Each fellow will be assig~wd to a professio~tal scriptwriter for co~sultatio~ and guida~we. 

To record and preserve the viexvs and personalities of some of our

greatest American artists. 

Program funds: $27,000 

research a~td produce four cideotaped i~tterriews with four $7,000 

well-km)w~ desig~wrs. 

For the Videotape Archire of the Arts at the WGBH New Tele- 20,000 

eisio~ Workshop. 

*contract; PG - Program Funds; TF - Treasury Funds 

168 Museum 
169
 

Museum
 

The Museum Program helps museums acquire, double-digit inflationary concerns, since the 

exhibit, interpret, and preserve their holdings. trend antedates current economic crises. It had 

It is an extraordinary cooperative venture also begun before government funding agencies 

between government and museums. We are were around, so they cannot be made the culprits 

pleased to be able to give financial aid for such either. Can we attribute the problems to the 

vital activities, and we feel enormous satisfaction social upheavals of the sixties? Perhaps. But if 

at the way the system within which we operate these upheavals account for the trend, there 

responds. were obviously pre-existing weaknesses which 

But serious questions about the museum field these rumblings cracked even further. 

have arisen, and we at the Endowment must Whatever its cause, this change is unmistakconsider them. Are museum people losing their able. In recent pronouncements, museum officials 

confidence in the traditional value of what theyhave dwelt on a museum’s duty to be socially 

are doing? Do those who work in art museums aware and adaptable. But they only barely 

still really believe in the power of art to move acknowledged the museum’s role as a conservahuman eyes and minds and souls? Are we now tive institution: a place which preserves older, 

less worried about art than about attendance even perhaps outdated, values, where we can go 

figures, marketing strategies, legal problems, to learn about our past, instead of merely 

fund-raising woes, and similar things? Work- swinging with our present. 

shops, seminars, and other forms of technical Our greatest museums now give us very 

assistance have helped museum people tackle important new messages--the temporary exhibithese issues. But scholarship, quality, preserva- tions are all open, but some of the permanent 

tion--terms that deal with the very substance of collection galleries may be closed. Relative 

museums--are becoming catch phrases used for values seem clear. Museums, which have up to 

professional rhetoric, rather than everyday now been one of our society’s means of 

activities. Museums are less deeply involved articulating the notion of permanence, are now 

with such ideas than they used to be, and this is sending out more and more bulletins about the 

too bad. transient. Even the world’s best museum 

Today’s museum worker greatly fears being education projects cannot really overcome the 

labeled elitist, since there is a perception that impact of such concepts, which both the 

wearing such a label might mean the end of museums and the media with which they have 

federal or municipal funding. So, many museumnow made friends put forth every day. 

people are using their creative skills to prove The irony of all this is that we need not pine for 

that multitudes are being touched by museums’an earlier, more glorious and romantic museum 

efforts. There is great emphasis on the multitudes era. Things ought to be better than ever now, 

and little examination of the efforts. This isand not only because government funds distriobviously a severe judgment. But museums are buted via a rather even-handed peer review 

not alone; they are in good company. Our sister system are available. We have expertise today, 

institutions, the public libraries, have spent the both academic and experience-generated, that 

past few years assuring us that we need not be did not exist years ago. More people are studying 

afraid--libraries are not just for books anymore. art, history, science, biology, botany, and all the 

They offer concerts and similar activities too, so other disciplines with which museums deal. And 

we can feel safe in entering. Why this fear of more of them are trying to use that study in the 

books, of learning, of judgments, of quality, and museum field. So we should be able to be better 

perhaps even of art? Why the attempt to cover up at our work than any generation that came 

what a museum is while trying to make it before us. Better collection management, conserpalatable by adding a variety of new flavors? vation, display techniques, scholarship, and 

We cannot blame this unfortunate trend all on publishing can all help us be useful to the 

M~se~m 171 

present, sensitive to the past, and responsible to 

the future. 

But museum people can only do these three 

things if they recapture the motivations that 

brought them into this work in the first place. 

They must decide all over again what is most 

important. Less worry about planning and 

inflation will not make money crises disappear, 

but might make it possible to regain a sense of 

vision at the same time. If we do not have such a 

vision, we will homogenize museums, make 

them conform to meaningless outside standards, 

and deprive ourselves of the enrichment that 

museums can offer our society. No government 

agency, no matter how well-meaning or attuned 

to the field, can really make museums do such a 

rebalancing. It must come from the museum 

leaders themselves. And that sort of rebalancing 

within the field will keep the Museum Program’s 

own goals in balance with the needs of museums 

in this country. 

Tom L. Freudenheim 

Director, Museum Program 
172 Museum 

Museum Advisory Panel
 

Policy Panel 

Ralph T. Coe, Chairman 

Museum director 

Kansas City, Missouri 

Jack Agueros 

Museum director 

New York, New York 

Peter Bermingham 

Museum director 

Tucson, Arizona 

Jean Sutherland Boggs 

Museum director 

Philadelphia, Pennsylvania 

Anne Hawley 

Executive director of state arts agency 

Boston, Massachusetts 

Henry Hopkins 

Museum director 

San Francisco, California 

Lynn Jorgenson 

Executive director of museum service 

organization 

San Francisco, California 

Arnold Jolles 

Museum director 

Seattle, Washington 

De~vey F. Mosby 

Curator 

Detroit, Michigan 

Marcia Tucker 

Museum director 

New York, New York 

E. Leland Webbcr 

Museum director 

Chicago, Illinois 

James Wood 

Museum director 

Chicago, Illinois 

Purchase Plan Panel 

John Bullard 

Museum director 

New Orleans, Louisiana 

James Demetrion 

Museum director 

Des Moines, Iowa 

Suzanne Delehanty 

Museum director 

Purchase, New York 

Samella Lewis 

Professor of art history 

Claremont, California 

Marcia Tucker 

Museum director 

New York, New York 

Wider Availability of Museums 

Cooperative Programs Panel 

Dolo Brooking

Director of educational programs 

Lawrence, Kansas 

Phyllis Dillon Collins 

Museum trustee 

New York, New York 

Ben Hazard 

Chief currator of special exhibitions 

and education 

Oakland, California 

Lynn Jorgenson 

Executive Director of Museum service 

organization 

San Francisco, California 

Richard Muhlberger 

Museum director 

Springfield, Massachusetts 

Louise Tester 

Executive Director of state arts agency 

Phoenix, Arizona 

Special Exhibitions Panel 

Mary Beebe 

Art center director
 

Portland, Oregon
 

Arnold Jolles 

Museum director
 

Seattle, Washington
 

Gail Levin 

Associate curator 

New York, New York 

Kynaston McShinc 

Curator 

New York, New York 

Richard Murray 

Museum director 

Birmingham, Alabama 

Nancy Rivard 

Curator 

Detroit, Michigan 

John Walsh 

Curator 

Boston, Massachusetts 

Conservation Panel 

Marigene Butler 

Conservator 

Philadelphia, Pennsylvania 

De\vey F. Mosby 

Curator 

Detroit, Michigan 

Earl Po\vell, III 

Museum director 

Los Angeles, California 

Jean Volkmer 

Conservator 

New York, New York 

Utilization of Museum 

Collections Catalogue 

Grants Panel 

Peter Bermingham 

Museum director 

Tucson, Arizona 

I. Michael Danoff 

Museum director 

Akron, Ohio 

Merribel Parsons 

Curator 

New York, New York 

Hoxvardena Pindell 

Professor of art 

Stony Brook, New York 

Eric Zafren 

Curator 

Atlanta, Georgia 

Museum Collection 

Maintenance Panel 

Priscilla Colt 

Museum director
 

Lexington, Kentucky
 

Jan Fontein 

Museum director
 

Boston, Massachusetts
 
Museum 173 

Yvonne Lange Jack Morris E. Leland Webber 

Museum director Museum director Museum director 

Santa Fe, New Mexico Greenville, South Carolina Chicago, Illinois 

Museum Grants Program funds:

Treasury funds:

Private gifts: 

Wider Availability

of Museums 

Asheviile Art Museum Association 

AsheviIle, North Carolina 

Bronx Museum of the Arts 

Bronx, New York 

Brooklyn Museum 

Brooklyn, New York 

Carter (Amon) Museum of Western 

Art 

Fort Worth, Texas 

Children’s Museum of Boston 

Boston, Massachusetts 

Children’s Museum of Boston 

Boston, Massachusetts 

Coming Museum of Glass 

Corning, New York 

Dulin Gallery of Art 

Knoxville, Tennessee 

Fine Arts Museums Foundation 

San Francisco, California 

Franklin Institute 

Philadelphia, Pennsylvania 

Harvard College

Cambridge, Massachusetts 

Honolulu Academy of Arts 

Honolulu, Hawaii 

Institute of Contemporary Art 

Boston, Massachusetts 

Institute of Contemporary Art 

Boston, Massachusetts 

Kansas, University of 

La~vrence, Kansas 

$9,843,967 

$1,390,200 

$1,390,200 

To strengthen arts-related educational programs in three areas:

Interpretation and Extension, Museums and the Schools, and

Museums and the Media. 

Program funds: $445,000 

For a study of the feasibility of establishivg a children’s gallery in $5,400 

doumtown Asheville. 

For the Satellite Galleries, a system which provides uvrking 20,000 

artists, local businesses, and commnnity organizations with 

greater accessibility to the musenms’s resources. 

To expand the museum’s general edncation programs to the senior 30,000 

citizen a~Mience. 

For the production of a series of videotape programs about the 6,600 museum’s collections. 

For the publication of a catalogue dealing with each of the mu- 20,030
 

seum’s new permanent exhibits.
 

To expand and npdate an existing program in which theme kits of 5,400
 

sample musenm objects are circnlated among elementary schools.
 

For a series of exhibits designed for children in seven major gal- 21,960
 

leries in the new, building, accompanied by "walking tour"
 

pamphlets.
 

To support an outreach pnblic service art program for all ages at 16,000
 

senior citizen centers and handicapped and mental health facilities.
 

To snpport a branch of the Foundation located in the Embarcadero 21,750
 

Center.
 

To develop several "Great Weekend"events involving the commu- 24,3O0
 

nity, with themes from museum exhibits.
 

For the Peabody Musenm’s Ethnic Celebration which features 7,000
 

mnsic, dance, arts, and crafts from various cultnres.
 

For a series of audio-cisual and lectnre demonstration programs 5,000
 

in the risual a~s to travel to the outl~ng communities of Honolulu
 

and the neighboring islands.
 

For a program to enhance mobility traini~g for neu’ly blinded 5,210
 

adnlts at the Carroll Center for the Blind.
 

For an educational program in collaboration n’ith the Boston 10,000
 

Public School Middle Schools and the Next Moee Theater.
 

For the production of educational slide sets and illnstra ted hand- 6,570
 

books to complement an exh ibition of Japanese prints installed in
 

the Spencer Museum of Art’s "Traveling Art Museum."
 

Museum of Modern Art To expand the edncational programs condncted bygradnate stu- 18,000 

New York, New York dents in the museum and in community centers. 
174 Museum 

New York Historical Society 

New York, New York 

Palace of Arts and Sciences 

Foundation 

San Francisco, California 

Polish Community Center of Buffalo 

Buffalo, New York 

Walker Art Center 

Minneapolis, Minnesota 

Cooperative 

Programs 

Alabama State Council on the Arts 

and Humanities 

Montgomery, Alabama 

Art Resources and Transportation of 

Connecticut 

New Haven, Connecticut 

Coming Museum of Glass 

Coming, New York 

Franklin Furnace Archive 

New York, New York 

Ohio Foundation of the Arts 

Columbus, Ohio 

Oregon Arts Commission 

Salem, Oregon 

Ramapo College of Ne~v Jersey 

Mahwah, New Jersey 

Regional Conference of Historical 

Agencies 

Manlius, New York 

St. Louis Art Museum 

St. Louis, Missouri 

Sons of the Revolution in the State of 

New York 

New York, New York 

South Carolina Museum Commission 

Columbia, South Carolina 

Western Association of Art Museums 

Oakland, California 

8,780 For a series of six concerts based on historical themes to enhance 

the Society’s history and art collection. 

18,590 For a new interpretive series at the Explorotorium illustrating 

the history of music and the physics of sound. 

8,200 For educational programs for the Polish community in western 

New York to learn of their historic contributions to the visual 

arts. 

45,000 For "Information Room," an i~terpretive media program on 

aspects of special exhibitions and the permanent collection; and 

for "Monitor," a documentary video program presenting brief 

films on working artists. 

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 or similar organizations. 

Program funds: $527,400 

$4,550 For workshops for museum professionals, consultants, stipends, 

and an updated directorg of Alabama museums. 

25,000 For the activities of Art Resources of Connecticut, a service 

organization that circulates exhibitions to the state’s smaller 

musenms. 

For a long-term loan of Egyptian and classical art objects from 7,060

the Brooklyn Museum. 

For a cooperative exchange of programming in the area of per­ 15,670

formance art betu,een Franklin Furnace and the National Center 

for Afro-American Artists. 

For a visual arts touring service and a comprehe~vive transpor- 35,000 

tation service to facilitate the transporting of works of art to be 

made available to member museums of the Statewide Arts Services 

Program. 

For "Visual Arts Resources, "an outreach program of the Univer­ 25,000

sity of Oregon, which provides services and exhibitions to museu ms 

and art centers in Oregon. 

25,000 For the loan of works from the National Collection of Fine Arts to
 

small colleges and universities in New Jersey.
 

For a curator to work with three cultural institutior~ in Delau,are
 15,300

County, New York, and provide assistance to nine small, historical museums.
 

For the exhibition of the three panels u’hich make up Water Lilies, 5,000
 

a work by Claude Monet. The three panels are in the collections of
 

the Cleveland Museum of Art, the Nelson Gallery, and the St.
 

Louis Art Museum.
 

For a one-u,eek course in American arts and architecture for New 9,000
 

York City high schools, to be held at the Frau~wes Tavern Museum
 

and organized by four Neu, York City museums.
 

For the Statewide Museum Services program which provides 7,330

seminars and technical assistance to museums in South Carolina. 

For the regional touring of four exhibitions organized by the 43,620
 

Dou,ney Museum of Art, the Fine Arts Museums of San Francisco, Miami-Dude Community College, and Marlborough Gallery.
 
Museum 175 

19,830 Western Association of Art Museums For the regional touring of works from the permanent collections of the Museum of Cow, temporary Art in Chicago, the McNay Art Oakland, California Institute in San Anto~ffo, and the Wichita Falls Art Museum. 

Museum Coordinators 

The following state arts agencies, regional arts organizations, and museums received funds to support 

the staff position of a museum coordinator who helps develop activities beneficial to museums: 

Affiliated States Arts Agencies of 

the Upper Midwest

Minneapolis, Minnesota 

$12,960 New Hampshire Commission on the Arts 

Concord, New Hampshire 

New York State Council on the Arts 

14,000 

15,000 

Alabama State Council on the Arts and 14,000 New York, New York 

Humanities 

Montgomery, Alabama Ohio Museum Association 9,750 

Cleveland, Ohio 

Arizona Commission on the Arts and Humanities 14,530 20,000 Oklahoma Arts and Humanities Council Phoenix, Arizona Oklahoma City, Oklahoma 

Arkansas Department of Parks and Recreation 19,850 18,400 South Carolina Museum Commission Little Rock, Arkansas Columbia, South Carolina 

Delaware State Arts Council 8,610 8,420 Wilmington,Delaware Tennessee Arts Commission

Nashville, Tennessee 

13,400 Indiana Arts Commission Texas Commission on the Arts and Humanities 16,250 Indianapolis, Indiana Austin, Texas 

Michigan Museums Association 20,810 9,000 Detroit, Michigan Utah Arts Council

Salt Lake City, Utah 

Mid-American Arts Alliance 12,940 17,000 Kansas City, Missouri Vermont Council on the Arts

Montpelier, Vermont 

Mississippi Museum Association 16,110 Virginia History and Museums Federation 11,510 Jackson, Mississippi Charlottesville, Virginia 

17,500 Nebraska Arts Council 

Omaha, Nebraska 

To encourage museums to purchase works in all media by living Museum American artists. The category is designed to encourage museums to

Purchase Plan add to their collections of contemporary American art, expand public 

interest in current artistic expressions, and assist artists. 

Program funds: $303,790 

$20,000 Denver Art Museum 20,000 

Amarillo Art Center Denver, Colorado Amarillo, Texas 

5,000 Film in the Cities 5,000 Besser (Jesse) Museum

Alpena, Michigan St. Paul, Minnesota

5,000 Fort Wayne Museum of Art 10,000 Cherokee National Museum Fort Wayne, Indiana Tahlequah, Oklahoma 

20,000 Guadalupe Historic Foundation 5,000 Columbus Museum of Art Santa Fe, New Mexico Columbus, Ohio 

15,000 Harvard College 5,000 Coreoran Gallery of Art Cambridge, Massachusetts Washington, D.C. 

10,000 Honolulu Academy of Arts 20,000 Currier Gallery of Art 

Manchester, New Hampshire Honolulu, Hawaii
Indian Pueblo Cultural Center 

Albuquerque, New Mexico 

Massachusetts, University of
 

Amherst, Massachusetts
 

Miami University
 

Oxford, Ohio
 

Museo del Barrio 

New York, New York 

Museum of Art
 

Fort Lauderdale, Florida
 

Museum of Fine Arts
 

Boston, Massachusetts
 

Museum of Modern Art 

New York, New York 

Museum of Nexv Mexico
 

Santa Fe, New Mexico
 

Museum of New Mexico 

Santa Fe, New Mexico 

New Jersey State Department of 

Education 

Trenton. New Jersey 

Ohio State University Research
 

Foundation
 

Columbus, Ohio 

Philadelphia Museum of Art
 

Philadelphia, Pennsylvania
 

Special Exhibitions 

Allentown Art Museum
 

Allentown, t’enn~ylvan a
 

Amarillo Art Center 

Amarillo, Texas 

American Federation of Arts
 

New Y(>rk, New York
 

American Federation of Arts 

New York. New York 

American Federation of Arts 

New York, New York 

and/or ser~vcc

Seattle. Washington 

and/or service

Seattle, ~Vashington 

Art lnlilule of Chicago 

Chicago, Illinois 

Arts and Selenees Center 

Nashua. New Hampshire 

10,000 

10,000 

10,000 

10,000 

5,000 

10,000 

15,000 

5,000 

10,000 

10,000 

20,000 

20,000 

Plains Art Museum 5,000 Moorhead, Minnesota
 

I’ortland Art Association
 15,000 Portland, ()re.on 

San Antonio Mnseum Association 20,000 San Antonio. Texas
 

San lhlefonso Pueblo Museum
 5.000 Santa Fc, New Mexico 

Seattle Art Museum 20,000 Seattle, Washington 

Speed (J. B.) Art Museum 10,000 I~misville, Kentucky 

Sprinfffield Library and Musemn Association 20,000 Springfield, Massachusetts 

Utah Museum of Fine Arts 20,000 Salt Lake City. Utah 

Wesleyan Universily 5.000 Middletown. (’onnectlcut 

Whimey Museum of American 15.000 

Art 

New York. New York 

Worces[er Art Mr, scum 20,000 Worcester, Massachusetts 

Yale University 15,000 New IIaven, Connecticut 

To enable museums to orffanize special exhibitions and to borrow 

exhibitions org’anized by other museums. 

Program funds: $3,915,806 Treasury funds: $ 206,460
 Private gifts:
 $ 206,460 

f’.r t/ : 1.. . .f "77., l’h ill ; ps C.lh t l io. i. lhc .ll. /,’i .fl." 19 2o-19.]o, " $5,000 ~. c.~hih!ti., orga.i:.cd b ! t/., Nmdhso.i.. l,ist;t.h.. Tr. rcli,,q E,,’h ibitim~ Ncrric~,. 

5,000 II: 

4,000 

l".r .. c,’hibiti., o.f 11: .rls qf l!.’ .,ll’ric.. 10,000 

80,000 

b’.r the <,’hibitio. .f .’.~ I,> b!t tin ,’c 

1 O, (;50 

[Q~r , x~,riv~, qf sm.II <,’hibiti.,t~ .f cold(,HU,,,w,,q 5,100 

IOn" "’P,i,ti*lqs htt 7"old,,.~’c-L,,h’~.r.", ,mj, r rclr, w,.<lir~, of 75.000 

4,(;62 
Asia Society 

New York, New York 

Association of Science-Centers 

Washington, D.C. 

Atlanta Arts Alliance 

Atlanta, Georgia 

Atlanta Arts Alliance 

Atlanta, Georgia 

Baltimore Museum of Art 

Baltimore, Maryland 

Bard College 

New York, New York 

Brandeis University 

Waltham, Mas~chusetts 

Brandy~vine Conservancy 

Chadds Ford, Pennsylvania 

Bronx Museum of the Arts 

Bronx, New York 

Broxvn University 

Providence, Rhode Island 

Buffalo Fine Arts Academy 

Buffalo, New York 

Buffalo Fine Arts Academy 

Buffalo, New York 

Buffalo State College Foundation 

Buffalo, New York 

Buffalo State College Foundation 

Buffalo, New York 

California State University 

Long Beach, California 

California, University of 

Berkeley, California 

California, University of 

Berkeley, California 

California, University of 

Berkeley, California 

California, University of 

Santa Barbara, California 

California, University of 

Santa Barbara, California 

Carnegie Institute 

Pittsburgh, Pennsylvania 

Carnegie Institute 

Pittsburgh, Pennsylvania 

Carnegie Mellon University

Pittsburgh, Pennsylvania 

For "Journey qf the Three Jewels: Japanese Buddhist Paintings 

from Western Collections," at Asia House Gallery. 

For "By Dcsign: Perceptual Puzzles in Art and Science, "a n exh ibition dealing with the risual arts and human perception. 

For an exhibition of cm~tempora ry art of sonthern California at 

the Hiyh Museum of Art. 

For "Reform and In re~tion, 1850-1930," a n exhibition of approximately 150 pieces of decorative art at the High Museum of Art. 

To plan an exhibition of the a’ork of 19th-centur!t French printmaker Felix Buhot (1847-98). 

For an exhibition of 30 early 18th-eentury scripture history 

paintings at the Edith C. Blum Art Institute. 

For "Aspects of the ’70s/Marericks," an exhibition of works by 

eight American artists of the ’70s who do not co~form to any 

t~wats in the risna! arts. This exhibition is part of a eollaboratire 

among six Boston area musenms inrestigating American art of 

tbe "70s. 

For an exhibition at the Brandyuqne River Masenm of u,orks 

produced by American artist Thomas Eakins (1843-1916) during 

his numerous visits to Arondale, Pennsyh’ania. 

For "Black Painting in America, "an exhibition on the social and
 

enltural condition of Afro-Americans in the visnal arts.
 

For an exhibition tracing the development of architectnral ornament in Italy from 1500 to 1600.
 

For the first retrospectire exhibition in the United States of the 

work of Sonia Delannay at the Albright-Knox Art Gallery. 

For an exhibition of the a’ork of contemporary American artist 

Nancy Graves at the Albright-Knox Art Gallery. 

For an exhibition examining the Bnffalo, New York, projects of 

American architect H. H. Richardson. 

To plan an exhibition of watercolors by Charles Burchfield, 

Eda’ard Hopper, and Reginald Marsh at the Burchfield Center. 

For an exhibition at the Art Museum and Galleries Center examining works by Robert Motherwell and Renate Ponsold in relation 

to the work of poet Robinson Jeffers. 

For an exhibition of 17th-centnry Chinese paintings and woodblock printed books by artists of the Anhni School in the late Ming 

and early Ch’ing periods at the University Art Gallery. 

For "Matrix/Berkeley," a series of exhibitions at the Universitg 

Art Gallery. 

For the first major American exhibition of the a’ork of the late 

Belgian artist Marcel Broodthaers (1924-76) at the University 

Art Mnsenm. 

For "Extensions of Photography," a contemporary surceg at the 

UCSB Art Mnseum of works by photographers a’ho combine 

photography with other media. 

For "In Her Image: A Cross-Cnltnral htqniry into the Symbolic Meaning of the Motherhood of God," at the UCSB Art Mnsemn. 

For the showing at the Carnegie Musenm of Natural History of 

"Feather Arts: Beanty, Wealth, and Spirit," an exhibition organized b!! the Field Mnsenm of Natnral History in Chicago. 

For the showing at the Carneigie Museum of Art of the Sonia 

Delauneg retrospectice organized by the Albright-Knox Art Gallery in Buffalo. 

For an e.rhibition at the Hnnt Institnte of early 19th-century 

Indian botanical paintings commissioned by the East India 

Company. 

Museum 177 

25,000 

20,000 

18,000 

14,930 

9,930 

5,580 

20,000 

16,920 

12,000 

10,000 

50,000 

35,000 

5,150 

2,150 

20,870 

48,520 

25,000 

10,000 

10,000 

30,000 

16,840 

5,000 

13,700 
Cedar Rapids Art Center 

Cedar Rapids, Iowa 

Center for Inter-American Relations 

New York, New York 

China Institute in America 

New York, New York 

Clark (Sterling and Francine) Art 

Institute 

Williams!own, Massachusetts 

Cleveland Museum of Art 

Cleveland, Ohio 

Cleveland Museum of Art 

Cleveland, Ohio 

Contemporary Arts Association of 

Houston 

ttouston. Texas 

Contemporary Arts Association of 

Houston 

Houston, Texas 

Contemporary Arts Association of 

tloustou 

Houston, Texas 

Contemporary Arts Center 

Cincinnati, Ohio 

Contemporary Arts Center

Cincinnati, Ohio 

Contemporary Arts Center 

Cincinnati, ()hi() 

Corcoran Gallery of Art 

Washington, D.C. 

Corcoran Gallery of Art

Washington, D.C. 

Corcoran Gallery of Art 

Washington, D.C. 

Cornell University 

Ithaca, New York 

Cornell University 

Ithaca, New York 

Cornell University 

Ithaca, New York 

Coming Museum of Glass 

Corning, New York 

Corpus Christi Art Foundation

Corpus Christi, Texas 

Corpus Christi Art Foundation 

Corpus Christi, Texas 

For ¢t~ v.,’hibitio, o.f works bq Gr(t~t Wood 18,150 

Curr!t d~ttit~g.from 1920 to 19~5. 

25,000 

For "Tre,.~,resfl’om tlw Ncw, rk 3l,,~et~m,"ou <,’hibitio, ,t the 20,000 

Chimt House Golh’r!l co,tsisting o.f 5o to 60 pieces. 

For ~t~ e.rh ibitim~ o.f the prims qf A mvric(t~t ~rtist ttHe, I,’r¢tnk- 16,850 

rnthoh, r. 

To s~q~port ~tn e,,’hibitio~ qf I00 S~rrc~tlist lmiMb~qs, scMptnres, 50.000 

(~ml photogr¢tphs b!t 22 incr.]or St! m’e~tlist (trot St~ rre(tlist-rHoted 

o rtist.~. 

For tit(’ showi,g i, Ch’cH~ml qf "Ohl ,lI¢~ster P~ti,ti~tgs.from the 10.000 

Oflh’ctim~ orB, to, Th !lsSen-I~orm, misz~. "or.qmtizcd h!l llw biterm~tiomtl E.,’hibitio,s Foumhttiom 

tvor "Perspecticcs." o~ tm-goi*~g scrit,s of e.chibitioms dcroted to 20,000 

imliri(lmt I co,te,t poro rll (t rtists. 

For the showing i, tbmsto, qf "’T]temes. "on e.,’h ibitio, o.f thc work 5,000 

of Rictm rd A rtsch w, ger. orq~ n izcd hi! the A Ibright-Km~.r G, lh’r!l, 

the U, irvrsit!! o.f Pennstflc~t,im ~tmt the L~ .hdht Museum of

(’o ~ttcm poro m.t A ft. 

t"or thv showinq in Housttm o.f "Nt~*W!l Gmtrcs."orqttuizcd bq ltw 6,000 

Altmi.qhl-Km).,’ Art Gttlh’r!l. 

b)~*" (~t e.rhibition surrc!ti*I# lhr g5-qv, r corcer ql’Americtt~ ttrtist 15,000 

P~tt Adm,s. 

F’or ~tn e.,’h ibitimt o.f sctdptttrr, dr~t icit~qs, thc~ttcr sets, ,ml cldco­ 25,000 

t¢tpcs b!t desigm’r Robcrl IVilsom 

10,000 

For ¢tn e.,’hibitimt o.f woH,’s bq 2oth-cc,~tnr!t Atm’rictt. Re.list 30,000 

Por tot e.rhibitio, e.r~t,li,dm.I coidCmlmrttrq Rt’ttlist ttrt ill llStsh­ 10,000 

Pot the first rctrospcctirc e.Htil>ition of thv work of llw 50,000 

*trtist Georgcs I~**Mom.lerhm 

For a scrit,s o.f om’-,’cek tnvscMtttio,s b!t ciqht tw*Z/’orm¢t*tce 15,000 

~trtist.~ ot the Hvrtwr! F. Joh,l.,o, M,svum. 

Pot ~t, e.rh ibitim~ o.f 17th-ce,tum.i I)t#ch dr~t wings.from the pri- 5,000 

For ct c¢tl~dogm, to occomtmnt! ct rctrost>ectire e.rltibitio~t ot the 5,500
 

Hvrbvrt P. Jolt,so, 3I,se,m qf the work of thv B,,Im us-tin im,d
 

potter .ll~lrgtwrih’ IVihh’,h.
 

Pot "T~ffilng’s Ttf.f¢t*qh" it, <,’hibitimt com’v,trttting o,t those 30,000
 

oh.jeers ,4~ ich Ti.l.’f~*!!t sch’cted .fo r h is iwrsomtl n.s.c in h is home,
 

LoltrHto, Holl.
 

For tlw showi,tq ~tt the Art 3lttsc,m o.f SoHth Tc.r~s of "lOth- 1,603
 

3Oth-cemur!! .lloster Drotcing.~ ~m! IIStlcrcolors.from thv B¢tltimore 3I, scum o.f A rt," circ,hm.d
 

Arts.
 

For the showiug ~t the Art Jluscum o.f South Te..’as of ~tn e.rhibi- 1.900
 

lim~ o.f photo~.lmphs hq Mon m,! AIr~t rvz Br(~ to. org, ~lizcd b!! the
 

Corcoro, Galh’rtl of Art i, IVo.~hi,(ito,. D.C.
 
Corpus Christi Art Foundation

Corpus Christi, Texas 

Cranbrook Academy of Art 

Bloomfield Hills, Michigan 

Creative Time 

New York. New York 

Crocker (E. B.) Art Gallery 

Sacramento. California 

Cummer (deEtte Holden) Museum

Jacksonville. Florida 

Danforth Museum 

Framingham, Ma~chusetts 

Danforth Museum 

Framingham, Massachusetts 

DeCordova and Dana Museum and 

Park 

Lincoln, Massachusetts 

de Young" Museum Art School 

San Francisco, California 

Denver Art Museum 

Denver, Colorado 

Denver Art Museum 

Denver, Colorado 

Detroit Institute of Art, Founders 

Society 

Detroit, Michigan 

Detroit Institute of Art, Founders 

Society

Detroit, Michigan 

Detroit Institute of Art, Founders 

Society

Detroit, Michigan 

Essex Institute 

Salem, Massachusetts 

Fayetteville Museum of Art 

Fayetteville, North Carolina 

Fort Wayne Museum of Art

Fort Wayne, Indiana 

Fort Worth Art Association 

Fort Worth, Texas 

Fort Worth Art Association 

Fort Worth, Texas 

Franklin Institute 

Philadelphia, Pennsylvania 

Fuller Memorial, Trustees of 

Brockton, Massachusetts 

Guggenheim (Solomon R.) Museum 

New York, New York 

Museum 179 

For the showi~tg at the Art Museum of South Te.ras of "Fer~tamto 5.250
 

Botero: A Retrospectire E.dtibitiom" orga~t ized by the Hirshhor,
 

Mu.~eum a~d Sculptmv Garthm in IVashi~gtom D.C.
 

For "Vieu,poi~t." a series of e.chibitimts of co~ttemporar!! art 7,500
 

selected by the museum~ director.
 

For "Nmc Directimts amt I~trestigations in Enrirmtme~tal Art." 10,000

a~ exh ibititm of ~t(’tt’ tc(.’ks created by eight e~ virm~me~tal artists 

i~t Battery Park City la~((fill i~t lower Manhattam 

For a~l e.rh ibiti(m of paper art co~tsisti~tg of 75 works b!! 15 artists. 6,420

For a ~t e.rh ibitimt of tit(’ Florida a ~td tropical pa i~tti~tgs c~ 19th- 11,180 

ceMury America~t artist 3lartS~ Joh~son Heade. 

For a ~ e.rh ibitio~t of pa i~tti~gs, dra wi~tgs, a~d pri~tts bg Fre~wh 12,500 

artist Jea~t Lo~tis Forai~t (1852-19,71). 

For "Aspects of the ’70s/Directio,s i~t Realism, "a surrey of atti­ 17,350

tude stgh, aml tech~dque amm~g realist artists of the ’70s. 

F’or "Aspects of the ’70s/Photography: Reee~d Direetiomn." a~ 10,000 

e.rhibition surVe!li~g .~ig~tifica~t decelopmenls of photography. 

For a~t e.rhibitio~t qf Plaints btdia~ts’ drawi~tgs amt pai~tti~tgs. 10,000

For "Poet.~ aml PaSders," a~t e.rhibitio~ e.rami~d~tg major poet/ 27,810 

pai~tter relatio~mhips of the 1970’s. 

For the showi~lg i~t Dem’er qf "Jourtw!! o.f the Three Jewels: 5,000 

Japa ~wse Bmhth ist Pa i~tti~tg .from IVester~t Colh, ctimm." orga~tized by Asia House Gallery. 

For a~t e.rhibitimt of 17th-ce~lturg Dutch pai,ti~t.qs. 75,000

75,000 For "American Art from 1876-1893, The American Renaissa~we,"

an exhibition docume~ti~g the impact of the Philadelphia Ce~­

tennial and the Worh!’s Columbian Expositio,. 

For a~t e.rhibitimt of 19th-ce~tturg Fre~wh sculptu~v, orga~tized ~o.o00: 

by the lJ).s" A~tgeles Count!! Muselmt of Art. 

For a~t e.rhibitimt of the works of mari~w a~td lamtscape pai~tter 7.770

Charles Edwi~t Lewis Gree~t (1844-1915), to be joi~ttll! orga~tized 

with lhe Brocktmt Art Ce~tter. 

For a~t e.rh ibitio, of works by the America~t Im pressio,ist pa btter, 5,000

Frederick Carl Frieseke. 

For a ~ exh ibition of the dra wi~tgs a mt pa ittti~tgs qfeo,tempora rq 5,680

Americmt artist Alice Neel. 

For FOCUS. a raW!!lear program of eight small-scale, o~w-artist 15,000 

e.rhibitmm of emttemporary art at the Fort IVorth Art Mm~eum. 

For the showi~tg at the Fort lVot~h Art Museum of "Jackie 3,000 

IVi~mor." orga ~tized by the Museum of Moder, A ft. 

For "Structures. "’ a ~ exh ibitimt e.rplori,g aspects cf relatio,sh i ps 40,000

belwee, materials, scie~lific a~td e,gi~weri,g pri~wiples. 

their aesthetic impliealio,s i~ the desig~t a~d comstructio, 

large public buildi~tg.s" a~d bridges. 

For "Aspects of the 70s/Pa inti~g Abstraction," an e.rhibitim~ pre­ 20,000

se~ting an orerriew of the major stylistic tre~tds in abstract art. 

For a~t e.rhibitio, of m((jor pai~di~t(.ls b!l Abstract E.rpressimdst 50,000 

painter Ad Rei,hardt. 
180 Museum 

Guggenheim (Solomon R.) Museum 

New York, New York 

Harvard University

Cambridge, Massachusetts 

Harvard University

Cambridge, Massachusetts 

Hawaii-Manoa, University of 

Honolulu, Hawaii 

Hofstra University

Hempstead, New York 

Honolulu Academy of Arts 

Honolulu, Hawaii 

Hudson River Museum at Yonkers 

Yonkers, New York 

Illinois State University 

Normal, Illinois 

Indianapolis Museum of Art 

Indianapolis, Indiana 

Institute for Art and Urban Resources 

Long Island City, New York 

Institute of Contemporary Art 

Boston, Massachusetts 

Institute of Contemporary Art 

Boston, Massachusetts 

Institute of Contemporary Art 

Boston, Massachusetts 

International Center of Photography 

New York, New York 

International Exhibitions Foundation 

Washington, D.C. 

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 

Lewis (Elma) School of Fine Art 

Boston, Massachusetts 

Lewis (Elma) School of Fine Arts

Boston, Massachusetts 

Los Angeles Institute of 

Contemporary Art

Los Angeles, California 

Maryland Academy of Sciences 

Baltimore, Maryland 

For the presentation of a defi~dtire exhibition of the German 

E.rpressioni,~t movement, jointly organized with the Sa~ Francisco Muse u m of Modern Art. 

For an exhibition of 100 drawings, watercolors, collages, a~td

papier colles by Pablo Picasso at the Fogg Art Museum. 

For the organization of the first American museum e.rh ibition, at 

at Busch-Reisinger Museum, qf the work of the Germa~ Artist 

Gabriele Munter (1877-1962). 

For an exhibition of furniture made in Ha waii between 1778 a~d 

1920. 

For an exhibition at the Emily IJ~we Gallery of the work of the 

CoBrA Group, a~ important Europea~ Abstract E.rp~vssio~ist 

DI 0 t Y’DI ~ ~l t. 

For "E.rquisite Vision,s: Masterworks o.f the Sotatsu-KorS~ Traditim~ from Japanese Collections." 

For a~ exhibitim~ of recent work by Americ(u~ artist Richard 

SgFFa. 

For an e.rh ibitim~ of works by A.fro-Ameriea~ wome~ artists from 

1867-1979. 

For a~t exhibition of Tz’u-chou wares, ceramics produced in 

~torthern Chitin from the lOth centum.! to the prescott. 

For a~ exhibitim~ of works b!t Roger Brown, Robert Gordg, and 

John Tweddle, a~ i~-depth presentation of three pai~ders with 

relatirel!! little preeio.s e.rpos~¢re i~ Neu, York. 

~r a retrospectire e.rhibition o.f the work of Ameriea~ artist 

Florine Stettheimer. 

For a n e,rh ibitio~ of approxim(~telg 1 O0 works b!! artists associated with the Dada moreme~d in Germang. 

For a~ ea’hibitio~ e.rami~d~g the figuratice work of Jackson 

Pollock produced in 1951 and 1952. 

For a retrospectil’e e.rhibitimt qf the work of photographer Gjo~ 

Mill. 

For an e.rhibitio~ qf 57 Old Master pai~tS~gs from the collection 

of Baro~ Th!!,~.~en-Bornemisza of Lugam~, Switzerland. 

For "The Li~tked Ring," a~ ea’h ibitiou of works by photographers 

of the earlg Secessio~dst period of the 1890:~. 

For "Ameriea~t S!lmbolist, "a ~ e.rh ihition at the Spem’er Mu.~eum 

of Art of American paintings oj" the period 1385 to 1915. 

For the showS~g in La Jolla of cm~strm’tivist works dra wn 

the collection of the 3IcCror!t Corporation. 

For a~ exhibition e,rami~dng Afro-America~l art of the 19th 

eenturg in the co~tea’t of America~ art produced duri~g the same 

period. 

For "Aspects (f the ’7os/Spiral," a ~ e,rh ibition that ill.strates the 

rap id gro. ’th of the Afro-A m e tic a ~ co m m u n ity a n d its role i~ the 

Amerit’a~ art scene. 

For a collaboratil,e e.,’hibitim~ im’olei~g the Unirersity of O~lifornia at Irvi~w, Califor~da Instit.te qf Techmdogg, amt 5h).nt 

St. Marg~ College of works bg artists who deal with struct.res/ 

sculptu~vs, stres,~i~g architectural re.ferem’es am! i~tterior and 

exterior space. 

For "Portrait of a~ Atom," a~ e,rhibitim~ b!l [<~e~owtk S~wlson 

traci~tg the artistic developme~t o.f his new model of the atom 

b.sed o~t sculptural and structural e.rpcrime~ts. 

150,000 

50,000 

36,500 

12,550 

16,000 

50,000 

27,550 

50,000 

50,000 

10,000 

15,370 

21,950 

19,050 

20,000 

TF 100,000 

PG 100,000 

24,300 

8,560 

10,500 

20,000 

15,000 

49,070 

15,000 
Massachusetts Institute of Technology 

Boston, Massachusetts 

Massachusetts, University of 

Amherst, Massachusetts 

Metropolitan Museum of Art 

New York, New York 

Michigan, University of 

Ann Arbor, Michigan 

Michigan, University of 

Ann Arbor, Michigan 

Mid-America Arts Alliance 

Kansas City, Missouri 

M~d-America Arts Alliance 

Kansas City, Missouri 

Mills College 

Oakland, California 

Mingei International 

La Jolla, California 

Minneapolis Society of Fine Arts 

Minneapolis, Minnesota 

Minneapolis Society of Fine Arts 

Minneapolis, Minnesota 

Mint Museum 

Charlotte, North Carolina 

Mississippi Art Association 

Jackson, Mississippi 

Mississippi Art Association 

Jackson, Mississippi 

Montgomery Museum of Fine Arts 

Montgomery, Alabama 

Morris Museum of Arts and Sciences 

Convent, Ne~v Jersey 

Munson-Williams-Proctor Institute 

Utica, New York 

Muse-Hopper

University Center, Michigan 

Museum Associates 

Los Angeles, California 

Museum Associates 

Los Angeles, California 

Museum of American Folk Art 

New York, New York 

Museum of American Folk Art 

New York, New York 

For the Committee on the Visual Arts’exhibition of commissioned 

drawings by Mel Boeh~ter and Richard Serra. 

For an exhibition of a steel and n’ood scnlptural em,ironment by 

George Trakas designed and eonstrneted for the University 

Gallery’s interior spaces. 

For a retrospective exhibition of works by Clyfford Still. 

For an exhibition at the Mnseum of Art of Papal medallions 

ranging from the 15th to the 18th eentnries. 

For an exhibition of Greek scnlptnre from 600 to 100 B.C. at the 

Kelsey Mnseum of Archaeology. 

For "Masters of American Watercolor, "an exhibition tracing the 

dere!opment of American watercolor painting from 1900 to the 

present. 

For an exhibition of oriental rugs from the collection of the Metropolitan Mnsenm of Art in New York. 

For an exhibition of recent, Large-scale paintings by Nathan 

Olireira. 

For "Village and Ritual Arts of India," an exhibition at the 

Mnsenm of World Folk Art of historical and contemporary 

traditional arts of India. 

For an exhibition of "The House of Thomas Jefferson," bg Siah 

Armajani, inelnding the finished n’ork and models at the Minneapolis College of Art and Design. 

For an exhibition at the Minneapolis Institnte of Arts docnmentin9 the creative process leading to Leger’s prodnetion of Grand 

D~jeuner, one of his most important paintings. 

For an exhibition of paintings and collages prodnced by Romare 

Bearden from 1970-79. 

For an exhibition at the Mississippi Mnsenm of Art of the n’ork of 

Thomas Cantwell Healg, a 19th-eentury protraitist n’ho worked 

primarily in Mississippi. 

For an exhibition at the Mississippi Mnsenm of Art of contemporary art by Black Americans to coincide with National Negro 

History Month. 

For a comprehensire exhibition of paintings and three-dimensional constructions bg Alabama artist Roger Brown. 

For a series of tem pora rg environmental art projects installed on 

a nine-acre tract of land aronnd the mnsenm. 

For an exhibition of pa inting, sculptnre, graphics, and decoratire 

arts n’hich reflect the beanty of Olgmpic sports in both ancient and 

modern times. 

For an exhibition of folk art from east central Michigan. 

For an exhibition at the I~)s Angeles Connty Mnsenm of Art of 

19th-centnry Fre~wh sculpture dranvt entirelg front America~t 

collections. 

For the showing at the lJ)S Angeles Connty Mnseum of Art of "Old 

Master Paintings from the Collection of Baron Thysse~-

Bornemisza," organized by the International Exhibitions Fonndation. 

For an exhibition docnmenting the artistic rision and craftsmanship of the Shaker folk culture. 

For exhibitions of works by 19th-centn~?! portrait painter John 

Blnnt and kinetic carvings. 

Museum 181 

14,870 

8,460 

28,354 

30,190 

11,040 

15,000 

14,000 

7,540 

5,000 

12,000 

15,000 

15,000 

10,000 

10,000 

20,000 

6,000 

25,000 

10,000 

75,200 

10,000 

5,000 

5,000 
182 Museum 

Museum of Contemporary Art 

Chicago, Illinois 

Muscmn of Contemporary Art 

Chicago, Illinois 

Museum of Fine Arts 

Boston, Massachusetts 

Museum of Fine Arts 

Boston, Massachusetts 

Museum of Fine Arts 

Houston. Texas 

Museum of Fine Arts 

St. Petersburg, Florida 

Museum of Modern Art 

New York, New York 

Museum of Modern Art 

New York, New York 

National Trust for Historic 

Preservation 

\Vashington, D.C. 

Native American Center for the 

Living Arts 

Niagara Falls, New York 

Neubergcr Museum, Friends of 

Purchase, New York 

Nevada Art Gallery 

Reno, Nevada 

Ne\v Museum 

New York, New York 

New Museum 

New York, New York 

New Museum 

New York, New York 

Ne\v Museum 

New York, New York 

New Orleans Musemn of Art 

New Orleans, Louisiana 

New Orleans Museum of Art 

New Orleans, Louisiana 

New York University 

Nexv York, New York 

New York University 

New York, New York 

New York University 

New York, New York 

Newport Harbor Art Museum 

Newport Beach, California 

For the first ,tuse,m exhibition of pai~ti,gs and drawings 

Amerieau artist Ralph H.mphFc!l. 

For a .series of c,ihibitiotm fe.tt~t’i.g o.e or more attist.~ to be
 

rcpre,s.entcd b!t ,si..qh. projects or a small group o.f related works.
 

For an e.rh ibitim~ eeh’hrati,g the 200th att,irersa ry of the birth of 

American artist lV, shim.lto~ Allston. jointh.! orga,izcd with the 

Pen~myh.ania Academ!! of Fi,c Arts. 

For "The Gohh’, Age o.f Dutch Pri,t,l,ki,q, 1588-170l." 

For a com l,vhe~sive exh ibitimt ( h,rti~g the c~dire dccelopmcnt (f 

Fre.ch h~ndscape paiMi.g .from Vah’m~ieu.es (1750-1819) to 

Ce£~ II 

For "Paris i~t the Bclh’ Epoqt,’: People a,d Phtees." 

For a~ e.rh ibititm of the work of Joseph Cornell. dra w. pri,laril!! 

from the arlist% estate. 

F}>r dcpartme~ttal galh’r!t e.rhibitio,s oral small temporary 

e.rh ibitions. 

For an ea’hibitimt of co~ttemporar!! sculpture o, the grounds of 

Chesterwood. ho,te qf Ameriraa se,lptor Daniel Chester Ft’e~lch. 

For "Spirit qf the [~]a rth." a, e.rh tbitiou o.f the work of 150 h~ dia ~ 

a rtists. 

For a~ cxh ibitimt of the work of Will B, r,ct s,rveyMg the themes 

of his work am! the infhwm.es trhich shaped his art. 

~" a, historical surrey exh ibitimt at Sicrr, Ner, da 3l,seum of 

Art ~f the work of artists who drew im~pit’alion from the desert 

lamls ~f the South.’e.~t aml Great Basi~ regio~m of the IVcst. 

For a~t exh ibitimt usi~g photograph!! i, a large ereaticc context. 

surh as asscmbhtgcs ct~t(t pelzforma~a’es. 

For au exh ibitimt oj" the work o.f apt, o.H,i.tel!! six rmdempora r!l 

artists who had nercr e.rhibitcd in New 

For a relrospccti ve e.rh ibitiou of pa i,ti~tgs, dra wi,gs, a,d i~mtallatio,s bit the l, te America, artist Ree Mortmt. 

For Alternative Spaces, ,, a,thologq qf dorumc,tatio, o.f erents 

o~td actil’ilies iu the 1960s a~td 1970s i~t New YoF]." City. 

For the sho,’i,9 i, New OHea,.~ of "Cbatsworth: The Deroushire 

bdwrit, m’e." org.,ized b!l lhe I.ter.atio.,I E.dtibitio,s Fo,,­

d,tio,. 

For a retrospective exhibition of the u.ork of Louisiana artist 

Robert Gordy. 

For the showing at Grey Art Gallery of the Sonia Delaunay 

exhibition organized by the Albright-Knox Art Gallery in 

Buffalo. 

For an exhibition of the work of lesser knou,n but snbstantial 

artists who u,orked in New York City during the late 1950~ 

and 1960’s, to be shown at the Grey Art Gallery. 

For "Images of Power: The Art of the Royal Benin Court," 

an exhibition of materials from this important African culture. 

For a series of small exhibitions to introduce the public to neu, 

artists and new art ideas. 

10,000 

21,900 

65,000 

75,000 

43,540 

TF 31,460 

PG 31,460 

8,970 

75,000 

40,000 

10,000 

10,000 

12,910 

5,000 

10,000 

13,500 

10,000 

10,000 

$10.000 

5,000 

18,200 

10,000 

12,000 

Newport Harbor Art Museum For a comprehensive survey exhibition of the work of 9,850 

Newport Beach, California the work of California artist Vija Celmins from 1964 to 1979. 

10.000 
North Carolina Central University 

Durham, North Carolina 

Oakland Museum Association 

Oakland, California 

Pierpont Morgan Library 

New York, New York 

Portland Center for the Visual Arts 

Portland, Oregon 

Renaissance Society of the University

of Chicago 

Chicago, Illinois 

Roberson Center for the Arts 

and Sciences 

Binghamton, 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 

San Diego Museum of Art 

San Diego, California 

San Francisco Art Institute 

San Francisco, California 

San Francisco Museum of Modern Art 

San Francisco, California 

San Francisco Museum of Modern Art 

San Francisco, California 

Santa Clara, University of 

Santa Clara, California 

Schenectady Museum Association

Schenectady, New York 

Scottish Rite Museum and Library

Lexington, Massachusetts 

Seattle Art Museum 

Seattle, Washington 

Seattle Art Museum 

Seattle, Washington 

Sheboygan Arts Foundation 

Sheboygan, Wisconsin 

For "American Landscape: East and West: 1820-1920," an exhibition jointly organized by North Carolina Central 

University and Montana State University. 

For "Impressionism in California, 1890-1930," at the Oakland 

Museum, to include the work of approximately 50 artists 

influenced by the Impressionist movement. 

For an exhibition of the Dutch royal collections from William of 

Orange to Queen Juliana, with a principal focus on the 

holdings of William and Mary. 

For a series of small exhibitions and events held in 

conjunction with the center’s ongoing exhibitions of contemporary 

art. 

For "Words as Images," an exhibition examining some of the 

methods and co~wepts involved in the synthesis of word and 

image. 

For "Nature and Ambition: Changing Images of the Susquehanna," an exhibition of paintings of the Susquehanna River. 

For a retrospective exhibition of the Social Surrealistic work of 

O. Louis Guglielmi. 

For an exhibition of the photographic works of Constantin 

Brancusi. 

For the showing in St. Louis of "Japanese Drawings of the 

18th and 19th Centuries," organized by the International 

Exhibitions Foundation. 

For "Currents," a continuing exhibition program of the 

contemporary arts. 

For a comprehensive survey exhibition of recent California 

sculpture. 

For an exhibition of paintings and works on paper produced by 

Joan Snyder during the past ten years. 

For an exhibition of the work of the Belgian Surrealist painter 

Paul Delvaux. 

For a retrospective exhibition of the work of American artist 

Philip Guston. 

For a retrospective exhibition of paintings, prints, a~d drawi~gs 

by American artist John AItoon at the De Saisset Art 

Gallery and Musenm. 

For an exhibition s~r~’eying the range of expressive means and 

subject matter in works of art on paper by American 

artists from 1850 to 1925. 

For an exhibition of Belter furniture, the for~n of which is derived 

from Rococo designs. 

For the showing in Seattle of "5000 Years of Korean Art," 

organized by the Asian Art Museum in San Francisco. 

For "Masters of Japanese Naturalism: Maruyama-Shijo School 

Painting 1750-1850," jointly organized with the St. Louis Art 

Museum. 

For an exhibition at the John Michael KohIer Arts Center 

examining the aesthetic value of maps and the nse of maps as 

subject matter in cow, temporary art. 

Museum 183 

8,000 

19,620 

75,000 

12,000 

3,000 

5,000 

15,000 

5,000 

5,000 

8,000 

15,000 

5,000 

10,000 

75,000 

15,000 

8,000 

60,000 

12,500 

75,000 

20,000 
184 Museum 

Southeastern Center for 

Contemporary Art 

Winston-Salem, North Carolina 

Southern Alleghenies Museum of Art 

Loretto, Pennsylvania 

Southern California, University of

Los Angeles, California 

Springfield Library and 

Museum Association 

Springfield, Massachusetts 

Stanford University 

Stanford, California 

Stanford University 

Stanford, California 

Textile Museum 

Washington, D.C. 

Toledo Museum of Art 

Toledo, Ohio 

Virginia Museum of Fine Arts 

Richmond, Virginia 

Virginia Museum of Fine Arts

Richmond, Virginia 

Wadsworth Atheneum 

Hartford, Connecticut 

Walker Art Center 

Minneapolis, Minnesota 

Walker Art Center 

Minneapolis, Minnesota 

Walker Art Center 

Minneapolis, Minnesota 

Washington University 

St. Louis, Missouri 

Washington, University of 

Seattle, Washington 

Washington, University of 

Seattle, Washington 

Wayne State University 

Detroit, Michigan 

Wellesley College 

Wellesley, Massachusetts 

Western States Art Foundation 

Denver, Colorado 

Whitney Museum of American Art 

New York, New York 

Whitney Museum of American Art 

New York, New York 

For an exhibition of the u,ork of seven artists u’ho received 

fellowships under the NEA/SECCA program. 

For an exhibition of 19th-centnry Pittsburgh glass. 

For a sur~,eg exhibition of the painting and graphic work of 

Los Angeles artist Walter Askin. 

For an exhibition of work @ American artist John Sloan

during his summers in Gloncester, Massachusetts (1914-18). 

For an exhibition at the Stanford Museum of 50 prints by 

Paul Klee in honor of the IOOth anniversary of his birth. 

For the showing at the Stanford Museum of "Prints by James Ensor," organized by the International Exhibitions 

Foundation. 

For an exhibition of Turkoman knotted pile n’eavings produced 

primarily during the 19th century. 

For the showing in Toledo of "Chatsworth: The Devonshire 

Inheritance," organized by the International Exhibitions 

Foundation. 

For an exhibition of Chinese porcelain from the Mottahedeh 

Collection. 

For an exhibition examining the artistic quality of ancient Greek 

and Roman coins. 

For "Matrix," a changing exhibition of contemporary art, 

inclnding 16 small-scale, one-person exhibitions. 

For "Vie~vpoints," an exhibition series concentrating on recent 

work by yonnger artists. 

For a comprehensive exhibition of the De Stiff movement from 

1917 to 1931. 

For the first comprehensive exhibition of works by the American 

painter Chuck Close. 

For an exhibition of paintings, drawings, and watercolors by 

Joan Miro. 

For "Spirit of the Tiger: Folk Art of Korea," and an 

accompanying lecture series at the Thomas Burke Memorial 

Washington State Museum. 

For the first major showing of important 19th-century 

American Impressionist paintings on the West Coast at the 

Henry Gallery Association. 

For Women’s Caucns for Art’s exhibitio~t explori~tg aatobiographical aspects of receipt works by America~ womc~ artists. 

For "Aspects of the ’70s/Sitework," an exhibition bg the Jewett 

Arts Center of environmental works done specifically for interior 

a~d exterior sites on the ~Vellesley campus. 

For the planning and organization of the second Western 

States Biennial Exhibition. 

For a major exhibition of paintings, u’atercolors, drawings, and 

prints by American artist Edward Hopper. 

For the planning of the Whitney Biennial. 

15,000 

4,500 

10,510 

18,420 

7,500 

2,440 

30,0O0 

10,000 

5,000 

6,300 

30,000 

30,0O0 

100,0O0 

40,000 

25,000 

13,110 

20,000 

8,000 

25,0O0 

35,0O0 

TF 75,0O0 

PG 75,000 

3,750 
Museum 185 

Whitney Museum of Art 

New York, New York 

Wichita Art Museum 

Wichita, Kansas 

Wooster, College of 

Wooster, Ohio 

Wright State University

Dayton, Ohio 

For "Perceptual Environments," an exhibition of works by 45,000 

artists who create environments using light and space as the 

active ingredients. 

For an exhibition of works by American realist artists 11,180 

produced from 1930 to 1948. 

For a retrospective exhibition of the work of contemporary 14,890 

American artist Miriam Schapiro. 

For a major outdoor laser installation by American sculptor 10,000 

Rockne Krebs. 

of Museum Utilization To install collections formerly in storage or recently acquired

Collections 

Arizona, University of 

Tucson, Arizona 

Arnot Art Museum 

Elmira, New York 

Beloit College 

Beloit, Wisconsin 

Birmingham Museum of Art 

Birmingham, Alabama 

Bishop (Bernice P.) Museum 

Honolulu, Hawaii 

Buffalo Fine Arts Academy 

Buffalo, New York 

Cincinnati Art Museum 

Cincinnati, Ohio 

Colorado Springs Fine Arts Center

Colorado Springs, Colorado 

Columbus Museum of Art 

Columbus, Ohio 

Corcoran Gallery of Art 

Washington, D.C. 

Corcoran Gallery of Art 

Washington, D.C. 

Cornell University 

Ithaca, New York 

Corning Museum of Glass

Corning, New York 

Detroit Institute of Arts, Founders 

Society

Detroit, Michigan 

Field Museum of Natural History 

Chicago, Illinois 

or to more effectively display artifacts already on view. 

Program funds: $1,017,330 

To install 52 plaster models by Jacques Lipchitz. $15,000 

To re-install the museum’s collection of European paintings as 25,400 

they were displayed in the original gallery. 

For an exhibition of 100 master prints and drawings in 3,470 

celebration of the 50th anniversary of the Wright Art Center. 

For the installation of works frarn the permanent collection not 40,000 

currently on view and to re-iustall works currently displayed. 

For "Peoples of the Pacific," a permanent installation depicting 46,830 

Polynesian Chiefdoms, Melanesian bigmen, and Micronesian 

dependence on the sea, through artifacts and works of art. 

For the renovation of a corridor of the Albright-Knox Art 16,000 

Gallery to exhibit the Gallery’s collection of 3,300 prints 

drawings, and photographs. 

To install the Bortman-Larus Collection of American portrait 15,000 

miniatures currently owned by a private foundation. 

For an exhibition of 80 works from the museum’s collection of 25,000 

southwest santos. 

To re-install the permanent collection using chronological and 32,000 

thematic approches. 

For an exhibition incorporating watercolors by Native American 6,490 

artists from the permanent collection. 

For an exhibition examining the development of figurative art 21,870 

in America from the early 19th century to the present. 

For the conversion of a visitor’s lounge in the Asian galleries 10,000 

of the Herbert F. Johnson Museum of Art into an area for the 

permanent display of south and southeast Asian art. 

For the creation of a display area in the passageway linking the 6,000 

old and new buildings for the museum’s collection of 3, 000 pieces 

of early Steuben glass. 

To re-install the Institute’s collection of Dutch, Flemish, and 32,630 

German paintings. 

To develop and install a new permanent exhibit, "Marine 75,000 

Hunters and Fishers," using the museum’s collection of North 

Pacific Native American art. 
Fine Arts Museum of San Francisco 

San Francisco, California 

Fisk University 

Nashville, Tennessee 

Franklin Institute 

Philadelphia, Pennsylvania 

Huntington (Henry E.) Library 

and Art Gallery 

San Marino, California 

Long Beach Museum of Art

Long Beach, California 

Miami, University of 

Coral Gable, Florida 

Mingei International 

La Jolla, California 

Museo del Barrio 

New York, New York 

Museum of Fine Arts 

Boston, Massachusetts 

Museum of Fine Arts 

Boston, Massachusetts 

Museum of Modern Art 

New York, New York 

Museum of Nexv Mexico 

Santa Fe, New Mexico 

Museum of the American Indian 

Heye Foundation 

New York, New York 

National Academy of Design 

New York, New York 

Native American Center for the 

Living Arts 

Niagara Falls, New York 

Ne~v York Historical Society 

New York, New York 

Old Merchant’s House of Ncxv York 

New York, Nexv York 

Riceville Public Library 

Riccville, Iowa 

St. Louis Art Museum 

St. Louis, Missouri 

St. Louis Art Museum 

St. Louis Missouri 

To re-i~tstall the Palace of the Legion of Honor~ permanent 75,000
 

collections.
 

For a~t exhibition featuri~tg photographs by Ca rl Vail Vechte~ of 9,190
 

noted artists, musicians, and actors taken betwee~ 1933 and
 

1949.
 

To install several portraits of Benjamin Fra~klin in the eentral 9,000
 

hall of tile Institute.
 

To convert space p~vsently used for storage into galleries for 50,000
 

changing exhibitions of the permanent collection, s of drawings,
 

watercolors, and prints.
 

To convert offices in the ~ewl9 acq~¢ired an ne.r into galleries for 25,000
 

temporary exhibitions of the permanent collection.
 

For the permanent installatio~ in the Lowe Art Museum of the 27,600
 

Alfred L Barto~ Colleetio~ of South,’est btdia~ Textiles.
 

For an e,rhibitio~ at the Museum of Worhl Folk Art of 2,890
 

contemporary ikat fabrics from Orissa and Andhra Pradesh,
 

b~dia.
 

To create a space for the e.vhibition, on a rotating basis, 6,500
 

of works from the permanent collection.
 

For a six-mo~tth, tleo-musenm extension of the tour of 40,000
 

"Corot to Braque: French Paintings from the Museum of
 

Fine Arts, Boston."
 

For a~t e.rhibitio~t of 100 pcints ,4tich will trarel to three 21,780
 

institutions while the Museum’s print 9allerics are closed .for
 

renoeatiott.
 

For a program of loans to the Brookly~t Museum, 35,000
 

Metropolitan Museum of Art, and other i~stitutions outside
 

New York while the museum’s galleries are devoted to the
 

Pieasso exhibitions.
 

For the installation i~t the Museum of lntcrm~tional Folk Art of 60,000
 

the Girard Foundation Folk Art Collection.
 

For an exhibition of 100 Eskimo ivories fl’om the permanent 35,000
 

collectio~ of the Museum of the American Indian.
 

For an exhibition of 70 landscape pa intings from the Academy’s 6,000
 

permanent collection.
 

For "Symbols from the Earth," a perma~tent exhibition of 40,000 

8,000 Native American objects. 

f’or a permanent, interpretice exhibitim~, "Audubon and his 60,000 

World," including matting and fl’aming of all of the Societg’s 

Audubon watercolors. 

To re-install original furniture and decorations in the 21,000 

the restored Oht Merchant’s Hm~se. 

To transfer and reha~tg fice painted stage curtains fl’om 15,000 

Brown~ Opera Block to the Ril’eeille Public Librarg. 

To re-install the museum’s collections of small sculpture, 50,000 

fur~iture, and decoratiee arts. 

To re-install part of the muscunFs collection qf Chinese art. 30,000 

Tampa Museum For an exhibition of sculptu~vs, reli~, medallions, drawings, 15,780 

Tampa, Florida and photographs bt.t America~ artist C. Panl Jemwwei~l. 
187 

Wellesley College

Wellesly, Massachusetts 

Catalogue 

Arizona, University of 

Tucson, Arizona 

Arizona, University of 

Tucson, Arizona 

Art Institute of Chicago

Chicago, Illinois 

Boston Athenaeum, Proprietors of the 

Boston, Massachusetts 

Carnegie-Mellon University 

Pittsburgh, Pennsylvania 

Carter (Amon) Museum of Western 

Art 

Fort Worth, Texas 

Cedar Rapids Art Center 

Cedar Rapids, Iowa 

Clark (Sterling and Francine) 

Art Institute 

Williamstovn, Massachusetts 

Concord Antiquarian Society 

Concord, Massachusetts 

Corcoran Gallery of Art

Washington, D.C. 

Corning Museum of Glass

Corning, New York 

Detroit Institute of Arts, 

Founders Society 

Detroit, Michigan 

Detroit Institute of Arts, 

Founders Society 

Detroit, Michigan 

Eleutherian Mills 

Wilmington, Delaware 

Ferre (Luis A.) Foundation

San Juan, Puerto Rico 

Fine Arts Museum Foundation 

San Francisco, California 

Fine Arts Museum Foundation 

San Francisco, California 

Fort Worth Art Association 

Fort Worth, Texas 

To i~tstall a stndy-storage center for the Collegek prints and 11,900 

dran’ing collections. 

To document permanent collections or to publishcatalogues or 

handbooks on collections 

Program funds: $1,261,510 

To research the Muse~on of Art~ collections. $25,000 

For cataloguing the Ce~ter for Creative Photography collections 15,000 

and p~blication of collection guides. 

For a publication of the Institutek collection of American 75,000 

paintings. 

To catalogue 1,300 prints and photographs and p~blish 20,020 

catalog~tes for two exhibitions of u’orks from the permanent collection. 

To prepare and pnblish a catalogne of the Hunt htstitute for 14,100 

Botanical Documentation holdings of more than 20,000 n’orks 

of botanical art and ilb~strations. 

For a survey of the cataloguing needs of the mnseum’s 2,000 

photography collections pertainS~g primarily to the American 

West. 

To research a~d p~&lish a catalogue of the Center~ permanent 15,000 

collections. 

For a gnide book ilb~strating and explaining 43 works in the 18,000 

Institute’s collection. 

To upgrade the societg~ filing and registration system. 8,100 

To p~&lish a catalog~e which will accompany an exhibition of 9,760 

American fig~o’atiee art draa’n from the permanent collection. 

To publish a guide to the collections in conjnnction with the 30,000 

opening of the new bnilding in May 1980. 

For the Detroit Art Registration Information System. 70,850 

To research and prepare a catalogue of later Italian and Spanish 8,900 

paintings in the Detroit Institute of Arts’ collections. 

To document the Hagley Museum’s collection of 5,000 decoratire 17,260 

art objects. 

To prepare and publish a catalogue of the permanent collection 13,000 

of the Ponce Museum of Art. 

For a .feasibility study of computer-supported im’entory of 6,020 

permanent and loaned collections. 

To amend a previons grant for the preparation and publication of 20,000
 

a catalogne of the m~se~m~ collection of European paintings,
 

other than French, before 1800.
 

To prepare and p~tblish a handbook of the museum ~ painting and 15,000 

sculpture collections. 
188 Museum 

Gardner (Isabella Ste~vart) Museum

Boston, Massachusetts 

Guggenheim (Solomon R.) Foundation 

New York, New York 

Guggenheim (Solomon R.) Foundation 

New York, New York 

Harvard University

Cambridge, Massachusetts 

Harvard University 

Cambridge, Massachusetts 

Harvard University 

Cambridge, Massachusetts 

Harvard University

Cambridge, Massachusetts 

Harvard University 

Cambridge, Massachusetts 

Honolulu Academy of Arts 

Honolulu, H a~vaii 

Institute of Puerto Rican Culture 

San Juan, Puerto Rico 

International Museum of Photography at George Eastman House 

Rochester, New York 

Jewish Institute of Religion

Los Angeles, California 

Jewish Museum 

New York, New York 

Maryland Historical Society

Baltimore, Maryland 

McNay (Marion K.) Art Institute 

San Antonio, Texas 

Michigan Department of State

Lansing, Michigan 

Michigan, University of 

Ann Arbor, Michigan 

Mingei International 

La Jolla, California 

Minnesota, University of 

Duluth, Minnesota 

Mt. Holyoke College 

Hadley, Massachusetts 

Museum of African and AfricanAmerican Art and Antiquities 

Buffalo, New York 

Museum of Fine Arts 

Boston, Massachusetts 

Museum of Fine Arts 

Boston, Massachusetts 

To publish a catalogue of the museum’s textile collectiou. 12,000 

To continue research on the Pe.q~t Gugge~heim collection of the 50,000 

Solomon R. G~ggenheim Museum. 

To support the publication of a handbook of the Solomon R. 50,000 

Guggenheim Museum’s collectiou. 

To publish a catalogue of works by Jea~t Auguste Dominique 18,510 

Ingres in the Fogg Art Museum’s collection. 

To publish photographs, drawb~gs, and descriptions docume~lting 32,280 

the Peabod!! Museum of Archeolog!t and Eth~mlog!!~ collection of 

Hopi potterg dating from 1520 to 1900. 

For a computerized iucentory of the Peabody Museum of 20,000 

Areheolog!! aud Ethnologg’s eolleetio~. 

To publish a catalogue to accompa~g a~t exhibition at the 25,000 

Harvard Semitic Mu.~eum of photographs by the Bonfils faro Jig. 

To ~vsearch the Hofer Collection of drawings for book 7,000 

illustrations in lhe Houghlon Library. 

To research and write a catalogue o.f works bg Utagawa 15,830 

Hiroshige (1797-1858) in the Academy’s permanent collection. 

To research and publish a catalogue qf the I~stitutc’s collecton of 12,000 

Santos. 

To computer catalogue 10,000 photographs in the museum’s" 56,450 

collection. 

To co~tinue cataloguing the Skirball Mnseum’s collection of 10,640 

prints and drawings. 

To form ulale a catalogui~g system for the museum ~ collection of 20,000 

nearly 15,000 items. 

To continue cataloguing the Societyk collectiou of drawings 10,000 

a~d watercolors. 

To publish a catalogue of the lnstitute’s perma~w~t colh,ction. 18,330 

To continue catalogui~g the Michigan Historical Muso~m’s 15,000 

6,000-item decoratire arts collection. 

To research and catalogue the Kelseg Musem~ of Archaeologg’s 21,170 

collection of Coptic and Islamic textiles. 

To prepare amt publish a catalogue o.f the 3lnsemn of IVorh! Folk 4,000 

Art’s collection of eontempor~ry ikat textiles from Oriss(~ and 

A~dhra Pradesh, b~dia. 

To research and publish 100 19th-a~ul 20th-centurg American 20,000 

paintings in the Tweed Museum of Art’s eollectio~. 

To researh a~d publish a ha~utbook o~ the Museum of Art’s most 20,020 

outstanding works of art. 

To research a~ld publish a catalogue of the museum’s colh’ctio~ of 12,970 

200 objects. 

To conduct research for a catalogue of Fre~tch painti~tgs by 42,000 

artists born between 1790 atM 1830. 

To publish a catalogue to accompa~y the exhibition " Great 22,460 

Painters Make Great Prints." 
Museum 189 

Museum of New Mexico 

Santa Fe, New Mexico 

Museum of Northern Arizona 

Flagstaff, Arizona 

Museum of the American Indian 

Heye Foundation 

New York, New York 

National Academy of Design 

New York, New York 

Northwestern University 

Evanston, Illinois 

Pierpont Morgan Library 

New York, New York 

St. Louis Art Museum 

St. Louis Missouri 

San Antonio Museum Association 

San Antonio, Texas 

San Francisco Museum of Modern Art 

San Francisco, California 

Santa Barbara Museum of Art 

Santa Barbara, California 

Schenectady Museum Association 

Schenectady, New York 

School of American Research 

Santa Fe, New Mexico 

Smith College 

Northampton, Massachusetts 

Southern Illinois University 

Edwardsville, Illinois 

Stanford University 

Stanford, California 

Tampa Museum 

Tampa, Florida 

Toledo Museum of Art 

Toledo, Ohio 

Wadsworth Atheneum 

Hartford, Connecticut 

Wellesley College 

Wellesley, Massachusetts 

Worcester Art Museum 

Worcester, Massachusetts 

To continue computer cataloguing the 106,000-item Girard 25,000 

Foundation Collection of the Museum of International Folk Art. 

To prepare a catalogue of the museum’s Hopi Indian 8,930 

pottery collection. 

To publish a catalogue to accompany the exhibition "Arctic Art: 30,000 

Eskimo Ivory" at the Museum of the American Indian. 

To publish a catalogue to accompany an exhibition of American 11,500 

landscape paintings. 

To catalogue and research the collections of the Block Art Gallery. 9,100 

To publish a catalogue to accompany an exhibition of 125 Old 27,470 

Master drawings. 

To publish a handbook examining the museum’s finest pieces of 23,520 

18th- through 20th-century American furniture. 

To research and publish a catalogue of the museum’s collection 15,000 

of paintings, sculpture, and prints by Texan artists. 

To continue cataloguing the museum’s painting and sculpture 32,800 

collections. 

To catalogue one-third of the museum’s American paintings, one- 20,540 

half of its Eropean paintings and sculpture, and one-half of its 

Oriental sculpture, paintings, ceramics, and decorative arts. 

To catalogue and research the museum’s fine arts collection. 2,660 

To research and prepare for publication the school’s collection 7,390 

of southwestern Indian and Spanish weavings and costumes. 

To prepare for publication a handbook of the Museum of Art’s 12,550 

collection, documenting approximately 350 objects. 

To catalogue, document, and prepare for publication the Cultural 15,000 

Arts and University Museums’ collection of Louis Sullivan 

architectural ornamentation. 

To research and prepare for publication the Museum of Art’s 35,000 

collection of master drawings. 

To catalogue, research, and prepare for publication the museum’s 17,000 

collection of works by American artist C. Paul Jennewein, to 

accompany an exhibition to open in March 1981. 

To publish a catalogue of Greek vases in the museum’s collection 26,060 

as a fascicule of Corpus Vasorum Antiquorum. 

To research the Wallace Nutting collection of 17th- and early 18th- 25,000 

century furniture. 

To research and catalogue the Jewett Arts Center’s collections of 10,000 

Medieval, Renaissance, and Baroque painting and sculpture. 

To prepare and publish a catalogue of the museum’s collection of 8,320 

Indian miniature paintings. 
190 Museum 

Visiting Specialists To enable museums to engage outside consultants for such projects

as fundraising, collection research, and public relations activities. 

Program funds: $98,600 

American Indian Archaeological 

Institute 

Washington, Connecticut 

Arizona Historical Society 

Tucson, Arizona 

Capital Children’s Museum 

Washington, D.C. 

Clark (Sterling and Francine) Art 

Institute 

Williams(own, Massachusetts 

Contemporary Arts Association 

of Houston 

Houston, Texas 

Contemporary Arts Asssociation 

of Houston 

ttouston, Texas 

Impression Five 

Lansing Michigan 

International Exhibitions Foundation 

Washington, D.C. 

Jacksonville Museum of Arts 

(ion and Sciences 

Jacksonville, Florida 

Milxvaukee Art Center 

Milwaukee, Wisconsin 

Muse() del Barrio 

New York, New York 

Museum Associates 

Los Angeles, California 

Phillips Collection 

Washington, D.C. 

Siouxland tleritagc Museums 

Sioux Falls, South Dakota 

Studio Museum in Harlem 

New York, New York 

Yale University 

New ttaven, Connecticut 

For a specialist to derelop a .fu ml-r(~isi~g pr,)gr(~m. $10,000 

For a ~,isiti~g ,~pecialist to impleme~t a stor~tge r(’triecal system 10,230 

for the Society’s collectiom 

For a specialist to develop a marketi~g strateft!! ~(t ~tssist i~t 7,500 

desig~dng plam~ for audie~we d(,relopme~d, v.rhibitimm, a~M other 

special eyelets which will co,tph~me~t the marketi~tg effort. 

9,000 

To hire ~t visiti~tq specialist to work with the Cm~temporary Art 790 

Mm~eum’s Decelopme~tt Office (tml Bo~trd qf Trustees 

desig~dng ~ hmg-ra~tge developm(,~d pla~ for the 

To hire u specialist to evahmte the c(lt¢catio~ pFoqr¢t~Ils qf the 1,340 

ContemporarI.i Art Museum. 

For a I’isiti~g specialist to comluct ~t stmt!l a~ld d(’rdop a I)1~ 3,000 

for ~ fund-raisi<q campaigm 

For a specialist to comtuct a stmlg-surrc!! i~t prepar(~ti(m fi)r (t 3,400 

flo~(!-raisi~g Camlmiq~. 

2,450 

umt ~.lo(~l,s" umt to dvcelop phtm~ .for the futt(re. 

For ~ specialist to or.q~t~dze aml c~ttaloguc the Pr~irie Archires 14,530 

of architectur~d a~td decoratir,, (~rts. 

For (t i’isiti~g speci(dist to rcsv(trch the muscum2 97 films 11,100 

(m Puerto Ric(~t ~rt ~t~<l culture, (~ml to dcr(’lop programs for 

registr¢~tiom public screen( itlgs, ~t~l(1 e,cp(t~.~iott of the colh’ct 

For a cisiti~g specialist to d(,ciphcr <~ml 5derprvt i>~scriptimts mt 1.980 

works i~ the Los A~geles Cot¢~l!l ~][use~oll o.f A rts collecti(m cf Tibela~ (~rt. 

For a visiti~g specialist to coadm’t ~t .fvasibdit!l (trot plam~i~g 4,000 

stml!! i~! pr(’par<~tio~ ,for ~t wojor,fuml-r(~i,~im.I camp(tigm 

For a risiti~g specialist to .,urreq the co~scrratimt m~(’ds qf 680 

several m~rrHs b!! local folk ~trtisl Oh’ G. R!~i~,l. 

For a t’isiti~ig specialist to coordim~le a (.omprehe~tsice 12,600 

member,~hip ~t~(I public reh~tio~ts c~tmtmigm 

For two spe(’ialist,~ to research, r(’or.qa~tize, aml rvcommemt 6,000 

co~m(’rratio~ tre(tt,te~t amt storaqc methods for the Art G(tllvr!t’s 

te.rtih’ collecti(m. 
Museum 191 

Fellowships for To enable museum staff members to take leaves of absence up to one

year for independent study, research, travel, or other activities Museum Professionals that contribute to their professional development. 

Carter, Robert R. 

Chicago, Illinois 

Cooper, Helen A. 

New Haven, Connecticut 

Elzea, Rowland P.

Wilmington, Delaware 

Gates, Kathryn B. 

Portland, Oregon 

Jacob, Mary Jane

Detroit, Michigan 

Jonason, Alice F. 

Sacramento, California 

Motz, Timothy A.

Detroit, Michigan 

Nash, Steven A. 

Buffalo, New York 

Osman, Randolph E. 

Greenville, North Carolina 

Percy, Ann B. 

Philadelphia, Pennsylvania 

Plous, Phyllis B. 

Santa Barbara, California 

Reeves, Lora U. C. 

Los Angeles, California 

Russell, H. Diane

Washington, D.C. 

Turner, Cynthia C. 

New York, New York 

Wailer, A. Bret 

Ann Arbor, Michigan 

William, Eunice

Cambridge, Massachusetts 

Worswick, Clark B. 

Millbrook, New York 

Program funds: $123,850 

To study conservation at the Musee des Arts Decoratifs. $11,680 

To research the work of John Trumbull (1756-1843) in 1,930 

preparation for an exhibition at the Yale University Art 

Gallery in 1982. 

To travel in England for the purpose of studying pre-Raphaelite 3,500 

art and related decorative arts in public and private collections. 

To visit museums in nine Americn cities to examine accession 10,000 

records and study general methods, formats, and procedures of 

recordkeeping. 

To study the role of American painters and sculptors in the 3,900 

design of functional items from 1930 to 1945. 

To study museums that use prints and paintings of American 8,(D0

industrial history in the development of curriculum supplements 

for schools. 

To travel and study at major museums and archaeological sites 4,590 

in Italy and Greece. 

To conduct research on the life and work of the Constructivist 4,070 

sculptor Nauru Gabo. 

To travel to various museums and university galleries to obsem,e 2,860 

each facility’s holdings and methods of operation. 

To visit and study the drawing collections of 35 museums in the 6,060 

United States and Canada. 

To travel throughout the Pacific Northwest and parts of the 6,680 

Southwest to meet young, contemporary artists and visit their 

studios. 

To visit consem,ators in Russia, Poland, Finland, Romania, 8,000 

Hungary, and Czechoslovakia to exchange textile conservation 

techniques and information. 

To study the etchings of Claude Lorrain (1600-1682) and their 11,720 

impact on his paintiugs and drawings from the 1630’s. 

To travel throughout northern and western Africa for the purpose 11,(D0

of studying African arts and the role of the museum in these 

areas. 

To study the international art market in New York and London. 9,850 

To travel and research the paintings of Jean Honore Fragonard 10,000 

(1732-1806). 

To study the work of artists who were precursors of photograpers 10,(D0 

who worked in Asia and West Asia. 
192 Museum 

Museum Training	 To assist museums and universities in training museum professionals 

and technicians through college-level programs, internships, and

apprenticeships. 

Boston University 

Boston, Massachusetts 

California State University 

Long Beach, California 

Contemporary Arts Association 

of Houston 

Houston, Texas 

Delaware, University of 

Newark, Delaware 

Field Museum of Natural History 

Chicago, Illinois 

Illinois, University of 

Champaign-Urbana, Illinois 

Institute of American Indian Arts 

Museum 

International Museum of Photography 

at George Eastman House 

Rochester, New York 

Michigan, University of 

Ann Arbor, Michigan 

Museum of Fine Arts 

Boston, Massachusetts 

Museum of Modern Art 

New York, New York 

Museum of Modern Art 

New York, New York 

New York University 

New York, New York 

North American Indians Museum 

Association 

Niagara Falls, New York 

North Carolina Agricultural and 

Technical State University 

Greensboro, North Carolina 

Philadelphia Museum of Art 

Philadelphia, Pennsylvania 

Philadelphia Museum of Art 

Philadelphia, Pennsylvania 

Smith College 

Northampton, Massachusetts 

Virginia Museum of Fine Arts

Richmond, Virginia 

Program funds: $504,830 

For a collaborative museum training program for students from $27,000

the university to intern at five area museums. 

For a stipend for one stndent in the university’s Museum Studies 3,000

Certificate Program. 

For an internship in the Contemporary Arts Musenm~ 6,000

curatorial department. 

For two doctoral fellowships in the adt’anced study of American 18,000

decorative arts and material calture, and two Master of Arts 

fellowships for the Winterthur Program in Early American 

Cultnre. 

For four six-month internships in exhibition design and 12,060 

installation. 

For the university~ four-semester gradtmte program in museum 23,010

stndies, inclnding stipends for two interns. 

For workshops and seminars on planning, design, collections 10,000 

care, exhibitions, and management at varions Indian cultnral 

centers. 

For three internships consistbtg of general orientation, cnra­ 18,200

torial training, and an individual project. 

For the graduate program in Museum Practice which includes 60,000

three to four academic terms at the university and an 

eight to ten month internship. 

For eight one-year internships in carions departments in the 40,000 

In nsenm. 

For the museum’s technical apprenticeship program, providing 20,000

training in exhibition preparation and production. 

For three curatorial interns in prints, photography, and architec­ 25,000

ttwe and design, and one program intern in ed~wation. 

For the Institute of Fine Arts’ comprehensive museum train­ 60,000

ing program, in which 38 students are currently enrolled. 

For eight internships for Indian museum personnel at the Denver 20,000 

Art Museum, the Denver Museum of Natural History, and the 

Littleton Area Historical Society. 

To establish a pilot program in ml~seum career preparation for 25,000

minority students. 

For the first year of two ta,o-year internships in the Department 20,000

of Prints, Drawings, and Photographs. 

For the first year of two two-year internships in the Department 20,000

of American Art. 

For the college’s intern training program designed for candidates 16,410 

for the Master’s Degree in Art History. 

For a one-year internship designed to expose an individual with 4,200

a master’s degree to all facets of musenm operation. 
Museum 193 

Walker Art Center 

Minneapolis, Minnesota 

Wayne State University 

Detroit, Michigan 

Whitney Museum of American Art 

New York, New York 

Yale University 

New Haven, Connecticut 

Conservation 

Planning 

Cultural Council Foundation 

New York, New York 

Mills College 

Oakland, California 

North Carolina, University of

Raleigh, North Carolina 

St. Louis Art Museum 

St. Louis, Missouri 

Shelburne Museum 

Shelburne, Vermont 

Smith College 

Northampton, Massachusetts 

Virginia Museum of Fine Arts

Richmond, Virginia 

Conservation of Collections 

Akron Art Institute 

Akron, Ohio 

Art Museum of the Palm Beaches 

Palm Beach, Florida 

Baltimore Museum of Art 

Baltimore, Maryland 

Berea College 

Berea, Kentucky 

For three intern positions in the museum’s training program with 

emphasis on education, administration, and curatorial 

functions. 

25,900 

For the university’s two-year program designed to train graduate 

students for professional mnseum careers. 

18,300 

For the Museum Studies Fellowship of the Whitney Museum 

Independent Study Program, which provides training in most 

aspects of museum operations. 

25,000 

For field trips to neighboring museums for students enrolled in 

the university’s museum training course. 

7,750 

Includes four subcategories: Planning assists museums in the planning

of conservation programs. Conservation of Collections assists museums 

in the implementation of conservation treatment for permanent collections. Consert~ation Training assists workshops, training centers, and 

internship programs to train conservation professionals. Regional Conser~atlon Centers receive assistance for their formation or expansion. 

Program funds: $1,274,720 

For the Central Park Administrator’s Office to provide a model $7,500 

program of conservation planning for outdoor sculpture in the 

City of New York. 

To survey the College Art Gallery’s collection of over 2,000 4,370 

works on paper. 

To survey the Ackland Art Museum’s collection of paintings. 2,500 

For a one-week surrey of the mnseum’s collection of primitive art. 3,250 

To engage five conservators to serve as advisors on the museum’s 4,020 

conservation program. 

To survey the museum’s collection of approximately 2,400 5,000 

drawings. 

To survey the museum’s collection of miniature paintings on 1,440 

ivory, parchment, and paper. 

For the conservation of William Merritt Chase’s Girl in White. $3,740 

For conservation treatment on nine paintings and 20 works on 8,0(}0 

paper. 

To restore a Louis Comfort Tiffany stained glass window 6,670 

depicting the baptism of Christ. 

To conserve Arthur Dow’s Sunset over Ipswich and Caroline 1,140 

Thurber’s Portrait of a Girl. 
194 Museum 

Boxvdoin College 

Brunswick, Maine 

Buffalo Fine Arts Academy 

Buffalo, New York 

Cedar Rapids Art Center 

Cedar Rapids, Iowa 

Corcoran Gallery of Art

Washington, D.C. 

Corcoran Gallery of Art 

Washington, D.C. 

Cornell University 

Ithaca, New York 

Cranbrook Academy of Art 

Bloomfield Hills, Michigan 

Dartmouth College 

Hanover, New tiampshire 

Denver Art Museum 

Denver, Colorado 

Edmundson Art Foundation 

Des Moines, Iowa 

Essex Institute 

Salem, Massachusetts 

Frederick County Department of 

Public Works 

Winchester, Virginia 

Hammond Museum 

Gloucester, Massachusetts 

Harvard University

Cambridge, Massachusetts 

Harvard University 

Cambridge, Massachusetts 

Hebrew Union College 

Los Angeles, California 

Honolulu Academy of Arts 

Honolulu, Hawaii 

Illinois, University of

Champaign-Urbana, Illinois 

Jewish Museum 

New York, New York 

Kansas, University of 

Lawrence, Kansas 

Kentuck Research Foundation, 

University of 

Lexington, Kentucky 

Marquette University 

Milwaukee, Wisconsin 

Michigan, University of
 

Ann Arbor, Michigan
 

For the Musenm of Fine Art’s systematic conservation treatment 

of the permanent collection. 

7,870 

For conservatio~ of paintings bff James Rosenquist, Joan 

Mitchell, Jasper Johns, and Bradley Walker Tomlin in the 

AIbright-Kno~: Art Gallery. 

5,000 

To conserve works by Grant Wood and other American artists. 8,000 

To conserve paintings in the gallery~ permanent collection. 10,000 

To conserve more than 100 drawings, pastels, a~d a,alercolors by 

American artist John Singer Sargent. 

5,650 

To conserve various paintings and drau,ings in the Herbert F. 

Johnson Museum of Art’s permanent collection,s. 

7, 500 

For the treatment of Kingsu’ood School furniture in the 

mnseum ~ permanent collection. 

5,000 

To cot~serve fire paintings bg Barre, Bassano, Gottlieb, 

Palmezzano, and Voorhont. 

8,730 

To conserve various American, Enropean, and Oriental 

paintings in the mnseum’s pernlanent collection. 

10,000 

To cor~serve Carl Milles’ sculpture Pegasus and Bellerophon 

in the Des Moines Art Center. 

2,500 

To conserve eleven portraits in the Institnte’s permanent 

collection. 

3,890 

To conserve a bronze Confederate memorial and tablets 

commemorating Lord Fairfax and Colonel James Wood. 

2,500 

To conserve metalwork and paintings in the mnseum ~ collections. 2,230 

To conserve drawings, plans, bluep~qnts, and other materials in 

the Busch-Reisinger Mnseum~ Gropius Archive. 

3,690 

To pnrchase equipment for a conservation laboratory for the 

Peabody Musenm of Archeologg and Ettolology. 

10,000 

To purchase equipment for textile consevration for the Skirball Museum. 

5, 000 

To conserve four paintings and four pa~wls of pictorial 

a’allpaper. 

4,310 

To pnrchase equipment for a consercation laboratory at the 

World Heritage Museum. 

4,000 

To conserve a Bavarian Toroh Ark, circa 1740. 5,000 

To conserve varions paintings and Oriental prints in the Spencer 

Museum of Art. 

11,470 

To co~erve six paintings, five prints or drawings, and 25 Art 

Nouveau posters in the Mnsenm of Art. 

10,000 

To conserve six European paintings dating from the llth throngh 

the 16th centnries. 

5,000 

To conserve nine paintings in the Museum of Art’s collection. 7,640 
670 

Museum 195 

Minnesota, University of 

Minneapolis, Minnesota 

Montana Historical Society 

Helena, Montana 

Municipal Museum of the City 

of Baltimore 

Baltimore, Marlyand 

Museo del Barrio 

New York, New York 

Museum of Fine Arts 

Boston, Massachusetts 

Museums at Stony Brook 

Stony Brook, New York 

Nelson Gallery of Art 

Kansas City, Missouri 

Neuberger Museum, Friends of the 

Purchase, New York 

New York, Research Foundation of
 

the State University of


Albany, New York 

Pennsylvania Academy of Fine Arts 

Philadelphia, Pennsylvania 

Philadelphia Museum of Art 

Philadelphia, Pennsylvania 

Philadelphia Museum of Art 

Philadelphia, Pennsylvania 

Princeton University

Princeton, New Jersey 

Santa Barbara Museum of Art 

Santa Barbara, California 

Toledo Museum of Art 

Toledo, Ohio 

Vermont, University of 

Burlington, Vermont 

Washington (Mary) College 

Fredericksburg, Virginia 

Washington University 

St. Louis, Missouri 

Wellesley College

Wellesley, Massachusetts 

Whitney Museum of American Art 

New York, New York 

Whitney Museum of American Art 

New York, New York 

Williams College 

Williamstown, Massachusetts 

Yale University 

New Haven, Connecticut 

To conserve 32 works from the University Gallery’s collections, 10,000
 

including paintings by Marsden Hartley and Alfred Maurer.
 

To conserve 20 paintings by Charles M. Russell and an oil 5,000
 

painting by Irvin Shope.
 

To conserve nine paintings, including three by Rembrandt 6,750
 

Peale in the Peale Museum.
 

To conserve six paintings, including Still Life with Violin by
 

Luis Cruz.
 

To re-mat the museum’s collection of prints by J. M. W. Turner. 13,530
 

To hire consultants for emergency conservation assistance to 7,200
 

analyze and correct the effects of soot on costumes and textiles,
 

the result of a malfunctioning furnace at the museum.
 

For the first year of a program to conserve the gallery’s 20,000 collection of Chinese and Japanese scrolls and screens. 

For the first phase of a five year plan to conserve the Neuberger 5,200 

Museum’s collections of paintings, sculpture, and works on 

paper. 

To restore a Public Works of Art Mural Project by Vernon 7,670 Bennett Smith for the State University College at Cortland. 

To conserve 25 pieces of American sculpture. 7,500 

To clean and restore a Savonnerie carpet, commissioned by 10,000 

Louis XIV for the Grande Galerie of the Louvre in 1664. 

To conserve important works on paper by Bonnard, Birch, 6,000 

Gainsborough, and Toulouse-Lautrec, and 91 photographs in 

Felice Beato’s China Album. 

To conserve Upstart II by Clement Meadmore and to research 15,000 

methods of treatment for Cor-Ten steel. 

To conserve eight paintings, including works by Church and 4,210 

Blakelock. 

To conserve five pieces of 18th-century furniture. 4,520 

To conserve 11 paintings in the Fleming, Museum and to train 10,000 

staff in methods of re-backing and hinging. 

To conserve nine works constituting part of the Gari Melchers 3,820 collection in the Gari Melchers Memorial Gallery. 

To conserve four paintings in the Gallery of Art by Pollock, 2,920 

Baziotes, Hartley, and Guston. 

To conserve 25 pieces of sculpture in the Jewett Art Center’s 6,110 collection. 

To conserve 53 American paintings produced between 1900 and 15,000 

1929. 

To conserve approximately 400 works on paper by Edward 10,690 Hopper. 

To conserve four paintings in the Museum of Art by Chester 5,140 Harding, Juan de Valdes-Leal, Yves Tanguy, and John Peto. 

To conserve 13 significant works in the Societe Anonyme 10,000 Collection of the Art Gallery. 
196 Museum 

Conservation Training 

Conservation Center for Art and 

Historic Artifacts 

Philadelphia, Pennsylvania 

Dela~vare, University of 

Newark, Delaware 

Delaware, University of 

Newark, Delaware 

Harvard University

Cambridge, Massachusetts 

For Elizabeth Schulte to study advanced problems in the $10,000 

conservation of works of art on paper with Marilyn Weidner, 

director of the Center. 

5,330 For the annual conference of the five formal art conservation training programs in the United States and Canada. 

For the Master of Science Degree Program for training art 250,000

conservators, conducted jointly by the University of Delaware 

and the Winterthur Museum. 

For the Fogg Art Museum’s program of formal short- 43,000 

term, advanced level internships in conservation. 

International Museum of PhotographyFor Peter Mustardo to study conservation of photography with 10,000 

at George Eastman House 

Rochester, New York 

Metropolitan Museum of Art 

New York, New York 

Metropolitan Museum of Art 

New York, New York 

Museum of Modern Art 

New York, New York 

Museum of the Philadelphia Civic 

Center 

Philadelphia, Pennsylvania 

New England Document Conservation 

Center 

Andover, Massachusetts 

Nesv York Historic Association 

Cooperstown, New York 

New York University 

New York, New York 

New York University 

New York, New York 

Regional Conservation Centers 

Bishop (Bernice P.) Museum 

Honolulu, Hawaii 

Intermuseum Conservation Association 

Oberlin, Ohio 

New England Document Conservation 

Center 

Andover, Massachusetts 

Upper Midwest Conservation 

Association 

Minneapolis, Minnesota 

Grant Romer, conservator at the museum. 

For Dorothy Mahon to study the conservation of paintings with 5,000 

John Brealey, paintings conservator at the museum. 

For Marilyn Reiter to study the conservation of paintings with 5,000

John Brealey, paintings conservator at the museum. 

To train a part-time apprentice in sculpture conservation. 7,500 

For conservation of the museum’s collection of ethnographic 10,350 

material .form the Amur River region of southeastern Siberia. 

For an internship position with Mary Todd Glaser, senior 10,000

conservator at the Center. 

For the Cooperstown Graduate Program in the Consermtion of 92,000 

Historic and Artistic Works. 

225,000 For the training program at the Conservation Center of the 

Institute of Fine Arts. 

50,000 To purchase equipment for the new laboratories of the 

Conservation Center of the Institute of Fine Arts. 

For the regional conservation laboratory at the Bishop Museum. $70,000 

To expand the Association’s capability to analyze works in 20,000

members’ collections. 

To expand the Center into the area of fine arts conservation. 22,000

For the continued operation of the Center. 60,000 
Renovation 

Survey 

Bowdoin College 

Brunswick, Maine 

Chicago, University of 

Chicago, Illinois 

Cornell University 

Ithaca, New York 

Currier Gallery of Art 

Manchester, New Hampshire 

Harvard University 

Cambridge, Massachusetts 

International Museum of Photography


at George Eastman House
 

Rochester, New York 

Long Beach Museum of Art 

Long Beach, California 

Minnesota, University of 

Minneapolis, Minnesota 

Pittsburgh Historical and Landmarks

Foundation 

Pittsburgh, Pennsylvania 

Installation 

Akron Art Institute 

Akron, Ohio 

Central Louisana Art Association 

Alexandria, Louisiana 

Chicago, University of 

Chicago, Illinois 

Cincinnati Museum Association 

Cincinnati, Ohio 

Columbus Museum of Art 

Columbus, Ohio 

Flint Institute of Art 

Flint, Michigan 

Grand Rapids Art Museum 

Grand Rapids, Michigan 

Museum 197 

Includes two sub-categories: Survey grants are for consultation services to identify problems and recommend solutions concerning security, storage, and climate control. Installation grants assist with renova­ tion projects where surveys have been completed. 

Program funds: $ 90,050
 Treasury funds: $1,183,740
 Private gifts: $1,183,740
 

For a climate control survey of the Bowdoin College Museum 

of Art. 

For a survey of temperature and humidity controls at the David 

and Alfred Smart Gallery of the University of Chicago. 

For a survey of storage needs for the Cornell costume collection. 

For a survey of the security needs of the gallery. 

For a cost efficiency survey of the Fogg Art Museum’s climate 

control system. 

For a survey to suggest modifications for climate control in 

the museum’s archive. 

For a survey of climate control, security, and storage at the 

main museum and at the museum’s annex. 

For a preliminary survey of buildings at the University to determine the feasibility of installing security and climate control 

appropriate for storage and exhibition of works of art. 

For a survey to convert additional space into a proper studystorage areas. 

For the installation of proper art storage, security, and climate 

control at the Institute’s newly acquired Old Post Office Building 

in downtown Akron. 

To install a climate control system and develop a storage area for 

the museum’s historic 19th-century facility. 

To purchase and install cabinets in two of the Oriental Institute’s 

basement storage areas. 

For the second phase of a three-phase climate control and security 

project at the Cincinnati Art Museum. 

To install a comprehensive security system. 

To reorganize the Institute’s storage areas. 

To install a new climate control system in the newly acquired 

facility, a 1908 beaux-art Federal building in downtown Grand 

Rapids. 

$8,500 

2,670 

3,000 

1,000 

19,450 

1,500 

3,920 

5,000 

5,500 

TF $35,940
 

PG 35,940
 

TF 3,090
 

PG 3,090
 

TF 5,320


PG 5,320
 

TF 63,490
 

PG 63,49O
 

TF 56,420
 

PG 56,420
 

TF 7,750
 

PG 7,750
 

TF 41,670
 

PG 41,670
 
198 Museum 

Harvard University 

Cambridge, Massachusetts 

Huntington Galleries 

Huntington, West Virginia 

Maryland Historical Society

Baltimore, Maryland 

Mount Holyoke College

South Hadley, Massachusetts 

Museum of Fine Arts 

Boston, Massachusetts 

Museum of Modern Art 

New York, New York 

Nevada Art Gallery 

Reno, Nevada 

Old Dartmouth Historical Society 

New Bedford, Massachusetts 

Philadelphia Museum of Art

Philadelphia, Pennsylvania 

St. Louis Art Museum 

St. Louis, Missouri 

Washington University 

St. Louis, Missouri 

Wellesley College

Wellesley, Massachusetts 

Services to the Field 

American Law Institute 

Philadelphia, Pennsylvania 

Corcoran Gallery of Art

Washington, D.C. 

Danforth Museum 

Framingham, Massachusetts 

Goshen Heritage Committee 

Torrington, West Virginia 

Museums Collaborative 

New York, New York 

Museums Collaborative 

Ne~v York, New York 

Native American Center for the
 

Living Arts
 

Niagara Falls, New York 

To create a climate controlled storage area for the Semitic Museum 

in a basement room vacated by t]~e Center of International Affairs 

in the Harvard Semitic Museum building. 

To install a fire detection system. 

To apply a sun control film to the interior of the windou,s in the 

Thomas and Hugg Memorial B~dlding of the Museum and 

Library of Maryland to help prevent heat loss. 

To install cli~nate control, lighti~g, and security for the newly 

renovated storage area, and to f~rnish work-study space in the 

Mount Holyoke College Art Museum. 

For the final phase in the installation of a climate control system. 

For the first phase of a three-please plan to make needed improvements in the climate control, security, and storage systems. 

To improve the gallery’s climate control system by purchasing 

humidifiers and installing insulation. 

To extend climate controls into the Hirst Building from a climate 

control system that u~ll be installed in the new library. 

To design and constr~wt an armor and arms st~dy-storage area. 

To install riot glass as a secnrity meas~re in the museum’s west 

n,ing. 

To draft engineering plans with specifications to serve as working 

drawings for the Gallery of Art~ proposed renovation. 

To install a cooling and heating ~tnit for the exhibition and storage areas of the Jeu’ett Arts Center. 

15,790 

TF 7,200
 

PG 7,200
 

3,580 

TF 5,940
 

PG 5,940
 

TF 426,000
 

PG 426,000
 

TF 500,000
 

PG 500,000
 

TF 1,630
 

PG 1,630
 

TF 5,650
 

PG 5,650
 

TF 4,500
 

PG 4,500
 

TF 19,140
 

PG 19,140
 

3,750 

16,390 

To support services to the field such as research, publications (other 

than periodicals), xvorkshops, and seminars provided by museums or

other organizations such as state or regional arts agencies and national or regional museum associations. 

Program funds: $281,081 

For a scholarship program for museum personnel to attend a $28,800

tl~ree-day course on legal problems of m~seum administration. 

For a one-day seminar on muse~m exhibitions. 11,211 

For emergency repairs due to a fire in May 1980. 7,500 

For a project to remo~,e four IVPA sponsored murals by E. E. 5,000

Stevens from a school sc~eduled for demolition, pro~,ide them with 

conservation treatme~d, and install them i~ a new school b~dlding. 

29,730 For the Collaborative~ museum management training prog~-am 

and the publication of tu,o case studies based on past participant 

projects. 

28,370 For a fo~r-day national publications management symposium 

providing intensive exposure to the desig~, production, marketing, and evaluation aspects of mnsenm publications. 

To evaluate the impact of tbe American Indian Religions F’reedo~n 15,000

Act on mnseums and to develop several model approacl~es to the 

cooperative use of religious objects. 
Museum 199 

New England Document Conservation 

Center 

Andover, Massachusetts 

New York State Office of Parks and 

Recreation 

Albany, New York 

New York University 

New York, New York 

Opportunity Resources for the Arts 

New York, New York 

Roberson Center for the Arts and 

Sciences 

Binghamton, New York 

Seattle Art Museum 

Seattle, Washington 

Western Association of Art Museums 

San Francisco, California 

Western Association of Art Museums 

San Francisco, California 

Western Association of Art Museums 

San Francisco, California 

* PG - Program Funds; TF - Treasury Funds 

For workshops on conservation of photographic materials for 10,000
 

curators and consermtors.
 

For a seminar for the Office’s professional staff on the identifica- 2,630
 

tion and description of stylistic characteristics, types of wood,
 

and construction details of furniture made in North America
 

between 1720 and 1850.
 

For the publication of Art and Archaeology Technical Abstracts 20,000 

for the Institute of Fine Arts. 

For the Opportunity Resources’ Museum Program. 17,000 

Emergency funding to assist the Center in repairing electrical 5,000 

equipment damaged by fire. 

Emergency funding to prepare the museum for any future prob- 2,500 

lems associated with eruptions of Mount St. Helens. 

For the Museum Management Institute’s four-week course in 73,180 

management theory and business practice. 

For a visiting specialists program consisting of 20 specialists’ 14,240 

visits to small and medium-sized art institutions in the western 

states. 

To support a seminar for association members to explore, with the 10,920 

Museum Program’s Policy Panel, the process and policies of 

federal grant writing. 

201 

Music
 

The new Grove’s Dictionary of Music weighs 90 

pounds and comes in 20 volumes; music has a 

long history. Although the Endowment’s contribution to that history began a mere 15 years ago, 

we too fit into the historical perspective. We are 

patrons. 

Individual patrons--the Esterhazys, the Brandenburgs, the Popes, and in our own time the 

Koussevitskys, the Coolidges, the Carnegies-­

have died out. What has taken their place, in 

America, are the foundations and, now, the 

National Endowment for the Arts. 

State patronage of the arts is new to America 

but familiar to Europe. The Paris Opera, for 

example, is totally state-supported (at a figure 

that exceeds the Endowment’s funding for all 

the arts in America). In contrast, except in the 

rarest cases, the Music Program supplies no 

more than 10 percent of any institution’s budget. 

Given the nation’s traditions and philosophy, the 

Endowment will play, always, only a modest 

financial role in the arts, but giving money is 

just the beginning of our responsibilities as 

patrons. 

Although many people assume that all we do 

in the Music Program is hand out money or not 

hand out money--and it’s true we do that--we 

also see our task as giving direction, as 

counseling, as helping to structure the field so 

that music is better served. 

This year, for example, the Music Program has 

set in motion four brand-new areas of support, 

and beyond that we have changed and enlarged 

the direction of all our other areas of support. 

The Composers’ Program is a case in point. 

Because more and more groups of musicians 

wanted the excitement of playing music written 

especially for them by composers they admire, 

the Music Program developed a new category of 

funding. If three or more string quartets, say, 

want to commission new works, they come 

together, prepare a joint application, and 

present it to our Composers’ Panel. If the panel 

likes what it sees--it judges on the quality of the 

consortium members and the composers they 

select to ~vrite for them--the application is 

funded. The composers are commissioned and 

they go about writing their works for the three 

quartets. The obligation of the quartets--or 

whatever performing groups comprise the 

consortium--is to perform each of the works at 

least twice. 

Although the money we supply is immensely 

important here, perhaps our greater function is 

to act as catalyst between music groups and 

composers. By encouraging a splendid idea, we 

help add to the body of contemporary music and, 

in the process, make more contemporary music 

available to audiences. 

In the same way, the four areas of support 

added this year in response to demands from the 

field--professional training, solo recitalists, recordings of American music, and music festivals-­

also have importance beyond the funds supplied. 

In writing guidelines for the festivals category, 

for example, our policy panel saw a way not 

merely to support music festivals but to enrich 

the lives of the people who attend them and to 

create both new audiences for music and new 

opportunities for musicians. 

Through careful structuring of the guidelines, 

the Music Program encourages festivals in areas 

that have little otherwise going on in music. It 

can encourage the programming to be open, 

imaginative, and exploratory. Does the festival 

include, in addition to the beloved standbys, 

chamber music, interesting jazz, new American 

music? Does it provide activities to increase the 

audience’s ability to understand and appreciate 

unfamiliar music? Does it reach out to new 

audiences, to people who are not already part of 

the cultural circuit? 

To be a patron like Count Brandenburg and 

receive the dedication of five concertos is one 

thing--and a great thing: We have been getting 

nourishment from those concertos for four 

centuries now. But shaping the field and 

building new audiences is no mean objective 

either. The more numerous and receptive the 

audiences, the more opportunities for all our 

wonderful musicians. 

Musicians are the keystone. We are engaged-­
202 Music 

Series I - FEI{DEN Series II - AMRAM 
Music 203 

not just in 1980 but always--in assisting creative 

and performing musicians of exceptional talent. 

But to do so means concerning ourselves with the 

field of music as a ~vhole--the artists who 

perform music and the artists who compose it; 

the audiences who listen to it and the institutions 

that bring them all together. 

If because of our concern, jazz can establish 

itself for what it is--a major American art 

form--we are doing something that money alone 

cannot do. If with our help and encouragement 

larger audiences attend concerts and eagerly 

purchase recordings of lesser known soloists, 

electronic music, new jazz, choral works, then 

our contribution to the world of music will be far 

greater than the sums of money we have to offer. 

Critics of the Endowment say that market 

value should determine which artists and art 

forms survive and which do not. It is totally 

untrue. They’re equating goodness with marketability. They’re wrong. The Endowment’s role-­

the Music Program’s role--is to see to it that 

what is good survives in a consumer-oriented, 

competitive, throw-away society. The arts need 

financial support, certainly. More and more of it. 

But they also need protection and help. Tender 

Loving Care. We provide that not by acting like 

a Ministry of Music, which dictates what shall be 

played or composed, but by responding to the 

music that is happening in the country. We don’t 

create series, we don’t create music ensembles; 

we respond--with regrettably minimal funds 

but with maximum encouragement--to those 

that exist, to the extent that the quality of their 

activities warrants our support. 

In the process, through the guidance and 

counsel of our panels, we encourage existent 

groups to improve an already fine thing, an 

already aesthetically valuable activity. 

The point is that we are patrons of music not 

because we’re doctrinaire and have a line to sell, 

and not because we ~vant to improve our image. 

Our support of music comes from a desire to see 

to it that music survives. I wouldn’t be here if I 

didn’t believe what I’m saying. 

Ezra Laderman ANNE BOWMAN Director, Music Program GRADE 4 AMBERLY ELEMENTARY SCHOOL 
204 Music 

Music Advisory Panel
 

Policy Panel 

Albert K. Webster, Co-Chairman

Symphony orchestra managing 

director 

New York, New York 

Leonard Nelson, Co-Chairman 

Attorney 

Portland, Maine 

Betty Allen

Mezzo-soprano 

New York, New York 

James Barnett 

Arts patron

Atlanta, Georgia 

Jacob Druckman 

Composer, educator

Brooklyn, New Ycrk 

Victor Fuenteaiba 

Labor union official 

New York, New York 

Elliott Galkin 

Educator 

Baltimore, Maryland 

John Goberman 

Media director, 

performing arts center 

New York, New York 

Gordon Hardy 

Music festival executive 

Aspen, Colorado 

Margaret Hillis 

Symphony orchestra choral director 

Wilmette, Illinois 

James Jordan 

Arts administrator 

New York, New York 

Vera Brodsky Lawrence 

Music historian 

New York, New York 

Robert Mann 

Violinist, composer, conductor, 

teacher 

New York, New York 

Thomas Morris 

Symphony orchestra manger 

Boston, Massachusetts 

Ursula Oppens 

Pianist 

New York, New York 

Robert Page 

Symphony orchestra choral director,

educator 

Pittsburgh, Pennsylvania 

Milton Salkind 

Educator 

San Francisco, California 

Hale Smith 

Composer, educator 

Freeport, New York 

Stephen Thomas 

Arts patron

Great Falls, Virginia 

Chamber Music 

Robert Mann, Chairman 

Violinist, composer, conductor, 

teacher 

New York, New York 

Thomas Wolf, Vice-Chairman 

Arts administrator 

Cambridge, Massachusetts 

Samuel Baron 

Flutest, composer, conductor 

Great Neck, New York 

Jerome Bunke 

Clarinetists, concert artists’ manager 

New York, New York 

Robert Jones 

Union official 

Portland, Oregon 

Peter Marsh 

Violinist, arts administrator

Binghamton, New York 

Yoko Matsuda 

Violinist 

Newhall, California 

Joanne Rile 

Artists’ manager 

Philadelphia, Pennsylvania 

Lucy Shelton 

Soprano 

New York, New York 

Marcus Thompson 

Violist, educator 

Boston, Massachusetts 

Chorus 

Margaret Hillis, Co-Chairman

Symphony orchestra choral 

director 

Wilmette, Illinois 

Robert Page, Co-Chairman 

Symphony orchestra choral 

director, educator 

Pittsburgh, Pennsylvania 

Betty Baisch 

Choral association director, union 

official 

Yonkers, New York 

Elaine Brown 

Choral director, educator 

Philadelphia, Pennsylvania 

Robert De Cormier 

Choral director 

Belmont, Vermont 

Thomas Dunn 

Choral director 

Boston, Massachusetts 

Margaret Hawkins 

Choral director, educator 

Milwaukee, Wisconsin 

Morris Hayes 

Choral director, educator 

Eau Claire, Wisconsin 

Joseph Liebling 

Choral director 

Oakland, California 

Albert J. Morales-McNeil 

Choral director, educator 

tlermosa Beach, California 

Roger Wagner 

Choral director 

Los Angeles, California 

Wendell Whalum 

Choral director, educator 

Atlanta, Georgia 

Richard Westenburg 

Choral director, educator 

New York, New York 

Composers 

Jacob Druckman, Co-Chairman 

Composer, educator 

Brooklyn, New York 

IIale Smith, Co-Charirman 

Composer, educator 

Freeport, New York 

Leslie Bassett 

Composer, educator

Ann Arbor, Michigan 

Jack Bceson 

Composer, educator 

New York, New York 

tlector Campos-Parsi 

Composer, arts administrator 

San Juan, Puerto Rico 

Joe Darion 

Librettist, author 

Lyme, New Hampshire 

Charles Dodge

Composer, educator 

Brooklyn, New York 
Sheldon Harnick 

Lyricist, librettist 

New York, New York 

Karel Husa 

Composer, conductor, educator 

Ithaca, Ne~v York 

Leon Kirchner 

Composer, educator 

Boston, Massachusetts 

Barbara Kolb 

Composer, educator 

Philadelphia, Pennsylvania 

Tania Leon 

Composer, conductor 

New York, New York 

Shulamit Ran 

Composer, educator 

Chicago, Illinois 

Morton Subotnick 

Composer, educator 

Valencia, California 

Joan Tower 

Composer, educator 

New York, New York 

Hugo Weisgall 

Composer, educator 

Great Neck, New York 

Jazz 

James Jordan, Chairman 

Arts administrator 

New York, New York 

Richard Muhal Abrams 

Musician, composer, historian 

New York, New York 

S. David Bailey 

Jazz artist, arts administrator 

White Plains, New York 

Richard Davis 

Jazz artist, educator 

Madison, Wisconsin 

Julian Euell 

Government official 

Washington, D.C. 

Michael Grofsorean 

Jazz concert presenter, radio 

programmer

Ann Arbor. Michigan 

Gildo Mahones 

Pianist, composer 

Los Angeles, California 

Jackie McLean 

Educator, saxophonist 

Hartford, Connecticut 

Monk Montgomery 

Jazz artist
 

Las Vegas, Nevada
 

Benny Powell 

Musician, lecturer 

Los Angeles, California 

Vi Redd 

Musician, educator

Inglewood, California 

Leo Smith 

Instrumentalist 

West Haven, Connecticut 

Patrieia Willard 

Writer, historian

Los Angeles, California 

Vishnu Wood 

Bassist, educator 

New York, New York 

New Music Performance 

Ursula Oppens, Chairman 

Pianist 

New York, New York 

Neva Pilgrim, Vice-Chairman 

Soprano 

Syracuse, New York 

Elizabeth Larsen 

Composer, artistic director 

St. Paul, Minnesota 

Carman Moore 

Composer, critic 

New York, New York 

Juan Orrego-Salas 

Composer, educator 

Bloomington, Indiana 

Ross Powell 

Musician, lecturer 

LOs Angeles, California 

Steve Reich 

Composer, ensemble director 

New York, New York 

Dorrance Stalvey 

Composer, concert director

LOs Angeles, California 

Joel Thome 

Composer, conductor 

Bronx, New York 

Music 205 

Bertram Turetzky 

Performer, author, composer 

Del Mar, California 

Orchestra 

Thomas Morris, Chairman 

Symphony orchestra manager 

Boston, Massachusetts 

Henry Lewis, Vice-Chairman 

Conductor 

New York, New York 

Theo Alcantara 

Symphony orchestra musical director 

Phoenix, Arizona 

Karen Dobbs 

Symphony orchestra manager 

Charlotte, North Carolina 

Ernest Fleischmann 

Symphony orchestra executive 

director 

LOs Angeles, California 

Thomas Gerdom 

Chamber orchestra managing director 

St. Paul, Minnesota 

Oleg Lobanov 

Symphony orchestra managing 

director 

Washington, D.C. 

John Nelson 

Symphony orchestra music director 

Indianapolis, Indiana 

Judy Rapanos

Symphony orchestra board member 

Midland, Michigan 

Henry Shaxv 

Editor, violinist 

Cincinnati, Ohio 

Leonard Slatkin 

Symphony orchestra music director 

St. Louis, Missouri 

Yoshimi Takeda 

Symphony orchestra music director 

Albuquerque, New Mexico 

Beatrice Vradenburg

Symphony orchestra manager 

Colorado Springs, Colorado 
206 Music 

Music Grants Program funds: $6,584,500 Treasury funds: $6,987,800 

Career Development 

General Grants 

Affiliate Artists 

New York, New York 

Affiliate Artists 

Ne~v York, New York 

Concert Artists’ Guild 

New York, New York 

Marlboro School of Music 

Marlboro, Vermont 

Training Grants 

Boston Symphony Orchestra 

Boston, Massachusetts 

Los Angeles Philharmonic Association 

Los Angeles, California 

MCA Educational Activities 

Rockville, Maryland 

Music Associates of Aspen 

Aspen, Colorado 

National Guild of Community Schools 

of the Arts 

Nexv York, New York 

New York Community Trust, Music 

Assistance Fund of the 

New York, New York 

Private gifts: $6,987,800 

Includes three subcategories: General Grants assist organizations 

that provide career development and performance opportunities for 

young artists. Training Grants assist musical organizations that 

provide training opportunities in music. Schools of Music Grants are 

for scholarship aid, development activities, and master teacher residencies for eligible music school. 

Program funds: $222,500 

Treasury funds: $742,500 

Private gifts: $742,500 

For the Exxon/Arts Endowment Conductors’ Program during 

the 1979-80 season. 

For 38 Affiliate Artists appoSttme~ts which place gom~g professional performing artists in commmdties throughout the 

U~dted States. 

I%r a program to f!~rther the career decelopment of outstandit~g 

musicians which prorides additional performance opportnt~ities 

and exposure for artists after their debut co~werts. 

To prm’ide postgraduate trai~tittg a~td performing e.rperie~tce 

through scholarships and fellowships to ~.toung professimml 

a rtists. 

For the Berkshire Music Ce~tcr at Tanglewood, which prorides 

opportunities for talented i~strumentalists, cocalists, conductors, 

a~d composers to work, study, a~d perform under the guidance of 

a faculty of disti~guished professio~tal musician,s. 

For the Orchestral Traini~tg Program for minority stude~ts, in 

which gifted instrnmentalists front rarious minorit!! commnnities i~t Los Angeles are selected to study with members of tire Los 

Angeles Philharmonic. 

For administrative actieities of the natio~tal office of the Music 

Critics’Association, plan ning a~M operatim~ of the Music Critics’ 

Institutes, publication and distribution of a ~ewsletter, and decelopme~t of a series of ~v.qimml a~M ,state institutes a~d conferences. 

For ongoi~tg programs of the Aspe~ Music Festical, including the 

Festieal Orchestra, the Aspen Chamber S!tmpho~.q, the Contentporar!! Music Program, amt the Trai~d~tg Program for Yom~g 

Cmtductors. 

To ea’pa~d the Guild’s membership a~td to imprm’e membership 

actirities of the organization. 

For the Orchestral Fellowship Proqram, which places exceptionallg talented ~ton-white musiciams with participating orchestras 

for o~e year to h’arn the repertoire and to gain pe~forma~me 

experience. 

TF $95,000
 

PG 95,000
 

TF 125,000
 

PG 125,000
 

10,000 

40,000 

TF $100,000 

PG 100,000 

27,500 

30, 000 

50,000 

TF 50,000 

PG 50,000 

15,000 

35,000 
Music 207 

Schools of Music 

TF $7,500 Berklee College of Music	 For the Development Office to increase fund-raising activities 

with alumni and the private sector. PG 7,500 Boston, Massachusetts 

TF 40,000 Cleveland Institute of Music For the scholarship aid program, the development program, PG 4O,000 Cleveland, Ohio u,hich emphasizes a capital campaign for endownment funds,

and master teacher residences. 

15,000 Congress of Strings Scholarship Fund	 For guest conductors, soloists, music directors, and faculty fees 

New York, New York associated with the 1980 Congress of Strings program, which

provides intensive training for 120 young string players at the 

University of Cincinnati and the University of Washington. 

TF 55,000 Juilliard School	 For the scholarship aid program which provides full and partial PG 55,000 New York, New York scholarships and fellowships.

TF 40,000 Manhattan School of Music For the scholarship aid program which provides financial assist- PG 40,000 New York, New York ance to students who are pursuing advanced training in music.

Mannes College of Music	 TF 30,000 For the scholarship aid program which provides financial assist- PG 30,000 New York, New York ance to students in all major areas of study.

TF 45, 000 New England Conservatory of Music	 For the scholarship aid program and fora development campaign PG 45,000 Boston, Massachusetts
 to begin a deferred giving program.

TF 30,000
 New School of Music For the Orchestra Training-Teaching Program, which provides
 

Philadelphia, Pennsylvania fellowships for instrumentalists who receive training and then PG 30,000
 

teach disadvantaged young students.
 

TF 40,000 Peabody Institute of	 For scholarships and fellowships to be awarded to uudergrad~ate
 

and graduate students, and for the Development Office to increase
 PG 40,000 the Johns Hopkins University

Baltimore, Maryland	 grant funds and contributions. 

TF 25,000 Philadelphia College of	 For 117full and partial scholarships to undergraduate students PG 25,000 the Performing Arts	 for the 1980-81 school year. 

Philadelphia, Pennsylvania
 

TF 40,000
 San Francisco Conservatory of Music	 For the preparatory and collegiate scholarship programs and the PG 40,000 development program. San Francisco, California 

TF 20,000 Wisconsin Conservatory of Music	 For the scholarship aid program which provides scholarship PG 20,000 Milwaukee, Wisconsin funds for talented and disad~,antaged students, and for the

development program. 

Includes five subcategories: I: Composers Fellowships provide for Composers the creation or completion of musical works or for research related to 

creative activity. II: Collaborations Fellowships enable composers to

collaborate with librettists, video artists, filmmakers, poets, or choreographers for the creation or completion of collaborative works. 

III: Career Advancement Fellowships help composers and librettists 

further their careers. IV: Services to Composers grants are awarded 

to organizations for projects that serve composers on a national or

regional basis. V: Centers for New Music Resources are grants

awarded to innovative music facilities, including electronic music 

studios and computer centers in order to encourage collaboration 

between composers and other creative artists. 

For budgetary reasons, all fiscal 1980 fellowships in Categories I-III

will be awarded during fiscal 1981. Names of the recipients will be 

listed in Annual Report 1981. 

Program funds: $182,711 Treasury funds: $ 68,000 

Private gifts: $ 68,000 
208 Music 

Services to Composers 

American Music Center For the ~dmi~dstration of the collection of works resulti~q fl’om 

Ne~v York, New York the E~Mowme~tt’s Compo.~er/Librettist Progmlm. 

Centers for New Music Resources 

American Music Center 

New York, New York 

American Music Center 

New York, New York 

American Society of University 

Composers 

New York, New York 

and/or service

Seattle, Washington 

Brooklyn College 

New York, New York 

California, University of 

La Jolla, California 

California, University of

San Diego, California 

Canyon Foundation 

Santa Fe, New Mexico 

Cincinnati, University of 

Cincinnati, Ohio 

Colgate University 

New York, New York 

Columhia University 

New York, New York 

Dartmouth College 

Hanover, New Hampshire 

Lexvis and Clark College 

Portland, Oregon 

Massachusetts Institute of Technology 

Cambridge, Massachusetts 

Massachusetts Institute of Technology

Cambridge, Massachusetts 

Michigan, University of

Ann Arbor, Michigan 

Mills College 

Oakland, California 

Minnesota Composer’s Forum

Minneapolis, Minnesota 

North Texas State University 

Denton, Texas 

For a lending library of contcmporar!! music t~nd rqferencc 

services, an o.ffice in Los Angeles, amt the publication of the third 

rolume of AMC Lihr~r!! Catalogue: Orchestral Music. 

For the Center’s ~ulmi~dstrtttion of the collection of works resulting from the Composers’ Program. 

To hire a part-time admSdstralire assistant. 

For mlministratimt (~nd m(~i~tte~lon(’e, ~uM fim the p.rch~tse 

Serge modular synthesizer for the Electronic Music Studio, 

resource for northwest composer,~. 

To extend the serrices of the Elech’o.ic M.sic Stmlio ~ml Center 

for Computer Music to composers o.tsMe the City U~ticersit!! o.f 

New York. 

For salaries for specialized tech~lical staff. (~,d for mai~temmce 

o.f the computer and m.lio systems .for lit(. C(’,t(’r for M, sic 

E.rperime>tt. 

For the purchase qf ~t computer system for the C(’M(’r f!~r M, sic 

E.cperiment. 

For the e.rpansio, of the electromc music fiwility. 

For the 16th <~nm.tl Natiomd Cotd’erence of the Amt’ricmt Socictg of U~iversit!l Compo.~ers t~t the Unirersitg o.f Cim’innati. 

For the visiti~tg composer program at the Computer 3[l~sic Stml io 

aml to lmrchase cq.ipment for the stmlio. 

To <rlmnd the prescott c(umbilitivs o.f the Col.mbia-tb’im’etoa 

Eh’ctronic Music Center. 

For a cisitb~g composer progmtm at lhc Br(’gm~n I~lectro,ic 

Music St,dio. 

For administrative costs aml lo tmrclm.~e eq,ipment tim the 

Ce~ter for EIcctrmdc M,sic. 

For composers’ workshops ~tt the £’.vpcrime,t<d M, sic Stmlio. 

For the colu’ersiott of the prese,t comtmter s!tst(’m to tl more 

sophist ic<t ted digita I process .for lh e E.rlw ri,lc~t ta I Mu sic St u d io. 

l~or mlministralttive costs ttnd to purchttsc equipment.for comtmterized soumt gcm’ration amt co.trol to compleme.t tit(’ e.risti.g mmlog fiwilib.t at the Eh’ctromc Mttsic Stmtio. 

To Imrch~tse equipme~tt to c.rp(tml lhe Center for Contempor~r!t 

Mus’ic~ c~tmbilities, .for st¢Lff s~d~ries, workshop.~, on recordi,q 

stmlio techniques, ~tmt tmblic¢~tio, o.f ~ brochlo’e o,tlini,g the 

serrices ~m! improremc,ts ~t thv fiwilit!l. 

For (utm inistralire costs (tml the printim.l qf a .ewsh’tter serrim.I 

composer.s, i~ the midwest. 

To esO~blish six reside.t f!,lhm,sh ips.for risiti.g composers (~t the 

Electronic M.sic 

$22,711 

$20,155 

19,000 

4,050 

3,000 

13,000 

11,000 

TF 50,000 

PG 50,000 

2,500 

4,500 

8,750 

5,000 

6,000 

2,500 

TF 18,000 

PG 18,000 

10,000 

12,000 

9,500 

3,830 

2,500 
Pittsburgh, University of

Pittsburgh, Pennsylvania 

Queens College 

Flushing, New York 

Stanford University 

Stanford, California 

Chamber Music 

Ensembles and 

Presenting Organizations 

Aeolian Chamber Players 

New York, New York 

Affiliated State Arts Agencies of the 

Upper Midwest 

Minneapolis, Minnesota 

Alaska, University of 

Juneau, Alaska 

Alternative Center for International 

Arts 

New York, New York 

Amherst College, Trustees of

Washington, D.C. 

Ars Musica 

Ann Arbor, Michigan 

Artists for Environment Foundation 

Walpack, New Jersey 

Arts Alaska 

Anchorage, Alaska 

Arvada Center for the Arts and 

Humanities 

Arvada, Colorado 

Atlanta Chamber Players 

Decatur, Georgia 

Atlantic Performing Arts Center

Wenonah, New Jersey 

Austin Symphony Orchestra Society 

Austin. Texas 

Music 209 

To upgrade the present system of control-signal processing by 5,000 

computer and to add audio u,aveform processing by computer for 

the Computer and Electrouic Music Studio. 

For the 1980-81 International Computer Music Conference at 

Qneens College. 

5,400 

To purchase equipment to upgrade the digital synthesizer at the 12,315 

Center for Computer Researeh in Music and Acou~vtics. 

Includes two subcategories: Ensembles and Presenting Organizations are provided support in order to improve the quality of chamber 

music performances and to make the art form widely available.

Services to Chamber Music are grants awarded to organizations for 

projects that serve professional chamber music ensembles on a 

national or regional basis. 

Program funds: $157,200 

Treasury funds: $194,000 

Private gifts: $194,000 

During fiscal 1980 the Ford Foundation provided $150,000 as a 

direct gift to the Endowment to assist the funding of chamber music 

groups. To facilitate bookkeeping procedures, this money was 

awarded as "Private Gifts", which then released the same amount 

in Treasury Funds. Other chamber music organizations listed, but 

not funded in this manner, received program funds. 

For the 1980.81 touring program of mini-residencies and TF $3,250 

concerts. PG 3,250 

TF 2,000 

Ensemble during the 1980-81 season. PG 2,000 For a two-u’eek tour of the upper Midwest by the Chicago Brass 

For the four-day String Chamber Music Symposium, involving TF 4,500 

the Philadelphia St~ng Quartet. PG 4,500 

TF 1,750 

music from other cultures, including North India, South India, PG 1,750 

Japan, and Latin America. 

For the 1980-81 series of concerts of A mericau m usic and chamber 

For musicians’ rehearsal fees and guest artists’ per diem fin" the 6, 750 

1980-81 seasou of the Folger Consort. 

For increased musicians’fees for the members of the ensemble and 7,500

other expenses of the 1980-81 concert series. 

For concerts by the Brewer Ensemble during the 1980-81 season.	 TF 1,500 

PG 1,500 

For a four-week tour of rural Alaska by Soni Ventorum, a wood- TF 5,000 

wind quiulet based iu Seattle. PG 5,000 

For a series of faur chamber music concerts during the 1980-81 TF 2,250 

seasou. PG 2.250 

For concerts and workshops dnring the 1980-81 season.	 4,000 

For concerts and residencies by the Kapelle iVoodwind Trio TF 1,250 

during the 1980-81 seasou. PG 1,250 

To present local chamber ensembles during the 1980-81 season.	 TF 1,000 

PG 1,000 
Boehm Quintette 

New York, New York 

Boston Camerata 

Boston, Massachusetts 

Brooklyn Academy of Music 

Brooklyn, New York 

Candlelight Concert Society

Columbia, Maryland 

Carlmv College 

Pittsburgh, Pennsylvania 

Center for Chamber Music at 

Apple Hill Farm 

East Sullivan, New Hampshire 

Center for the Performing Arts at

Yelloxv Springs 

Chester Springs, Pennsylvania 

Chamber Music Society of Lincoln 

Center 

New York, New York 

Chamber Music Society of Salt Lake 

City

Salt Lake City, Utah 

Concert Royal 

New York, New York 

Concerted Effort 

Albany, New York 

Connoisseur Concerts Association 

Spokane, Washington 

Da Capo Chamber Players 

Ne~v York, New York 

Dorian Woodxvind Quintet Foundation 

Nexv York, New York 

Early Music Foundation 

New York, New York 

Fine Arts Music Foundation of 

Chicago 

NorthfieId, Illinois 

Group for Contemporary Music 

New York, New York 

Guild of Composers 

New York, New York 

Hartt College of Music 

West Hartford, Connecticut 

Islip Arts Council

Islip, Nexv York 

Kronos Performing Arts Association 

Oakland, California 

La Jolla Chamber Music Society 

La Jolla, California 

La Jolla Chamber Music Society 

La Jolla, California 

i;’or the 1980-8l eom’ert seamm, ;ncl.di~g a to~r to the .llidwest. 

For musicians’fees for the 1980-,ql .season which includes coneerts in the Boston area, in New }:%rk City, and in other out-oftown location,s. 

For the 1980-81 c/lamber music series. 

For the 1980-81 chamber music series. 

For the 1980-81 performance sea.~on of the Renaissance City 

Woodwind Quintet. 

For the 1980-8l co~certs aml workshop,~ by the Apple Hill 

Chamber Players in the New Englamt states. 

To present the Philadelphia Trto in six com’erts, each of which is 

preceded by an audience workshop, during the 1980-81 seasom 

For additional rehearsal time to prepore new works and for a 

~tew cocal chamber music series. 

For chamber music presentatimm duri~g the 1980-81 season!. 

For additional rehearsal time. 

For the 1980-81 series of fl’ee ~wonlime chamber music concerts 

i~ Albang, Schenectady, and T~oy. 

For performances by the Petite Ba~td, a local chamber ensemble, 

as part of lhe Association’s 1!)80-81 concert series. 

For concerts, workshops, and mini-residencies duri~tg a tour of 

sereral states amt symposia o~t 20th-ce~dury re.sic. 

For a tour by the Dorian Wind Qu inter that inclmtes concerts a~d 

master classes. 

For concerts in Washington, D.C., by the Ensemble for Early 

Music. 

For three chamber music work.4~ops im’olcing pricate eoachim.l, 

master class demonstratiom~, aml performances hy the Fine Arts 

Quartet. 

For reside~wies by the Columbia StrS~g Q.artet d.ring the 

1980-81 season, to include u’orkshop,~’, h’et~o’e-demonstratio~s, 

and master classes in to.junction with performances. 

For the 1980-81 season of pefforma~wes bq the E~tsemble qf the 

Guild of Composers, the Guild of Comtmsers’ Stri~tg Quartet, 

aml the Immanuel Wimt Quintet. 

For musicians’ fees for a reside~wy by the Emerson String 

Quartet at Harlt College and seceral other loealimm throughout 

Connecticut. 

For a fl’ee chamber music serie.~" at the Islip Art Gallery amt the 

Bayard Cutting Arhoretum. 

For a residency bg the Krmws Quartet at Mills College that 

includes concerts, workshops, readi~gs, open rehearsals, a~d a 

childre~’s outreach program. 

For the 1980-81 cotwerts amt h’eture-demmmtratio~ts of the 

Amade Trio. 

For a tmo" qf the Sm#h.’est hy the New 1%r]; Stri~tg Quartet that 

i~wludes cmwerts, workshop.~, and leer.re-demonstrations. 

TF 3,000
 

PG 3,000
 

5, 000 

TF 3,500 

PG 3,500 

TF 750 

PG 750 

TF 1,000 

PG 1,000 

TF 2,500 

PG 2.500 

2, 000 

TF 3,750 

PG 3,750 

TF 1,500 

PG 1,500 

TF 1,500 

PG 1,500 

2,000 

TF 1,500 

PG 1,500 

12,150 

TF 5,000 

PG 5,000 

TF 1,000 

PG 1,000 

TF 1,500 

PG 1,500 

9,000 

TF 1,000 

PG 1,000 

TF 1,000 

PG 1,000 

TF 1,250 

PG 1,250 

TF 7,500 PG 7,500 

TF 2,500 

PG 2,500 

TF 4,000 

PG 4,000 
L’Ensemble du Musique

Cambridge, New York 

Long Island Chamber Ensemble 

North Massapequa, New York 

Mohaxvk Trail Concerts 

Charlemont, Massachusetts 

Mostly Music 

Chicago, Illinois 

MSQ Enterprises 

Mt. Kisco, New York 

Music from Japan 

New York, New York 

Naumburg (Walter W.) Foundation 

New York, Ne~v York 

Naumburg (Walter W.) Foundation 

New York, New York 

New England Foundation for the Arts 

Cambridge, Massachusetts 

New York Consort of Viols 

New York, New York 

New York Kammermusiker 

Ne~v York, New York 

New York Philomusica 

New York, New York 

92nd Street YM-YWHA 

New York, New York 

North Carolina School of the Arts
 

Foundation
 

Winston-Salem, North Carolina 

Ojai Festival
 

Ojai, California
 

Orpheus Chamber Ensemble 

New York, New York 

Renaissance Band Calliope 

New York, New York 

St. Luke’s Chamber Ensemble 

New York, New York 

Santa Fe Chamber Music Festival 

Santa Fe, New Mexico 

Sarah Lawrence College 

Bronxville, New York 

Sea Cliff Chamber Players 

New York, New York 

Si-Yo Music Society Foundation 

New York, New York 

Society for Chamber Music in
 

Rochester
 

Rochester, New York 

Southern Arts Federation
 

Atlanta, Georgia
 

For increased rehearsal time for L’Ensemble. 

For the 1980-81 season of concerts on Long Island and in New 

York City, including guest composers-in-residence. 

For the 1980-81 concert tour by the ensemble of Mohawk Trail 

Concerts in western Massachusetts. 

For lunchtime chamber music concerts in Chicago’s business 

district and for chamber music concerts at National College. 

For increased rehearsal time and for a tour in New York and 

Connecticnt by the Manhattan String Quartet, to include performances, workshops, master classes for young chamber 

music students, and premieres of works written for the quartet. 

To present contemporary Japanese and American works. 

For an appearance in Alice Tully Hall by the chamber ensemble 

that receives the annnal Naumburg Chamber Music Award. 

For musicians’fees for the 1980-81 tour of the Primavera String 

Quartet. 

For the 1980-81 touring program of 29 classical and contemporary music ensembles throughout New England. 

For rehearsal costs for the presentation of Renaissance music in 

elementary schools, colleges, adult education centers, and other 

performance settings. 

For a residency in Monmouth County, New Jersey, including 

concerts, school appearances, and performances for senior 

citizens. 

For the second year of the Philomusica’s residenc~j in Albany, 

sponsored by the State University of New York. 

For the 1980-81 series of chamber music, including "Chamber 

Music at the Y." 

For residencies by the Clarion Wind @dntet at Washington and 

Lee University, Su’eetbriar College, and Davidson College. 

For performances of contemporary chamber music during the 

May 1981 Ojai Festival. 

For the ensemble’s participation iu the Spring 1981 Palm Beach 

Festival in Florida. 

For tour-residencies in locations thronghout the United States. 

For increased rehearsal time and the rental of a rehearsal 

facility to prepare for the 1980-81 season at Alice Tully Hall. 

For the 1980 American Composer Program. 

For concerts by the Laurentian Cha~nber Players at the Paramns 

Mall Shopping Center in New Jersey. 

For outreach concerts to inner-city audiences, senior citizens, and 

school children, and to hire extra musicians. 

For the 1979-80 series of chamber mnsic concerts. 

For musicians’ fees for a three-u’eek residency by the Concert 

Royal Baroque Ensemble at the third Baroqne Festival in May 

1981. 

For tours in the Southeast by the Blair String @~artet and the 

Atlanta Chamber Players. 

Music 211 

TF 1,500
 

PG 1,500
 

TF 2,500
 

PG 2,5OO
 

TF 2,500
 

PG 2,500
 

TF 2,5OO


PG 2,500
 

10,000 

TF 1,500
 

PG 1,500
 

TF 4,250
 

PG 4,250
 

TF 4,0OO
 

PG 4,000
 

20,000 

TF 750
 

PG 750
 

TF 1,500
 

PG 1,500
 

TF 4,25O
 

PG 4,250
 

7,500 

TF 2,250 

PG 2,25O 

5,200 

TF 3,500 

PG 3,500 

TF 2,000 

PG 2,000 

TF 1,750 

PG 1,750 

7,500 

2,100 

TF 3,750 

PG 3,750 

5,000 

TF 1,750
 

PG 1,750
 

TF 7,500
 

PG 7,5OO
 
212 Music 

Spoleto Festival, U.S.A. 

Charleston, South Carolina 

Spring Wind Quintet 

Honolulu, Hawaii 

Strings for Schools 

Villanova, Pennsylvania 

Texas, University of 

Richardson, Texas 

Theater Chamber Players 

Washington, D.C. 

20th Century Consort

Washington, D.C. 

University Community Concerts 

Silver Spring, Maryland 

Virginia Polytechnic Institute

Blacksburg, Virginia 

Waverly Consort 

New York, New York 

Westchester Chamber Chorus and 

Orchestra Foundation 

New York, New York 

Western States Arts Foundation 

Denver, Colorado 

Wilson (Warren) College 

Swannanoa, North Carolina 

Women’s Interart Center 

New York, New York 

YM and YWHA of Washington

Heights and Inwood 

New York, New York 

Services to Chamber Music 

Chamber Music America 

Nexv York, New York 

Chamber Music America 

New York, New York 

Chamber Music America 

New York, New York 

For chamber music performances at the 1981 Spoleto Festival, 

U.S.A. 

For outreach programs during the 1980-81 sea,son. 

To present string chamber ensembles in schools, institutions for 

the aged or handicapped, and at inner-city locations in southeastern Pem~sylvania. 

For the presentation of the Folger Consort in lecture-recitals, 

n,orkshops, and concerts in the Dallas metropolitan area. 

For the 1980-81 series of concerts in the Kennedy Center~ Terrace 

Theater. 

For the 1980-81 tour by the Emerson String Quartet. 

For m~asicians’ fees for the 1980-81 chamber music concerts as 

part of a children’s ,series, a young artist series, and a series 

presenting major artists. 

For musicians’ fees for a ten-week resideucy by the Audubon 

@tarter. 

For the 1980-81 perfo~gnance season, including concerts in 

several states. 

For "Music with Jens Nggaard," a series of three concerts of 

Chopin’s complete chamber music, at~d for "Lest We Forget,"a 

concert of rarely performed works. 

For tonrs by the Jnbal Trio, the American Quartet, The Gregg 

Smith Singers, and the Dorian Wind Quartet to 40 communities 

within the Foundation’s ten-state region. 

For the 1980 Summer Chamber Music Festival. 

Far the presentation of chamber music h. women composers 

during the 1980-81 season. 

For musicians’fees for the 1980-81 series oJ secen chamber music 

concerts. 

For administrati~,e costs of activities and services to member 

chamber music organizations and indit,iduals during the first 

six months of 1980. 

For services to members, inclnding publication of American 

Ensemble, and for assistance in making joint application,s to 

.~ajor foundatioms dnring 1980-81. 

For a pilot program of technical assista nee for ensembles funded 

by the Paul Foundation Chamber Music Residency Program. 

TF 4,000
 

PG 4,000
 

1,500 

TF 2,500
 

PG 2,500
 

TF 1,000
 

PG 1,000
 

TF 7,50O
 

PG 7,500
 

8,500 

TF 750 

PG 750 

10,000 

TF 5,000
 

PG 5,000
 

3,500 

TF 10,000 

PG 10,000 

3, 000 

TF 2,000 

PG 2,000 

TF 2,25O 

PG 2,250 

$7,000 

20,000 

TF 44,000
 

PG 44,0OO
 

Chorus Includes four subcategories: Professional Choruses that pay all of

their singers receive assistance for rehearsal and concert salaries, 

touring, improved management, or collaboration with other groups.

Other Independent and Orchestra Choruses that pay some or none of 

their singers receive support for salaries for a core of singers; fees for 

so]olsts, guest conductors, and master teachers; improved management; or choral workshops or festivals. College, University, and Conservatory Choruses are awarded grants for unique choral music 
Music 213 

projects that are not a part of the school’s regular curriculum. 

Service Organizations are given assistance to provide services to the 

Professional Choruses 

El Paso Pro Musica 

E1 Paso, Texas 

Gregg Smith Singers 

Great Neck, New York 

Handel and Haydn Society 

Boston, Massachusetts 

I Cantori 

Los Angeles, California 

Kenneth Jexvell Chorale 

West Bloomfield, Michigan 

Los Angeles Master Chorale 

Association 

Los Angeles, California 

Music of the Baroque Concert Series 

Chicago, Illinois 

Musica Sacra 

New York, New York 

Musica Sacra 

New York, New York 

Orpheon 

New York, New York 

Pennsylvania Pro Musica

Philadelphia, Pennsylvania 

Philadelphia Singers 

Philadelphia, Pennsylvania 

field of choral music on a national basis. 

Program funds: $356,825 

For mvsicians’ fees for the 1980-81 season. $1,500 

For masicians’ fees for the 1980-81 season and the last six months 25,000

of the 1979-80 season.
 

For performances by a professional chamber chorus, which will
 20,000 

perform u,ith the larger thorns during its subscription series and 

sing additional concerts. 

For a fnll-time secretary, increased salaries of the two conduc- 4,000 

tors, and singers’ salaries for the 1980-81 season. 

For the salaries of singers during the 1980-81 season. 4,300 

For increased rehearsal time and for 12 commnnity service 20,000 

run-out concerts. 

For salaries of a core chorus for a series of nine concerts in the 8,000

1980-81 season.
 

For a series of choral concerts at Avery Fisher Hall.
 20,000 

For the costs of the second annna! Basically Bach Festiral. 1,500 

For singers’ salaries and to raise the part-time manager to fidl- 5, 000 

time statns. 

For a performance of Handel~ Messiah, inclnding preriews and 1,500 

u,orkshops related to the concert. 

For increased rehearsal time, a salary for the artistic director, 13,000 

and the hiring of a development director and a part-time publicity director. 

Other Independent and Orchestra Choruses 

Baltimore Choral Arts Society 

Baltimore, Maryland 

Baltimore Symphony Orchestra 

Baltimore, Maryland 

Brattleboro Music Center, 

Friends of the 

Brattleboro, Vermont 

Cantata Academy of Metropolitan 

Detroit 

Dearborn, Michigan 

Cecilla ~ociety 

Brookline, Massachusetts 

Choral Arts Society of Washington

Washington, D.C. 

For soloists’fees for the 1980-81 season. $7,400

For costs of master teachers who will give lessons in mnsic theory 3, 75 0 

in addition to voice lessons to a core group of singers from the 

symphony thorns. 

For soloists’fees for the 12th annnal Bach Festival. 7,000 

For singers’ salaries for a concert dnring the 1980-81 season at 2,300

Orchestra Hall. 

For sololsts’fees for a Handel Festlml and to hire a part-time 6,400 

m a n a geY, 

For soloists’fees for the 1980-81 season snbscription series and to 8,000 

expand the Audience and Fund Deeelopment Program by hiring 

additional staff. 
214 Music 

Contra Costa Chorale 

San Francisco, California 

Community Chorus of Westerly

Westerly, Rhode Island 

Community Music Center 

San Francisco, California 

Dale Warland Singers 

St. Paul, Minnesota 

Grand Rapids Symphony Society 

Grand Rapids, Michigan 

Honolulu Symphony Society 

Honolulu, Hawaii 

John Oliver Chorale 

Brookline, Massachusetts 

Louisville Bach Society 

Louisville, Kentucky 

Mendelssohn Choir of Pittsburgh 

Pittsburgh, Pennsylvania 

Metropolitan Singers 

New York, New York 

Miami Choral Society 

Miami, Florida 

Minnesota Chorale 

Minneapolis, Minnesota 

Montana Chorale 

Crest Falls, Montana 

Muse of Eloquence 

New York, New York 

Nashua Symphony Choral Society 

Nashua, New Hampshire 

National Choral Foundation 

Washington, D.C. 

New York Choral Society 

New York, New York 

92nd Street YM-YWHA 

New York, New York 

Oakland Symphony Orchestra 

Association 

Oakland, California 

Orange County Choral Association 

Newport Beach, California 

Oratorio Society of Washington

Washington, D.C. 

Oregon Repertory Singers

Portland, Oregon 

Plymouth Music Series 

Minneapolis, Minnesota 

Pro Arte of Connecticut 

Westport, Connecticut 

To hire an executive director to improre management. 1,500 

For soloists’fees for tke 1980-81 season, to kite a part-time pro- 4,000 

fessional manager, and to improve fund-raising teckniq~ws. 

To increase so!oists’fees for the 1980-81 season and to hire a part- 4,800 

time public relations person for the Community Chorus a~td 

Chamber Chorus. 

For two run-out midu’estern concert tours, including concerts and 10,000 

workshops. 

For a guest conductor’s fee for performa~ces by the Symphonic 4,000 

Choir du~#ng the 1980-81 season. 

For the salaries of a core of singers and a vocal coach, and to hire 2,000 

a chorus coordinator: 

For soloists’fees for the 1980-81 sea.son. 2,100 

For soloists’ fees for a free summer co~wert in the low-income 2,100 

section of Louisville. 

For a three-day institute with the Gregg Smith Singers at a college 3,350 

campus in the area. 

For salaries for a core of singers and to improl,e management of 3,000 

the Metropolitan Singers/The Greek Choral Society. 

For singers’ salaries for a core chorus. 1,400 

For salaries for a core of si~gers who will sing both opera aud 5,000 

choral music. The chorale, in coordination with the Minnesota 

Opera Company, will establish a mutual operating rehearsal 

schedule. 

For salaries for singers. 1,500 

For soloists for a performance of fh’e Bach motets by The New 1,000 

Calliope Singers. 

For salaries for a core of singers. 2,000 

For salaries to increase the core of si~gers in the Paul Hill 8,000 

Chorale and to raise the admi~istrator to fldl-time stat~. 

For soloists’fees and improeed management. 4,625 

To hire additional section leaders in the chorus, to increase the 1,500 

nnmber of soloists, a~d to improee manageme~tt. 

For a core of professional si~qers in the Oakland Sgmphony 6,200 

Chorus who a’il! lead chorus workshops and haee oppo~unities 

for solo n,ork. 

For salaries for a core of singers for the Irci~le Master Chorale. 5, 000 

For the Young American Soloists Project, for u’h ich young A mer- 6,500 

ican soloists are hired to pe~:form uqlh the Society du~qng its 

1980-81 season. 

For soloists’fees for two performances du rS~g the 1980-81 season. 3,500 

For soloists a~d an administrator fora performance of Domi- 3,250 

nick Arge~to’s Jonah and the Whale. 

For salaries for a core of singers. 2,550 
Music 215 

Pro Arte Double Chorale 

Paramus, Ne~v Jersey 

Rhode Island Civic Chorale and 

Orchestra 

Providence, Rhode Island 

St. Louis Chamber Orchestra and 

Chorus 

St. Louis, Missouri 

St. Louis Symphony Society 

St. Louis, Missouri 

San Diego Master Chorale 

San Diego, California 

San Francisco Symphony Association 

San Francisco, California 

Singing City 

Philadelphia, Pennsylvania 

Singing City

Philadelphia, Pennsylvania 

Utah Chorale 

Salt Lake City, Utah 

Victoria Bach Festival Association 

Victoria, Texas 

Washington Bach Consort 

Washington, D.C. 

Zamir Chorale Foundation 

New York, New York 

For soloists’ fees and salaries for administrative personnel. 6,500

For soloists’ fees for the 1980-81 season. 2, 750

For salaries for a core of singers. 3,500 

For increased rehearsal time for a core of professional singers 1,500 

and to hire a part-time manager. 

For soloists’ fees and salaries for a core of singers. 5, 000 

For salaries for the core of 30 paid singers in the symphony 1,500 

chorus. 

For vocal soloists’fees for performances of Bloch ’ s Sacred Service 1,500 

in the Philadelp]da area. 

For an administrative intern program, to hire three interns for 4,90O 

one year to work with the artistic and administrative personnel. 

To hire administrative personnel to improve management. 1,500 

For fees for soloists and guest conductors for the annual Bach 1,250

Festival.
 

To hire a general manager.
 3,000 

To hire a business administrator to manage the Chorale. 1,000 

College, University, and Conservatory Choruses 

Arkansas, University of 

Fayetteville, Arkansas 

Livingston University

Livingston, Alabama 

Missouri, University of, Curators of the 

Columbia, Missouri 

North Carolina, University of 

Greensboro, North Carolina 

Ohio State University Research

Foundation 

Columbus, Ohio 

Oregon, University of 

Eugene, Oregon 

Southern Mississippi, University of

Hattiesburg, Mississippi 

To enable the university’s Schola Cantornm to demonstrate ex- $1,000 

perimental choral tec]miqnes to public school musicians in four 

school districts. 

For a choral festival to bring the Gregg Smith Si~zgers to the 4,000 

campus for a performance, an open rehearsal, and a clinic for 

visiting high school choral directors. 

For a Choral Arts Festival and Conference, involving a consor- 4,500 

tium of the university and three mid-Missonri college choirs and 

several distinguished scholars of choral music. 

For a chorus composed of stndents from three area uzdversities 2,500 

and colleges to perform Beethoven’s Missa Solemnis nqth the 

Greensboro Symphony Orchestra. 

For fees for choral singers to participate in a two-u’eek master 5, 000 

class in choral conducti~g. 

For soloists’fees and for professional choral singers to partici- 4,500 

pate in the Oregon Summer Festival of Mztsic. 

For a project in which the university will assist two local commn- 5,000 

nities to develop a community c]~or~s, by proriding a nncleus 

choral ensemble. 
216 M~sic 

Service Organizations 

American Choral Directors’ 

Association 

Lawton, Oklahoma 

Association of Professional Vocal 

Ensembles 

Philadelphia, Pennsylvania 

Ioxva Choral Directors’ Association 

Clear Lake, Iowa 

Mid-America Arts Alliance 

Kansas City, Missouri 

Southern Arts Federation 

Atlanta, Georgia 

Services to the 

Art of Music 

American Symphony Orchestra 

League* 

Vienna, Virginia 

Dance Theater of Harlem 

N~w York, New York 

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 Music Council 

New York, New York 

New Music for Young Ensembles 

New York, New York 

New York Foundation for the Arts 

New York, New York 

New York, Research Foundation 

of the State University of

Binghamton, New York 

Robin Hood Dell 

Philadelphia, Pennsylvania 

San Fernando Arts Council 

Los Angeles, California 

For soloists’fees for a major choral work to be presented at the $6,000
 

Association’s 1981 natio~al con~’ention in New Orleans.
 

For various activities, i~cludi~g publication of a ~ewsletter, 10,000
 

establishment of a consulting service for member organizations,
 

production of a television special on choral music in America,
 

and presentation of the annual conference.
 

To bring the Gregg Smith Si~gers to Iowa for the sixth am~ual 2,900
 

ICDA summer contention and choral symposium.
 

For a tour by the Norman Lnboff Choir and the Robert de 15,000
 

Cormier Singers in Kansas, Missouri, Nebraska, and Oklahoma.
 

For a tour by the Gregg Smith Singers in ten southeastern states. 15,000
 

To assist organizations that provide services to the music field as a 

whole or to a sector of it. Recordings is a pilot subcategory to support

the recording and distribution of American music. 

Program funds: $453,885 

For a cooperative agreement to administer on-site artistic evalu- $155,210
 

ations of symphony and chamber orchestras and other music
 

organizations by qualified experts during 1979-80for use by the
 Endowment’s Music Advisory Panels.
 

To train the percussion ensemble in both classical and ethnic 10,000
 

percussion instruments and sight-reading.
 

For the 1980 festival, including weekly concerts featuring 20th- 25,000
 

century and chamber music, a composer-in-residence program,
 

the presentation of young American artists, and andience development activities.
 

For the 11th Inter-American Music Festival. 25,000
 

To support the Mostly Mozart Festival, which offers low-priced 25,000
 

tickets to concerts during the summer months.
 

For costs related to membership and executive board planning 5,000
 

meetings of the National Music Council.
 

For a minimum of three concerts of contemporary American 3,000
 

compositions.
 

To condnct workshops to be planned by Music Education for the 3,000
 

Handicapped for public school teachers to learn how to teach
 

music successfully to handicapped st~Ments in the classroom.
 

To provide an outstanding professional arts administrator with 72,174
 

the opportunity to serve temporarily in the Endowment’s Music
 

Program under the Intergovernmental Personnel Act.
 

For conductors’ and soloists’fees and music rental for the 1980 7,500
 

season of Robin Hood Dell concerts.
 

To produce four albums of songs by Robert Burns as arranged by 18,000
 

Serge Hovey and sung by Jean Redpath.
 
Music 217 

Theater Development Fund 

New York, New York 

Recordings 

Composers’ Recordings 

New York, New York 

Jazz Composers’ Orchestra Association 

New York, New York 

Louisville Orchestra 

Louisville, Kentucky 

Recorded Anthology of American 

Music 

New York, New York 

New Music 

Performance 

For the Music Voucher Program, which is designed to assist 25,000 

smaller professional music groups. 

For recording William Schuman’s The Young Dead Soldiers $20,000 

with the "Y" Chamber Orchestra and Schuman’s In Sweet Music 

with the Orpheus Trio; Concerto for Orchestra and Percussion 

by Robert Moevs with the Orchestra of the 20th Century; and 

recordings with the Da Capo Chamber Players for their tenth 

anniversary album which include Modern Love Waltz by Philip 

Glass and Robert Moran, Mind Willow Whisper by Joseph 

Schwanter, Scherzo by George Perle, Joan’s by Charles Wuorinen, 

Petroushskates by Joan Tower, and Private Game by Shulamit 

Ran. 

To expand and improve the promotional aspects of the New Music 20,000 

Distribution Service. 

For First Edition Records to record the Louisville Orchestra 

performing Donald Erb’s Concerto for Trombone, Autumn 

20,000 

Music, Christmas Music, and Special Fanfare; George Crumb’s 

Variazioni; Fresco by Sidney Hodkinson, Tournaments and 

Elegy by John Corigliano; and Forest Music by Paul Chihara. 

For the recording of the Clarinet Concerto by John Corigliano and 

the Third Essay by Samuel Barber with the New York Phil20,000 

harmonic. 

Includes two subcategories: Ensembles and Presenting Organizations that perform or present 20th-century music, with an emphasis 

on the music of our time, are given grants to perform and present 

new music, to improve the quality of performance, and to increase 

the audience for new music. Services to New Music Performance are 

grants awarded to organizations for projects that serve the new

music performance field on a national or regional basis. 

Program funds: $571,800 Treasury funds: $ 49,000 

Private gifts: $ 49,000 

Ensembles and Presenting Organizations 

American Camerata for New Music 

Wheaton, Maryland 

American Camerata for New Music 

Wheaton, Maryland 

American Composers’ Concerts 

New York, New York 

American Dance Festival 

Durham, North Carolina 

and/or service 

Seattle, Washington 

Arizona Commission on the Arts and 

Humanities 

Phoenix, Arizona 

For increased rehearsal time, a three-concert series with open $4,500 

rehearsals, and to hire a part-time personnel manager during the 

1980-81 season. 

For musicians’fees for the 1980-81 season, involving concerts and 4,500 

educational programs for young students. 

For the American Composers’ Orchestra to perform three pro- 18,000 

grams of American s~fmphonic music in Alice Tully Hall during 

the 1980-81 season. 

For two collaborations by composers and choreographers which 24,000 

resulted in the performance of new works during the summer of 

1980. 

To present concerts of small-ensemble new music during the 5,400 

1980-81 season. 

For chamber concerts by the 20th-Century Chamber Theater of the 1,500 

Performing Arts. 
218 Music 

Audium 

San Francisco, California 

Audium 

San Francisco, California 

Aurora Music Foundation 

New York, New York 

Avant-Garde Music Festival 

New York, New York 

Boehm Quintette 

New York, New York 

Boston Musica Viva 

Newton Center, Massachusetts 

Boston Musica Viva 

Newton Center, Massachusetts 

Cabrillo Guild of Music 

Aptos, California 

Caldwell Community College and 

Technical Institute 

Lenoir, North Carolina 

California, University of 

La Jolla, California 

California, University of 

La Jolla, California 

California, University of 

San Diego, California 

Chicago Society of Composers 

Wilmette, Illinois 

Chicago, University of

Chicago, Illinois 

Collage 

Boston, Massachusets 

Colorado State University 

Fort Collins,Colorado 

Composers’ Conference and Chamber 

Music Center 

Hyde Park, Vermont 

Composers’ Forum 

New York, New York 

Composers’ Forum 

New York, New York 

Conimicut Foundation 

Berkeley, California 

Conimicut Foundation 

Berkeley, California 

Contemporary Arts Center 

Cincinnati, Ohio 

Contemporary Concerts 

Chicago, Illinois 

For perfo~nnance-seminars for college and high school groups 5,000
 

during the 1980-81 season.
 

For the 1980 series of performance-seminars fi)r college and high 3,000
 

school groups.
 

For the 1980-81 season of the Philip Glass Ensemble. 5,000
 

For residency activity by the Contemporary Chamber Ensemble 8,000
 

during the 1980-81 season.
 

For the 1980-81 touring season. 6, 000
 

For a new subscription series in Hartford, Connecticut during 6,100
 

the 1980-81 sea"son.
 

For musicians’fees and travel du~qng the 1980-81 performance 5,000
 

sea"qon.
 

For musicians’fees for the performance of contemporary music 3,000
 

du~ng the 1980 Cabrillo Music Festival.
 

For a transcontinental tour by the Uwhar~#e Clarinet-Percussion 1,500
 

Duo du~ng the 1980-81 season.
 

For guest artists’fees and touring expenses for KIVA, an experi- 1,000
 

mental music ensemble formed by resident musicians at the
 

nniversity during the 1980-81 season.
 

For off-camp~ 20th-century music concerts. 5,000
 

For the off-campus musical activities. 5,000
 

For the 1980-81 series of contempora?’y chamber music programs 2,500
 

in Chicago and a tonr by the Society’s ensemble to nearby cities.
 

For the 1980-81 concert season of the Contemporary Chamber 5,500
 

Players, including a tour to Wa"vhington, D.C., New York City,
 

Urbana, and Milwaukee.
 

For a series of three concerts of contemporary chamber music at 4,000
 

the Longy School of Music in Cambridge, Massachusetts.
 

For musicians’fees for the April 198l Rocky Mountain Contem- 1,500
 

porary Music Festival.
 

For the summer 1980 conference inrolving fellou,ships to com- 17,000
 

posers, with readings, rehearsals, performances, and disenssions
 

of their ~corks.
 

For tu,o Composers’ Invitational Concerts, including perfo~wt- 5,500
 

ances of chamber works by yonng composers, two video-music
 

concerts, and tu’o Spotlight Concerts during the 1980-81 sea.son.
 

For concerts of contemporary American music during the 1979- 2,500
 

80 season.
 

For the 1980-81 season of the Arch Ensemble for Experimental 9,500
 

Music and mnsicians’ fees for neu’ music presentations at 1750
 

Arch Street.
 

For concerts of 20th-centnry music during the 1979-80 season. 3,500
 

For concerts during 1980-81 in u’hich composers ~vill perform 5,000
 

their oum works, combining electronic and aconstic, solo and
 

ensemble offerings.
 

For the spring 1981 Festival of Neu’ Music, including concerts, 3,500
 

u, orkshops, and composer lectures.
 
Contemporary Music Forum 

Washington, D.C. 

Contemporary Music Forum 

Washington, D.C. 

Contrasts in Contemporary Music 

New York, New York 

Creative Music Foundation 

Woodstock, New York 

80 Langton Street 

San Francisco, California 

Experimental Intermedia Foundation 

New York, New York 

Experimental Intermedia Foundation 

New York, New York 

Foundation for Modern Dance 

New York, New York 

Gregg Smith Singers 

Great Neck, New York 

Group for Contemporary Music 

New York, New York 

Haleakala 

New York, New York 

Harvestworks 

New York, New York 

Harvestworks 

New York, New York 

Illinois, University of 

Urbana, Illinois 

Independent Composers’ Association 

Los Angeles, California 

Institute of Puerto Rican Culture 

San Juan, Puerto Rico 

League of Composers-International 

Society for Contemporary Music, 

U.S. Section 

New York, New York 

Long Island Chamber Ensemble 

North Massapequa, New York 

For the 1980-81 regional touring program, embassy concerts, 

concerts at the National Bureau of Standards, extra rehearsal 

time for mixed-media works, and partial salaries for the music 

director and the director of development. 

For the 19 79-80 concert series in Washington, D. C., and workshopconcerts in Baltimore and Richmond. 

For the 1980-81 season of Composers’ Showcase, a series of six 

contemporary American music concerts at the Whitney Museum. 

For audience development activities, and a tour by black new 

music artists to southern colleges, public service organizations, 

and other presenting organizations during the 1980-81 season. 

For musicians’fees for presentations during the 1980-81 season. 

For the 1980-81 series of new music concerts, each of which is 

devoted to the work of one composer. 

For the 1980-81 series of concerts by Gamelan Son of Lion. 

For musicians’ fees and travel for an eight-member chamber 

ensemble to accompany the Erick Hawkins Dance Company 

during the 1980-81 season. 

For the 1980-81 tour of two-day residencies including concerts, 

seminars, and workshops. 

For the 1980-81 season of concerts of conte~nporary music in New 

York City. 

For the 1980-81 Contemporary Music Series at the Kitchen, 

presenting works of approximately 43 new-music composers in 70 

performances. 

For the 1980-81 season of Electronic Musiemobile, a touring 

ensemble of synthesizer players. 

For the spring and summer 1980 tour of Electronic Musiemobile. 

For the 1980-81 tour by the Contemporary Chamber Players. 

For the 1980-81 season of new American music concerts in the Los 

Angeles area. 

For musicians’fees for the biennial contemporary music festival, 

sponsored by the Sociedad Puertorriquena de Musica Contemporaneca 

For the 1980-81 series of contemporary chamber music concerts at 

Carnegie Recital Hall. 

For the 1979-80 concert season and for workshops and concerts 

for school children. 

Los Angeles Institute of Contemporary For the 1980-81 series of six new-music concerts. 

Art 

LOs Angeles, California 

Louisville Orchestra 

Louisville, Kentucky 

Media Study/Buffalo 

Buffalo, New York 

Meet the Composer 

New York, New York 

Meet the Composer 

New York, New York 

For a festi~vl of contemporary music in May 1981. 

For new-music concerts and musician’s residencies using Media 

Study’s acoustical spaces during the 1980-81 season. 

For the 1980-81 performances, uvrkshops, lecture-demonstrations, and residencies by composers. 

For the 1980-81 performances, workshops, and lecture-demonstrations by composers in several northeastern states. 

Music 219 

4,500 

4,500 

6,000 

4,500 

2,000 

2,000 

1,500 

7,000 

10,000 

i0,000 

12,000 

3,000 

2,500 

2,000 

3,500 

7,400 

5,000 

5,000 

2,500 

10,000 

3,500 

36,000 

TF 19,000 

PG 19,000 

TF 25,000 

PG 25,000 
220 Music 

Minnesota Composers’ Forum 

St. Paul, Minnesota 

Minnesota Public Radio 

St. Paul, Minnesota 

Monadnock Music 

Peterborough, New Hampshire 

Museum of Contemporary Art 

Chicago, Illinois 

Music Alliance 

Atlanta, Georgia 

National Public Radio 

Washington, D.C. 

Nevada State Council on the Arts 

Reno, Nevada 

Nevada State Council on the Arts 

Reno, Nevada 

New Hampshire Music Festival 

Center Harbor, New Hampshire 

New Hampshire Symphony

Manchester, New Hampshire 

Ne~v Mexico Jazz Workshop

Albuquerque, New Mexico 

New Music Circle 

St. Louis, Missouri 

New Music Consort 

New York, New York 

New Music Ensemble of Providence 

Providence, Rhode Island 

New York New Music Ensemble 

New York, New York 

New York, Research Foundation
 

of the State University of


Albany, New York 

Orchestra of Our Time 

Bronx, New York 

Orchestra Society of Philadelphia 

Philadelphia, Pennsylvania 

Performers’ Committee 

New York, New York 

Performers’ Committee 

New York, New York 

Pittsburgh New Music Ensemble 

Pittsburgh, Pennsylvania 

Portland Center for the Visual Arts 

Portland, Oregon 

Real Arts Ways 

Hartford, Connecticut 

Reich Music Foundation 

New York, New York 

For the 1980-81 concerts of co~temporarg works. 

For musicians’ and a consultant’s fee.~ for the national broadcast of Neu, M~sic America concerts. 

[’or new-music performances during summer 1980. 

Far concerts during the 1980-8l season. 

For the fall 1980 tour of Georgia by the Atlanta New Music 

En sere ble. 

For "Radiovisions," a series qf 14 one-hour programs of neu, 

m~sic. 

For the ninth annnal Contemporary Mnsic Festival in Las Vegas. 

For the 1980-81 season of the Las Vegas Chamber Players, inclnding six concerts of contemporary mnsic, participation in the 

Contemporary Music Festival at California Institute of the Arts, 

and the tenth annual Contemporary Music Festival in Las Vegas. 

Far the summer 1980 performances of contemporary mnsia 

For performances of new music thronghout Neu, Hampshire 

during the 1980-81 season. 

For the Neu, Music Series, i~clnding performances by Sun Ra 

Arkestra and the Art Ensemble of Chicago. 

For the 1980-81 presentation of 20th-century mnsic concerts, 

inclnding performances by the Extended Vocal Techniqne Ensemble and musicians from the St. Louis Symphong. 

For the 1980-81 tour for a series of concerts aud lectures at York 

College, and for three concerts at Carne.~fie Hall. 

For a series of concerts in collaboration u,ith the Trinity Square 

Repertory Company. 

For the 1980-81 tours to upstate New York and Illinois, inclnding 

concerts and workshops on American contemporar!! music. 

For musicians’ residencies at the Center of the Creative and 

Performing Arts in Bnffalo. 

For the 1980-81 performance .~eason, including performances in 

colleges, pnblic schools, factories, and prisons. 

For performance of neu, music during the 1980-81 season. 

For the 1979-80 activities of Continuum, incl~Ming miniresidencies with colleges and community organizations. 

For the 1980-81 actitivies of Continunm, including miniresidencies uqth colleges and community organizations around 

the country. 

For the 1980-81 performance season, including increased paid 

rehearsal time. 

For the 1980-81 series of seren new-mnsic concerts. 

For the 1980-8l series of 50 new-mnsic concerts. 

For the 1980-81 season of Steve Reich and Musicians, inclnding 

tours of the east and west coasts. 

5,400 

2,500 

7,000 

2,500 

1,000 

13,000 

2,000 

8,500 

5,000 

2,000 

3,500 

4,500 

5,000 

4,000 

5,000 

7,500 

23,000 

TF 5,OOO 

PG 5,000 

1,000 

10,000 

12,000 

10,000 

3,500 

5,000 

7,000 
Music 221 

Reich Music Foundation 

New York, New York 

San Francisco Contemporary Music 

San Francisco, California 

S.E.M. Ensemble 

Buffalo, New York 

Southern California Chamber Music 

Society

Los Angeles, California 

Speculum Musicae 

New York, New York 

Syracuse Society for New Music 

Syracuse, New York 

Syracuse Society for New Music 

Syracuse, New York 

Texas Tech University 

Lubbock, Texas 

20th Century Consort

Washington, D.C. 

Universal Jazz Coalition 

New York, New York 

Universal Jazz Coalition 

New York, New York 

Voices of Change 

Dallas, Texas 

Walker Art Center 

Minneapolis, Minnesota 

Walker Art Center 

Minneapolis, Minnesota 

Washington, University of 

Seattle, Washington 

West Virginia University

Morgantown, West Virginia 

WGBH Educational Foundation 

Boston, Massachusetts 

White Mountains Center for the Arts 

Jefferson, New Hampshire 

Women’s Interart Center 

New York, New York 

For the 1980-81 season of concerts of music by young composers. 5,OOO 

For eight concerts at the San Francisco Museum of Modern Art 7,500 

during the 1980-81 season. 

For performances at the Whitney Museum in New York City 1,000 

during the 1980-81 season. 

For the 1980-81 season of Monday Evening Concerts. 16,500 

For the 1980-81 performance season. 7,500 

For a concert and workshop by Muhal Richard Abrams in area 5,500 

universities and public schools, performers’ fees for a young 

composers’ program, and a regional composers’ program during 

the 1980.81 season. 

For a tour of contemporary music programs in central New York 5,000 

and a concert of music by American women composers during the 

1979-80 season. 

For musicians’fees for the 1980-81 Leading Edge Music Series. 1,000 

For six contemporary music concerts and four lecture-recital 12,500 

workshops during the 1980.81 season. 

For five new-music concerts during the 1980-81 season. 3,000 

For three concerts by the Hal Freedman Ensemble during the 1,000 

1980-81 season. 

For the 1980.81 concert series and an administrator’s salary. 10,500 

For the 1980-81 season of he,v-music concerts, includiug concerts 4,OO0 

by visiting composer-performers and concerts by groups and 

individuals based in the region. 

For New Music America, a festival of new music held in June 4,000 

1980. 

For the non-subscription concerts by the Contemporary Group 4,500 

during the 1980-81 season. 

For fees for a residency by George Rochberg and the Concord 1,OO0 

String Quartet at the university during spring 1981. 

For music costs for a pilot half-hour television program on new 2,500 

music. 

For a residency by the Concord String Quartet during the 1,500 

summer of 1980. 

For the 1980.81 season of concerts by women composers. 3, 500 

Services to New Music Performance 

Haleakala For the activities of a steering committee to set up a national $5,OO0 

New York, New York alliance of new-music centers. 
222 Music 

Orchestra 

Basic Grants 

Albany Symphony Orchestra

Albany, New York 

Amarillo Symphony 

Amarillo, Texas 

American Symphony Orchestra 

New York, New York 

Anchorage Symphony Orchestra 

Anchorage, Alaska 

Arkansas Orchestra Society 

Little Rock, Arkansas 

Atlanta Arts Alliance 

Atlanta, Georgia 

Austin Symphony Orchestra 

Austin, Texas 

Baltimore Symphony Orchestra 

Association 

Baltimore, Maryland 

Bangor Symphony Orchestra 

Bangor, Maine 

Binghamton Symphony and Choral 

Society 

Binghamton, New York 

Birmingham Symphony Orchestra 

Birmingham, Alabama 

Boston Symphony Orchestra 

Boston, Massachusetts 

Brooklyn Philharmonia 

Brooklyn, New York 

Buffalo Philharmonic Orchestra 

Society 

Buffafo, New York 

Includes three subcategories: Basic Grants are limited to professional 

orchestras that have been in existence for at least three seasons. 

Music resources grants support innovative projects that may be used 

as models for future development in the orchestra field. Services to 

the Orchestra Field grants assist organizations with projects not 

included in other Orchestra subcategories, but which benefit the 

orchestra field. 

Program funds: 

Treasury funds: 

Private gifts: 

$3,266,250 

$5,934,300 

$5,934,300 

For run-out concerts, the Little Symphony~ in-school performances, and to engage a public relations director. 

For the in-school concerts and travel expenses. 

For additional concerts in the S~nday Afternoon Subscription 

Series at Carnegie Hall. 

To engage a string qnartct to perform u,ith the orchestra and to 

provide a mnsical ontreach program to the commnnity and 

master classes for current members ofthesymphonyand adeanced 

students in the area. 

For a string i~Jstruction program, additional rehearsal time, 

training of an executive director, and to engage a string quartet. 

For the Atlanta Symphony Orchestra’s southeast tour, run-o~t 

concerts, and edncational concerts. 

To engage additional string players and yo~tng American soloists 

to perform with the orchestra. 

For run-out concerts, a community program of free concerts and 

church cm~certs, and the development program. 

To engage g~test conductors and to expand the s~tbscription 

concerts. 

To engage additional string players and American soloists, and 

for additional rehearsal time for the free outdoor monmer concert. 

For the Alabama State Symphony’s summer concerts; tours and 

run-out concerts in the state, concerts for minority groups, the 

elderly, and the disabled; and to engage additional musicians. 

For free, outdoor summer concerts, yonth concerts, a special 

perforvnance in Neu,. York City, concerts by the Boston Symphony 

Chamber Players in Boston and on tour, and for promotional 

activities. 

For the in-school performance program, the Mns ic of the Americas 

Program, and to hire administrative staff. 

For a children’s series, a New Er~gland tour, community concerts, 

and a concert production of Stravinsky’s Oedipus Rex. 

$ 9,030 

TF 20,970 

PG 20,970 

8,000 

TF 60,000 

PG 60,000 

2, 000 

9,030 

TF 20,970 

PG 20,970 

60,200 

TF 139,800 

PG 139,800 

6,62O 

TF 15,380 

PG 15,380 

61,700 

TF 143,300 

PG 143,300 

1,000 

1,000 

12,040 

TF 27,960 

PG 27,960 

90,300 

TF 209,700 

PG209,700 

12,040 

TF 27,960 

PG 27,960 

63,250 

TF 93,750 

PG 93,750 
California Chamber Symphony Society

Los Angeles, California 

Canton Symphony Orchestra 

Association 

Canton, Ohio 

Casper Civic Symphony Orchestra 

Casper, Wyoming 

Cedar Rapids Symphony Orchestra 

Association 

Cedar Rapids, Iowa 

Chamber Orchestra of New England 

New Haven, Connecticut 

Charleston Symphony Orchestra 

Charleston, South Carolina 

Charleston Symphony Orchestra 

Charleston, West Virginia 

To engage young American artists, and for an audience development program, incl~ting free and low admission concerts for 

senior citizens and handicapped persons. 

For a Kinder Koncerts Series, a senior citizens’ concert, and to 

engage a string quartet and a brass quintet. 

For in-school concerts and concerts throughout the state of 

Wyoming, and to engage guest artists. 

To engage five principal string players to perform with the 

orchestra and provide ensemble services. 

To support a New England touring program. 

To engage a string quartet and a woodwind quintet to perform 

with the orchestra and provide ensemble services. 

To continue the touring program throughout West Virginia. 

Charlotte Symphony Orchestra SocietyFor the In-School Music Program, which involves performances 

Charlotte, North Carolina 

Chattanooga Symphony Association

Chattanooga, Tennessee 

Chautauqua Institution 

Chautauqua, New York 

Cincinnati Symphony Orchestra 

Cincinnati, Ohio 

Colorado Chamber Orchestra 

Boulder, Colorado 

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 

Delaware Symphony Association

Wilmington, Delaware 

Denver Symphony Orchestra 

Denver, Colorado 

Des Moines Symphony Association 

Des Moines, Iowa 

by small ensembles and the 32-member Chamber Orchestra. 

For the engagement of guest artists, additional rehearsal time, 

and run-out concerts. 

For the engagement of a resident assistant conductor and additional musicians, for additional rehearsals, and for a series of 

concert performances by the Chautauqua Symphony Orchestra. 

For the Area Artist Series, which includes several adult concerts, 

concerts and master classes in area schools, and the mini-festival 

program which conducts two-day residencies in ten cities. 

To hire additional string players. 

For the continuation of ensemble programs and the hiring of 

professional musidians. 

For ensemble programs and full orchestra concerts for students, 

and for the addition of a third string quartet to perform concerts 

in schools and other public places. 

For an apprentice conductor; low-cost tickets to students, senior 

citizens, and the disadvantaged; performances of young area 

composers’ works; and the engagement of young area artists and 

senior citizens to perform as soloists with the orchestra. 

For free public performances of Handel’s Messiah in English and 

Spanish, chamber concerts, concerts in junior high schools, and 

for the continued engagement of a bilingual administrator. 

For run-out concerts, school concerts, a pops series, and community services, including concerts for the handicapped. 

For young people’s concerts, an ensemble program, a lunchtime 

"Brown Bag" concert, and the Piqua Artist Series. 

For young people’s concerts, run-out concerts, and for the engagement of a full-time manager. 

For concerts in neighboring communities, young people’s concerts, 

an extension of the holiday series, and free Sunday afternoon 

concerts. 

For the chamber orchestra concerts, and for the Sunday matinee 

concerts to which free transportation is provided for senior 

citizens and handicapped persons. 

Music 223 

6,020 

TF 13,980 

PG 13,980 

15,000 

3,000 

16,000 

1,000 

2,000 

15,000 

15,050 

TF 34,950 

PG 34,950 

11,500 

6,000 

68,025 

TF 157,975 

PG 157,975 

1,000 

6,320 

TF 14,680 

PG 14,680 

18,360 

TF 41,640 

PG 41,640 

13,500 

16,000 

55,685 

TF 129,315 

PG 129,315 

6,620 

TF 15,380 

PG 15,380 

3,000 

57,190 

TF 132,810 

PG 132,810 

16,000 
224 Music 

Detroit Symphony Orchestra 

Detroit, Michigan 

Duluth-Superlor Symphony 

Association 

Duluth, Minnesota 

Eastern Music Festival 

Greensboro, North Carolina 

El Paso Symphony Orchestra 

E1 Paso, Texas 

Elkhart County Symphony Association 

Elkhart, Indiana 

Erie Philharmonic 

Erie, Pennsylvania 

Evansville Philharmonic Orchestral 

Corporation 

Evansville, Indiana 

Fairbanks Symphony Association 

Fairbanks, Alaska 

Flagstaff Feslival of the Arts 

Flagstaff, Arizona 

Flint Institute of Music 

Flint, Michigan 

Florida Gulf Coast Symphony

St. Petersburg, Florida 

Florida Philharmonic 

Miami, Florida 

Florida Symphony 

Orlando, Florida 

Fort Lauderdale Symphony Orchestra 

Association 

Fort Lauderdale, Florida 

Fort Wayne Philharmonic Orchestra 

Fort Wayne, Indiana 

Fort Worth Symphony Orchestra 

Association 

Fort Worth, Texas 

Fresno Philharmonic Association 

Fresno, California 

Glendale Symphony Orchestra 

Glendale, California 

Grand Rapids Symphony Society 

Grand Rapids, Michigan 

Greater Akron Musical Association 

Akron, Ohio 

For educational concerts in inncr-city schools and the Ford 

Auditorium, and for the Bartok Music Festival. 

For additional rehearsal time, the engagement of five full-time 

musicians, in-school lecture demo~,~tvation co~certs, and small 

er~semble performances. 

For "Project LISTEN," an outreach program @ the Eastern 

Philharmonic Orchestra of special performances for the handicapped and other disadvantaged persons unable to attend regular 

concerts. 

To repeat eight subscription concerts. 

For run-out concerts, a chamber co~cert, and for the engagement 

of a youth orchestra director and section instructors. 

For additional rehearsals, run-out concerts in rural areas, and 

in-school concerts. 

For additional rehearsal time and to hire guest artists. 

For a tour of the orchestra to native Alaskan communities on the 

Yukon River and for p~vduction costs of a film of the tour. 

For the perfor~nances of the concert orchestra and the symphony 

during the three-week summer .festival. 

For youth concerts, family "rug concerts," and educational concerts, including master classes in the community. 

For youth concerts, tiny tots concerts, run-out concerts, and pops 

concerts. 

For family-yonth concerts, a Mozart mini-festival, senior citizens’ 

concerts, and free edncatioual concerts. 

For a contemporary music festiral, run-out concerts, collaboration with local ballet and choral groups, and an extension of the 

season. 

For community concerts by the orchestra and smaller ensembles 

using American artists. 

To e~gage professional mnsicians to perform with the orchestra 

and to provide chamber music services to schools, senior citizen 

centers, hospitals, and other locations throughout northern 

Indiana. 

For ensemble and chamber orchestra concerts in school and in the 

community, for the engagement of a director on minority affairs, 

and for tonring to various communities in Texas 

For run-out concerts, youth concerts, the engagement of a fund 

drive coordinator, and for a string trio. 

For school concerts, pops concerts, additional rehearsal time, the 

engagement of ghost artists, and open rehearsals for the physically 

4handicapped and senior citizens. 

To engage professional mnsicians to perform u,ith the orchestra 

and to provide ensemble sercices, master classes, concert-clinics, 

and informal concerts. 

For a summer Concert-in-the-Parks series, for additional rehearsals, and to increase the size of the strb~g sections. 

63,210 

TF 146,790 

PG 146,790 

18,350 

3,500 

TF 10,000 

PG 10,000 

2,000 

2,000 

6,620 

TF 15,380 

PG 15,380 

2,500 

2,000 

3,000 

8,430 

TF 19,570 

PG 19,570 

9,030 

TF 20,970 

PG 20,970 

10,530 

TF 24,470 

PG 24,47O 

32,000 

15,000 

10,530 

TF 24,470 

PG 24,470 

15,000 

9,630 

TF 22,370 

PG 22,370 

2,000 

10,530 

TF 24,470 

PG 24,470 

16,000 
Music 225 

Haddonfield Symphony Society 

Haddonfield, New Jersey 

Hartford, Symphony Society of 

Greater 

Hartford, Connecticut 

Honolulu Symphony Society 

Honolulu, Hawaii 

Houston Symphony Society 

Houston, Texas 

Hudson Valley Philharmonic Society

Poughkeepsie, New York 

Indiana State Symphony Society

Indianapolis, Indiana 

Jackson Symphony Orchestra 

Jackson, Mississippi 

Jacksonville Symphony Association 

Jacksonville, Florida 

Johnstown Municipal Symphony Johnstown, Pennsylvania 

Kalamazoo Symphony Society 

Kalamazoo,Michigan 

Kansas City Philharmonic Association 

Kansas City, Missouri 

Knoxville Symphony Societv 

Knoxville, Tennesssee 

Lansing Symphony Association

Lansing, Michigan 

Lawton Philharmonic Orchestra 

Lawton, Oklahoma 

Lexington Philharmonic Society

Lexington, Kentucky 

Lima Symphony Orchestra 

Lima, Ohio 

Lincoln Symphony Orchestra 

Lincoln, Nebraska 

Long Beach Symphony Association

Long Beach, California 

Los Angeles Chamber Orchestra 

Los Angeles, California 

Los Angeles Philharmonic Association 

Los Angeles, California 

Louisville Philharmonic Society 

Louisville, Kentucky 

To hire a manager. 

For the Discovery Concert Series and for the engagement of a 

development director and an assistant conductor. 

For state touring program expansion and the improvement of the 

Starlight Festival, for continuation of educational services, and 

for the improvement of the public relations and development 

programs. 

For summer outdoor concerts, chamber orchestra concerts, and 

young people’s concerts, including the Student Festi~ul Orchestra 

in which students are selected to participate in clinics and 

performances u~th the symphony. 

To hire additional administrative staff and to engage a string 

quartet to perform with the orchestra and provide ensemble 

sem~ces. 

For youth concerts, a contemporary music festival, concerts in 

Indiana commnnities, and "Visions Concerts" for students in 

grades four through eight. 

To expand the Strfi~g Program, which provides lessons for more 

than 600 disadvantaged students throughout the state and more 

than 250 concerts by string ensembles. 

For youth concerts, programs in special areas, and school 

concerts. 

For additional rehearsals and the engagement of additional 

string players. 

For young people’s concerts, expansion of the chamber orchestra 

concert series, and the continued engagement of the three ensembles. 

For a chamber concerts series, campus workshops, municipal 

concerts, a chamber orchestra series, young persons’ cncerts, and 

an audience develolm~ent program. 

For young people’s concerts, engagement of a string quartet, 

chamber orchestra concerts in the schools, and run-out concerts to 

outlying counties. 

To hire an education coordinator, a string quartet, and a brass 

quintet for the school concerts program. 

For additional rehearsal costs and travel costs to transport 

musicians from Oklahoma City to Lawton. 

To hire additional musicians to perform with the orchestra. 

To engage a string quartet to perform uqth the orchestra and 

provide ensemble services. 

For the subscription series with guest artists. 

For the engagement of a resident music director, for additional 

rehearsal time, and for ensemble performances in the schools. 

To establish a development department and a marketing department and for guest artists’ fees. 

For regional touring, for rehearsals with Carlo Maria Giulini, 

and for Composer’s Choice Concerts, which feature prominant 

American composers and their work. 

To hire 35 musicians for a core orchestra to perform with the 

Louisville Philharmonic. 

1,000 

27,500 

39,130 

TF 90,870 

PG 90,870 

48,340 

TF 112,260 

PG 112,260 

13,500 

60,200 

TF 139,800 

PG 139,800 

13,550 

TF 31,450 

PG 31,450 

12,790 

TF 29,710 

PG 29,710 

2,000 

7,100 

TF 16,500 

PG 16,500 

45,150 

TF 104,850 

PG 104,850 

15,000 

2,000 

2,000 

2,000 

2,000 

1,000 

8,500 

6,020 

TF 13,980 

PG 13,980 

90,300 

TF 209,700 

PG 209,700 

19,560 

TF 45,440 

PG 45,440 
226 Music 

Marin Symphony Association 

San Rafael, California 

Memphis Orchestral Society 

Memphis, Tennessee 

Midland-Odessa Symphony and 

Chorale 

Midland, Texas 

Milwaukee Symphony Orchestra 

Milwaukee, Wisconsin 

Minnesota Orchestral Association 

Minneapolis, Minnesota 

Monadnock Music 

Peterborough, New Hampshire 

Monterey County Symphony 

Association 

Carmel, California 

Music for Long Island 

North Massapequa, New York 

Music for Westchester Symphony 

Orchestra 

White Plains, New York 

Musical Arts Association 

Cleveland, Ohio 

Nashville Symphony Association 

Nashville, Tennessee 

National Symphony Orchestra 

Association 

Washington, D.C. 

New Hampshire Symphony 

Manchester, New Hampshire 

New Haven Symphony Orchestra 

New Haven, Connecticut 

New Jersey Symphony Orchestra

Newark, New Jersey 

New Mexico Symphony Orchestra 

Albuquerque, New Mexico 

New Orleans Philharmonic Symphony Society 

New Orleans, Louisiana 

New York, Philharmonic-Symphony 

Society of 

New York, New York 

92nd Street YM-YWHA 

New York, New York 

North Carolina Symphony Society

Raleigh, North Carolina 

Northwest Chamber Orchestra 

Seattle, Washington 

For additional rehearsal time and guest artists’ fees. 

For chamber orchestra concerts, in-school concerts by the Memphis

Little Symphony, and additional rehearsal time. 

To hire additional musicians. 

For educational concerts, run-out concerts to rural communities, 

free outdoor summer concerts, statewide touring, and for the 

development of marketing strategy. 

For outdoor parks concerts, a summer festival, an eastern tour, 

regional touring, and educational services. 

For a subscription series of orchest’ral concerts, to include works 

by contemporary American composers. 

To hire professional musicians to perform with the orchestra and 

to provide in-school ensemble programs. 

For the Orchestra da Camera’s educational activities in the 

schools, including jazz, opera and ensemble programs. 

To expand the orchestra’s subscription series. 

For the Cleveland Orchestra’s concerts in neighboring communities and educational concerts for junior and senior high school 

students and university students. 

To expand the orchestra’s subscription series. 

For the orchestra’s main subscription series. 

For the engagement of a core orchestra to perform with the 

Symphony and provide ensemble services. 

For additional rehearsal time, for the engagement of a development director, and for additional string players. 

For summer concerts, regional concerts, and in-school concerts. 

For educational concerts and a statewide touring program. 

For regional touring, the presentation of young American soloists, 

additional rehearsal time, collaboration with ballet and choral 

groups, in-school concerts, and additional administrative staff. 

For subscription concerts and summer parks concerts. 

To expand the major concert series and for increased rehearsal 

time necessary to perform more contemporary music. 

For the education program involving the fidl orchestra, the Little 

Symphony, and ensembles. 

For additional rehearsal time and a one-week tour to communities in Idaho and eastern Washington. 

1,000 

10,840 

TF 25,160 

PG 25,160 

2,500 

55,685 

TF 129,315 

PG 129,315 

79,770 

TF 185,230 

PG 185,230 

7,300 

9,000 

32,550 

TF 12,450 

PG 12,450 

1,000 

90,300 

TF 209,700 

PG 209,700 

19,560 

TF 45,44O 

PG 45,440 

52,670 

TF 122,330 

PG 122,330 

2,000 

10,530 

TF 24,47O 

PG 24,470 

9,360 

TF 114,640 

PG 114,640 

12,040 

TF 27,960 

PG 27,960 

48,340 

TF 112,260 

PG 112,260 

90,300 

TF 209,700 

PG 209,700 

2,000 

24,000 

TF 56,000 

PG 56,000 

1,000 
Music 227 

Oakland Symphony Orchestra 

Association 

Oakland, California 

Oklahoma Symphony Orchestra

Oklahoma City, Oklahoma 

Omaha Symphony Association 

Omaha, Nebraska 

Opera Orchestra of New York 

New York, New York 

Orchestra Association 

Chicago, Illinois 

Oregon Symphony Society

Portland, Oregon 

Owensboro Symphony Orchestra 

Owensboro, Kentucky 

Pasadena Symphony Association 

Pasadena, California 

Peoria Symphony Orchestra 

Peoria, Illinois 

Philadelphia Orchestra Association 

Philadelphia, Pennsylvania 

Philharmonic Society of Northeastern 

Pennsylvania 

Avoca, Pennsylvania 

Phoenix Symphony Association 

Phoenix, Arizona 

Piedmont Chamber Orchestra and 

Piedmont Chamber Players 

Winston-Salem, North Carolina 

Pittsburgh Symphony Society

Pittsburgh, Pennsylvania 

Portland Symphony Orchestra 

Portland, Maine 

Puerto Rico Symphony Orchestra 

San Juan, Puerto Rico 

Queens Symphony Orchestra 

Forest Hills, New York 

Rhode Island Philharmonic Orchestra 

Providence, Rhode Island 

Richmond Symphony

Richmond, Virginia 

l~chester Civic Music 

Rochester, Minnesota 

For the education program, run-out concerts, and free public 

concerts in the city. 

For the education program, a marketing program, run-out 

concerts, and the engagement of assistant conductors. 

To expand the subscription series and to engage a string quartet, 

a brass quintet, and a trio of harp, bass, and percussion 

To expand the outreach programs and educational programs. 

For educational programs and orchestra rehearsals for the 

Chicago Symphony Orchestra. 

For increased rehearsal time and expansion of the family and 

youth concert series. 

For family concerts and educational services, including young 

people’s concerts, ensemble concerts, private instruction, and 

master classes. 

For additional rehearsal time, the engagement of orchestra 

musicians to coach students, and for a conductor for the Pasadena 

Youth Symphony Orchestra. 

To engage an administrative assistant. 

For the student and young people’s concerts and the Robin Hood 

Dell concerts. 

For additional rehearsals and run-out concerts, an "All American Music" concert, and the engagement of guest conductors. 

For young people’s concerts, run-out concerts, the collaboration 

with Ballet West, and a series of concerts by a chamber orchestra. 

For additional rehearsal time, ensemble performances, and 

southeastern tour concerts. 

For college residencies of the chamber orchestra and full orchestra, 

for the collaboration with the Pittsburgh Ballet and Opera, and 

for a music festival zbSth the orchestra. 

For youth concerts, chamber orchestra concerts, and to engage a 

string quartet. 

For the island touring program, the engagement of young Puerto 

Rican soloists, pops concerts, and the continued engagement of 

administrative staff. 

For increased rehearsal time, the engagement of additional 

players, and expansion of the concert series. 

To engage additional musicians, and for the education program 

involving the orchestra and selected ensembles in schools throughout the state. 

To expand the Richmond Sinfonia’s statewide touring program. 

To engage additional administrative staff. 

17,480 

TF 36,520 

PG 36,520 

16,250 

TF 31,750 

PG 31,750 

13,550 

TF 31,450 

PG 31,450 

TF 16,000

PG 16,000 

90,300 

TF 209,700 

PG 2O9,700 

31,600 

TF 73,4OO 

PG 73,400 

2,000 

6,020 

TF 13,980 

PG 13,980 

1,000 

90,300 

TF 209,700 

PG209,700 

17,000 

22,120 

TF 51,380 

PG 51,380 

12,000 

79,770 

TF 185,230 

PG 185,230 

9,780 

TF 22,720 

PG 22,720 

40,000 

8,000 

7,525 

TF 17,475 

PG 17,475 

19,560 

TF 45,440 

PG 45,44O 

3,000 
228 Music 

Rochester Philharmonic Orchestra 

Rochester, New York 

Sacramento Symphony Association 

Sacramento, California 

St. Louis Symphony Society 

St. Louis, Missouri 

St. Paul Chamber Orchestra 

St. Paul, Minnesota 

Salem Symphony Association 

Salem, Oregon 

San Antonio, Symphony Society of 

San Antonio, Texas 

San Diego Symphony Orchestra 

Association 

San Deigo, California 

San Francisco Symphony Association 

San Francisco, California 

San Jose Symphony Association 

San Jose, California 

Santa Barbara Symphony Orchestra 

Association 

Santa Barbara,California 

Santa Rosa-Sonoma County Symphony 

Orchestra 

Santa Rosa, California 

Savannah Symphony Society

Savannah, Georgia 

Seattle Symphony Orchestra 

Seattle, Washington 

Shreveport Symphony Society 

Shreveport, Louisana 

Sioux City Symphony Orchestra 

Association 

Sioux City, Iowa 

Spokane Symphony Society 

Spokane, Washington 

Springfield Orchestra Association 

Springfield, Massachusetts 

Springfield Symphony Orchestra

Springfield, Ohio 

Stockton Symphony Association 

Stockton, California 

For the educational concerts, rvn-out concerts, summer concerts, 

free public concerts, and pops concerts. 

To engage string players to per.form u,ith the orchestra and provide ensemble and educational services. 

For the Environments Program in Laumeier Sculpture Park, a 

chamber music series, collaboration with Opera Theater of St. 

Louis, and for the continued engagement of public relations and 

marketing staff. 

To evgage additional string players and to expand the Capitol 

Series and the Baroque Series. 

To engage a musical director and additional musicians. 

To extend the season; to engage additional string players, 

American gnest artists and conductors, and a dccelopment directot; to expand the in-school edncational programs; and for 

continued participation in the Rio Grande Valley International 

Music Festival. 

To continue the summer ontdoar concerts and young people~ 

concerts. 

For the Symphony Forum, an cdncation program for university 

stndents, and youth concerts. 

For young people’s concerts, expansion of the subscription 

concerts, and the engagement of additional staff 

To continue the Sunday Matinee Concert Series and for additional rehearsal time. 

To hire a manager. 

For the education program, and for the engagement of an assistant 

condnctor and additional musicians. 

For the Musical Galaxy Concert Series, a Sunday matinee series, 

the engagement of an associate conductor and American .quest 

artists, the expansion of the development program, and the Bartok 

Festival. 

To engage additional musicians to comprise a core for the 

orchestra and to form a chamber orchestra. 

For family concerts. 

For the "Clearly Classical" series, the expansion of the tonring 

program, the continnation of the Snnday matinee series, and the 

engagement of additional administratire staff. 

To continue the youth concerts, in-school ensemble concerts, and 

to engage additional musicians. 

For run-out concerts, residencies, education concerts, concerts in 

public places, and for an audience de~,elopment program. 

To engage a string qnartet to perform u,ith the orchestra and 

provide educational ser~4ces. 

57,200 

TF 132,800 

PG 132,800 

9,030 

TF 20,970 

PG 20,970 

78,260 

TF 181,740 

PG 181,740 

36,120 

TF 83,880 

PG 83,880 

1,000 

38,830 

TF 90,170 

PG 90,170 

21,670 

TF 50,330 

PG 50,330 

72,840 

TF 169,160 

PG 169,160 

16,550 

TF 38,450 

PG 38,450 

16,000 

2,000 

10,530 

TF 24,470 

PG 24,470 

55,685 

TF 129,315 

PG 129,315 

20,000 

2,000 

12,040 

TF 27,960 

PG 27,960 

11,285 

TF 26,215 

PG 26,215 

2,000 

1,000 
Syracuse Symphony Orchestra

Syracuse, New York 

Toledo Symphony Orchestra

Association 

Toledo, Ohio 

Tucson Symphony Society 

Tucson, Arizona 

Tulsa Philharmonic Society 

Tulsa, Oklahoma 

Twin Cities Symphony 

St. Joseph, Minnesota 

Utah Symphony

Salt Lake City, Utah 

Vermont Symphony Orchestra

Association 

Burlington, Vermont 

Virginia Orchestra Group 

Norfolk, Virginia 

Wheeling Symphony Society 

Wheeling, West Virginia 

Wichita Symphony Society 

Wichita, Kansas 

Winston-Salem Symphony Association 

Wi~,ston-Salem, North Carolina 

Youhgstown Symphony Society 

Youngstown, Ohio 

Music Resources 

Oakland Symphony Orchestra 

Association 

Oakland, California 

Services to the Orchestra Field 

American Symphony Orchestra 

League 

Vienna, Virginia 

Buffalo Philharmonic Orchestra 

Society 

Buffalo, New York 

Milwaukee Symphony Orchestra 

Milwaukee, Wisconsin 

For touring in central New York, school concerts, family concerts, 

and a summer series. 

For run-out concerts to schools, nursing homes, and mental health 

centers, and for the educational development program. 

For in-school concerts, run-out concerts, outdoor concerts, and for 

the engagement of additional musicians. 

To engage a manager and additional musicians to perform with 

the orchestra and provide ensemble services, and for additional 

rehearsal time. 

To engage a string quartet to perform with the orchestra and 

provide ensemble and in-school services. 

For a regional touring program and a variety of concerts, including the collaboration with the Utah Opera Company, Ballet West, 

and the Utah Chorale. 

For the engage~nent of a resident string quartet, for rehearsal 

costs and youth programs. 

For the expansion of the run-out concerts, summer concerts, and 

for the continued engagement of administrative staff. 

To engage a string quartet to perform with the orchestra and 

provide ensemble services. 

For touring and run-out concerts in Kansas, for development 

activities, the Soirees Musicales, and the engagement of a string 

quartet. 

For the in-school educational program, and to engage professional 

musicians to perform with the orchestra. 

To collaborate with an opera company, for youth and in-school 

concerts, and to engage guest conductors. 

For the Orchestral Fellowship Program, designed to give qualified minority orchestral players performing experience by allowing them to play with the orchestra in regular subscription 

concerts and other engagements. 

For training services to all categories of orchestras, including 

regional workshops, management seminars, a national conference, and year-round technical assistance; for publications, 

reference, and research services for orchestras; and for the engagement of additional administrative staff. 

To conduct research on how the orchestra might provide services 

to the hearing-impaired. 

For the development of pre-concert materials and a docent program for the handicapped, and to make concerts more physically 

accessible to the disabled. 

Music 229 

34,250 

TF 79,550 

PG 79,55O 

13,550 

TF 31,450 

PG 31,450 

7,225 

TF 16,775 

PG 16,775 

10,000 

2,000 

57,190 

TF 132,810 

PG 132,810 

17,000 

8,275 

TF 19,225 

PG 19,225 

6,320 

TF 14,680

PG 14,680 

16,550 

TF 38,450 

PG 38,450 

10,000 

6,620 

TF 15,380 

PG 15,380 

$15,000 

$178,000 

12,500 

9,750 
230 Music 

Includes four subcategories: Fellowships for Composers and Per- Jazz formers enable highly talented professional jazz composers and 

performers to advance their c areers. 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 assist individuals and organizations ~vith projects which are not included in other Jazz grant 

catetories. 

Program funds: $1,363,329 

Fellowships for Composers and Performers 

Ackerman, Robert 

Dallas, Texas 

$3,300 Data, Olu

Long Island, New York 

4,125 

Amrod, Paul 

New York, New York 

2,950 Davis, Nathan 

Allison Park, Pennsylvania 

5,500 

Auclair, Susan 

Jamaica Plain, Massachusetts 

1,875 Davis, Stanton 

Jamaica Plain, Massachusetts 

4,125 

Bass, Lee 

New York, New York 

4,125 Dean, Dan 

Seattle, Washington 

3,410 

Bent, Albert 

San Francisco, California 

3,850 D’earth, John 

New York, New York 

3,300 

Berry, William 

North Holly~vood, California 

5,500 Dixon, Fostina 

Los Angeles, California 

4,675 

Bobulinski, Gregory 

Flushing, New York 

3,300 Dixon, Patricia 

New York, New York 

4,400 

Booker, Walter, Jr. 

New York, New York 

4,125 Fineberg, Jean 

New York, New York 

3,300 

Branch, James 

Richmond, Virginia 

5,50O Giuffre, James 

West Stockbridge, Massachusetts 

10,000 

Bridgewater, Ronald 

Brooklyn, New York 

5,430 Golia, Vinny 

Sepulveda, California 

4,125 

Brookmeyer, Robert 

New York, New York 

7,500 Grauer, Joanne 

Encino, California 

5,500 

Brmvn, Gerald 

New York, New York 

4,125 Graves, Milford 

Jamaica, New York 

3,250 

Brown, Willex 

New York, New York 

4,125 Griffin, James 

Teaneck, New Jersey 

5,500 

Bryant, CIora 

Los Angeles, California 

4,000 Grimes, Lloyd "Tiny" 

New York, New York 

8,000 

Bushnell, Garvin 

Las Vegas, Nevada 

5,000 Hamilton, Jimmy 

Christiansted, Virgin Islands 

8,000 

Carroll, Baikida 

Woodstock, New York 

4,125 Harris, Barry 

New York, New York 

15,000 

Colson, Stephen

Chicago, Illinois 

4,125 Harris, Vandy 

Chicago, Illinois 

4,500 

Crotty, Michael 

Washington, D.C. 

7,500 Henderson, Richard

Washington, D.C. 

5,500 

Cyrille, Andrew 

Jamaica, New York 

3,250 Henderson, William

Los Angeles, California 

5,500 
Music 231 

Hersey, Baird 

New York, New York 

Hobbs, William 

Minneapolis, Minnesota 

Horenstein, Stephen 

North Bennington, Vermont 

Jackson, Ronald 

New York, New York 

Jenkins, Leroy 

New York, New York 

Johnson, Rudolph 

Inglewood, California 

Jones, Jonathan, St. 

New York, New York 

Jordan,’ Clifford 

New York, Ne~v York 

Jordan, Sheila 

New York, New York 

Layne, Alex 

Corona, New York 

Lee, William

Brooklyn, New York 

Lewis, Fred 

Rochester, New York 

Lewis, James 

Temple Terrace, Florida 

Liebman, David 

New York, New York 

Lindsay, Gary 

Miami, Florida 

Lyons, Jimmy 

Bronx, New York 

Macchia, Frank 

Allston, Massachusetts 

Marsh, George 

San Francisco, California 

McIntyre, Kalaparusha Brooklyn, New York 

Montgomery, Buddy 

Milwaukee, Wisconsin 

Study Fellowships 

Abdus, Salim 

Newark, New Jersey 

Abrams, James 

Louisville, Kentucky 

Allen, Heath 

Philadelphia, Pennsylvania 

Ambroise, Alix 

Queens Village, New York 

4,500 

5,000 

3,300 

4,000 

10,000 

4,000 

15,000 

10,000 

3,800 

4,000 

5,000 

3,850 

3,500 

3,500 

6,400 

4,400 

3,300 

3,300 

3,800 

5,000 

$3,00 

2,000 

2,000 

2,000 

Moody, James

Las Vegas, Nevada 

Muhammad, Ali 

Detroit, Michigan 

Newton, James 

Brooklyn, New York 

Owens, Jimmy 

New York, New York 

Reece, Alphonso 

New York, New York 

Rejto, Nika 

Los Angeles, California 

Rogers, Kenneth 

New York, New York 

Rowles, James 

New York, New York 

Ruiz, Hilton 

New York, New York 

Sanders, Pharoah 

North Little Rock, Arkansas 

Saxton, William 

Richmond Hill, New York 

Seeling, Ellen 

Ne~v York, New York 

Skaff, Gregory 

New York, New York 

Smith, Brian 

New York, New York 

Thompson, Malachi 

Brooklyn, New York 

Valentine, Thomas "Kidd" 

New Orleans, Louisiana 

Watson, Robert 

New York, New York 

Williams, Charles 

New York, New York 

Wilson, Joe 

New York, New York 

Anderson, Donald 

Murray, Kentucky 

Andrews, Deborah 

New York, New York 

Anzaldo, Sebastian, Jr. 

Omaha, Nebraska 

Arenius, Claire

Northampton, Massachusetts 

Arner, David 

Barrytown, New York 

10,000 

2,000 

5,000 

15,000 

4,400 

1,875 

4,125 

6,000 

6,600 

5,500 

4,000 

3,300 

3,300 

7,500 

3,300 

10,000 

4,400 

5,500 

4,400 

1,000 

1,500 

1,500 

3,500 

750 
232 Music 

Aviles, Michael 

Brooklyn, New York 

Barrow, Stella 

Bronx, New York 

Bern, Alan 

Bloomington, New York 

Bingham, Philip

Montclair, New Jersey 

Blue, Esther 

New York, New York 

Bridgewater, Sheryl 

Brooklyn, New York 

Brown, Ronald 

Dallas, Texas 

Brown, Stephen 

Knoxville, Tennessee 

Burns, Terry 

Clovis, New Mexico 

Clark, David 

Swarthmore, Pennsylvania 

Clarke, Kim 

East Elmhurst, New York 

Clayton, Frederick 

Dorchester, Massachusetts 

Corra, Thomas 

Woodstock, New York 

Crawford, Gilbert 

Brooklyn, New York 

Denson, Estella 

New York, New York 

Dillon, Linda 

Burbank, California 

Dorfman, Jonathan 

Rhinecliff, Ne~v York 

Draper, Beverly 

New York, New York 

EIkjer, Robert 

Boston, Massachusetts 

Eubanks, Robin 

Philadelphia, Pennsylvania 

Floyd, Gary 

Milwaukee, Wisconsin 

Forbes, Lacine 

Detroit, Michigan 

Freeman, Kendrick 

Simsbury, Connecticut 

Glanden, William 

Wilmington, Delaware 

Grice, Janet 

Middletown, Massachusetts 

Hammond, Mark 

Claremont, California 

1,500 

2,000 

2,000 

2,000 

2,500 

4,000 

3,000 

1,700 

1,350 

1,500 

2,000 

1,500 

2,500 

1,378 

2,500 

1,920 

1,600 

1,663 

2,000 

3,000 

1,500 

1,000 

1,200 

1,420 

2,000 

3,000 

Harris, Cynthia 

Bronx, New York 

Higgins, Patience 

New York, New York 

Hinson, Antonio 

Flushing, New York 

Horington, Jonathan 

Morristown, New Jersey 

Jacober, Gary 

Cranston, Rhode Island 

Jospe, Robert 

New York, New York 

Khalid, Abdullah 

Brooklyn, New York 

Kinnon, Elizabeth 

Redondo Beach, California 

Kofman, Alex 

New York, New York 

Landis, Robert 

Wichita, Kansas 

La~vrence, Keith 

Queens, New York 

Maupin, Bennie 

Altadena, California 

McIntosh, Franklyn 

Brooklyn, New York 

Mitchell, James 

New York, New York 

Morgan, Jeff 

New York, New York 

Nelson, Alva 

Houston, Texas 

Nelson, Milton 

Albuquerque, New Mexico 

O~vens, Charles
 

Los Angeles, California
 

Patterson, Donald
 

Houston, Texas
 

Powell, Keven 

New Brunswick, New Jersey 

Purcell, Yvonne
 

New York, New York
 

Purviance, Douglas
 

New York, Ne~v York
 

Rakha, Youssef
 

Bronx, New York
 

Ray, Carline
 

New York, New York
 

Rosemond, Janith
 

New York, New York
 

Rosinsky, Michael
 

Omaha, Nebraska
 

1,230 

2,500 

1,500 

2,000 

2,500 

2,000 

3,000 

2,500 

2,000 

1,330 

1,600 

2,500 

1,560 

1,500 

1,000 

2,500 

1,000 

1,000 

1,000 

2,000 

2,000 

5,000 

2,000 

4,000 

2,000 

2,000 
Music 233 

Scott, Patrick 

San Francisco, California 

Scribner, D. Robert 

Murray, Kentucky 

Slatoff, Donald 

Brooklyn, New York 

Spencer, Richard 

Denton, Texas 

Thompson, Richard 

Norman, Oklahoma 

Torchia, Nancy 

New York, New York 

Tracy, Michael 

Louisville, Kentucky 

Organizations 

Alaska, University of 

Fairbanks, Alaska 

Alternative Center for International 

Arts 

New York, New York 

Aquinas College Grand Rapids, Michigan 

Arizona State University 

Tempe, Arizona 

Artists Collective 

Hartford, Connecticut 

Arts Alaska 

Anchorage, Alaska 

Association for Advancement of 

Creative Musicians 

Chicago, Illinois 

Atlanta, City of

Atlanta, Georgia 

Bismarck Junior College 

Bismarck, North Dakota 

Black Arts Music Society 

Jackson, Mississippi 

California State Polytechnic University 

Pomona, California 

Centrum Foundation 

Port Townsend, Washington 

Century City Educational Arts Project 

Los Angeles, California 

Chelsea Performing Arts Studio 

New York, New York 

City College 

New York, New York 

1,500	 Varela, Frank 1,500 

Springfield, Massachusetts 

1,000	 Walker, John 2,000 

Alexandria, Virginia 

1,500	 Williams, Daniel 1,000 

San Diego, California 

1,000	 Wolkonowski, Steve 2,500 

Arlington, Virginia 

1,000	 Wood, Elise 2,000 

New York, New York 

2,000	 Yarborough, Davey 2,000 

Mt. Rainer, Maryland 

1,500 

For a series of jazz festivals-workshops intended to bring pro- $7,000 

fessional jazz musician-instructors to Alaskan musicians and 

students. 

For a series of performances by professional jazz artists.	 6,000 

To engage artist Clark Terry to participate in an intercollegiate, 2,500 

non-competitive big band jazz festival. 

For the Real Jazz Series, a year-round program of jazz concerts 5,0O0 

and workshops. 

For a series of jazz workshop.demonstrations for local artists led 7,000 

by professional guest musicians. 

For a series of residencies in Alaskan communities by the Art 10,000 

Resnick Quartet. 

To engage an administrative director and administrative assist- 20,000 

ant to develop fund-raising programs, develop audiences, and 

strengthen management. 

For the 1980 Atlanta Free Jazz Festival, including workshops, 10,000 

concerts, and performances in city parks. 

For a week-long Jazz Celebration consisting of a residency by a 5,600 

nationally known jazz artist and a series of concerts and workshops by visiting guest artists. 

For a series of jazz concerts and instructional programs by 5,000 

visiting professional jazz artists. 

For a residency by the Woody Herman Big Band.	 2,000 

For the 1980 Port Tou’nsend Jazz Festival, including a composer- 8,000 

arranger workshop. 

For a regular jazz concert series featuring new jazz artists. 5,0O0 

For a series of jazz concerts and workshops.	 5,000 

For a free Jazz Festival for the Harlem community at Aaron 7,500 

Davis Hall. 
234 M~sic 

Collective Black Artists 

New York, New York 

Community Renewal Team of Greater 

Hartford 

Hartford, Connecticut 

Composers and Improvisors Association

Seattle, Washington 

Contemporary Arts Center 

New Orleans, Louisiana 

Cornish Institute of Allied Arts 

Seattle, Washington 

Creative Music Foundation 

Woodstock, New York 

Creative Musicians Improvisors’ Forum 

New Haven, Connecticut 

Cultural Affairs Council 

Philadelphia, Pennsylvania 

Dance Visions 

New York, New York 

Dartmouth College, Trustees of 

Hanover, New Hampshire 

Eastern Montana College 

Billings, Montana 

Florida State University 

Tallahassee, Florida 

For the LoVe of Jazz 

Reno, Nevada 

Glassboro State College 

Glassboro, New Jersey 

Hartford, University of 

Hartford, Connecticut 

Hempstead, Town of 

Hempstead, New York 

Henry Street Settlement 

New York, New York 

Highlights in Jazz 

New York, New York 

Ho~vard University 

Washington, D.C. 

Human Arts Association 

New York, New York 

Illinois, University of 

Champaign-Urbana, Illinois 

Inter-Media Arts Center 

Bayville, New York 

International Art of Jazz 

Stony Brook, New York 

International Art of Jazz 

Stony Brook, New York 

Jazz Arts Group of Columbus 

Columbus, Ohio 

For performances by the CBA Ensemble nnder the direction of 18,000

Slide Hampton, including the engagement of gnest artists. 

For the 1980 Hartford Festival of Jazz, consisting of a series of 6,000 

jazz concerts in Bushnell Park. 

For the Composers and Improvisors Orchestra program of 3,500

concerts and tours, and for residencies bg nationally reco~dzed 

jazz artists. 

For a series of jazz concerts presenting local and nationally 13,750 

known jazz artists at the Arts Center’s Downstairs Theater, and 

to hire an administrator for the Arts Center’s jazz program. 

For a residency by Anthony Braxton to compose a new work for 2,000 

performance by the Composers and Improvisors Orchestra. 

For the Creative Music Studio’s Jazz Concert Series, and for 6,000 

residencies by professional jazz artists.
 

For a series of week-long jazz workshops for stndents. 6,100
 

For two 1980 jazz festivals featuring local jazz artists. 5,000

For the mnsic component of a collaborative project between pianist 3,000 

Cecil Taylor and dancer Diane McIntyre. 

To engage jazz artists to perform at concerts in the John Coltrane 8,000 

Memorial World Music Series at Dartmouth College. 

To develop a source center for jazz that t~ll provide pnblic 6,000 

concerts, n,orkshops, and a residency by a prominent jazz artist. 

To develop the Jnlian "Cannonball" Adderley Jazz Festiral. 7,500 

For a jazz concert series by visiting professiona l jazz artists, and 5,000

for a jazz education program of workshops and lect~res. 

For a series of performances and lectnres by nationally recog­ 2,500 

nized jazz artists. 

To engage professional jazz artists to participate in community 13,740 

concerts and master classes. 

To engage prqtessional jazz artists to perform at two jazz festivals 3, O00 

administered by the township.
 

For a program of jazz workshops and concerts by professional
 10,000 

jazz artists. 

For a series of jazz concerts at New York Unirersitgk Loeb 5,000 

Student Center, each concert to emphasize the contrit~tion of a 

pivotal jazz performer or style. 

For a three-day jazz arrangers’ n’ovkshop. 5,250 

For rehearsal time and performa aces b~.! the Sho’ Nuf Orchestra, 5, 000 

a forty-piece jazz orchestra. 

For "Illini Jazz Festival ’80," co~sisting of performances and 2,800 

lect~tre-demonstration by visiting professional jazz artists. 

For a series of jazz concerts. 5,000 

For an arts ed~cation program consisting of performances and 21,000 

workshops by the IAJ Ensemble i~ public schools thronghout the 

state of New York. 

To engage a financial planner to assist in fln~d-raisi~g and to 10,175 

strengthen the management of the organization.
 

For a series of short residencies bg established jazz artists. 5,000
 
Music 235 

Jazz Arts Society

Washington, D.C. 

Jazz Coalition 

Boston, Massachusetts 

Jazz in Arizona 

Paradise Valley, Arizona 

Jazz Research Institute 

Detroit, Michigan 

Jazz Research Institute 

Detroit, Michigan 

Jazzmobile 

New York, New York 

Jazzmobile 

New York, New York 

Je~vish Community Center of Greater 

Kansas City Kansas City, Missouri 

Jonesboro Jazz Society 

Jonesboro, Arizona 

Kuumbwa Jazz Society 

Santa Cruz, California 

Las Vegas Jazz Society 

Las Vegas, Nevada 

Metropolitan Arts Council 

Omaha, Nebraska 

Michigan State University

East Lansing, Michigan 

Michigan, University of 

Ann Arbor, Michigan 

Mid-America Arts Alliance 

Kansas City, Missouri 

Monmouth County Library 

Freehold, New Jersey 

National Jazz Ensemble 

New York, New York 

Neighborhood Arts Center 

Atlanta, Georgia 

New Muse Community Museum

Brooklyn, New York 

New York Shakespeare Festival 

New York, New York 

Northern Colorado, University of 

Greeley, Colorado 

Oakland Ensemble Theater 

Oakland, California 

Paine College 

Augusta, Georgia 

Portland Center for the Visual Arts 

Portland, Oregon 

For a series of jazz concerts featuring local performers. 5,000 

To develop a year-round jazz series to include concerts, programs 6,000 

in area institutions, and community residencies by professional 

jazz artists. 

For a jazz residency program consisting of public concerts by 8,000 

professional artists and in-school ~rkshops and programs. 

For the Creative Arts Collective’s program of public concerts and 6,870 

free jazz workshops. 

For performances of the Pioneer Jazz Orchestra, a repertory jazz 20,000 

ensemble composed of Detroit musicians. 

For Jazzmobile’s Summer Mobile Concerts in various locations, 35,000 

and for a school lecture-concert series presented in the five 

boroughs of New York and in Westchester County. 

To engage a development director to coordinate Jazzmobile’s 10,000 

fund-raising, audience development, and long-range planning. 

For a series of concerts and workshops by visiting jazz artists. 4,000 

For a three-day jazz festival consisting of concerts, workshops, 5,000 

and jam sessions for students. 

For the administrative costs necessary to operate Kuumbwa Jazz 5,250 

Center. 

For a jazz concert series, educational program, and jazz 20,000 

performances connected with Jazz Month activities in May 1980. 

For a three-day outdoor Jazz Festival in spring 1981. 5,000 

For the Showcase Jazz series, consisting of a concert series and a 6,000 

residency by a prominent jazz performer. 

For the Eclipse Jazz Series of concerts and workshops by pro- 7,108 

fessional jazz artists. 

For a tour through the Alliance’s region by the Dizzy Gillespie 15,000 

Quartet, and for jazz performances held in conjunction with 

"Goin’ to Kansas City," a traveling museum exhibit. 

For a program of free jazz performances and demonstrations 5,000 

held at three public libraries in New Jersey. 

For the Ensemble’s 1979-80 concert season, a regional tour, and 15,000 

the administrative costs necessary to maintain the Ensemble. 

For in-school performances by the Neighborhood Arts Ensemble, 8,000 

a 22-piece jazz orchestra. 

For the Jazz Heritage Program, consisting of instructional work- 20,000 

shops, a senior citizens’ jazz concert series, and a musicians’ 

forum. 

To engage artists to perform in the New Jazz Series at the Public 8,000 

Theater. 

For a residency by a nationally recognized jazz artist. 1,500 

For the Festival of Black Women in Jazz, consisting of concerts, 10,000 

se~.ninars, and radio programming. 

For a series of jazz workshops and concerts bringing professional 3,000 

jazz to the community. 

For a series of residencies by nationally recognized jazz artists, 5,500 

designed to bring local artists into contact with outstanding 

players, and for audience development in the Portland area. 
236 Music 

Queens Council on the Arts 

Jamaica, New York 

Rod Rodgers Dance Company 

New York, New York 

Rutgers, the State University of

New Jersey 

New Brunswick, New Jersey 

Shaw University

Raleigh, North Carolina 

Society of Universal Cultural Arts 

New York, New York 

Southern Arts Federation 

Atlanta, Georgia 

Springfield Jazz Society 

Longmeadow, Massachusetts 

Universal Jazz Coalition 

New York, New York 

Universal Jazz Preservation Society 

Altadena, California 

Vermont, University of 

Burlington, Vermont 

Virginia Commonwealth University

Richmond, Virginia 

Walker Art Center 

Minneapolis, Minnesota 

West Virginia Arts and Humanities 

Commission 

Charleston, West Virginia 

Wichita Jazz Festival 

Wichita, Kansas 

Wolf Trap Foundation for the

Performing Arts 

Vienna, Virginia 

Women’s Jazz Festival 

Kansas City, Missouri 

Young Audiences of Indiana 

Indianapolis, Indiana 

For a series of jazz concerts in the Queens and Nassau County 5,000 

communities. 

To engage jazz artists to perform and rehearse with the Rod 5,000 

Rodgers Dance Company. 

For jazz instruction programs in New Jersey high schools, out- 19,000 

reach concerts for the general public, and a series of short residencies by visiting jazz artists on the Livingston College campus. 

For a program of jazz instruction for North Carolina musicians, 5,000 

students, and teachers using professional artists as iustructors. 

For the Studio iVe Jazz Concert Series offering free concerts in 10,000 

parks throughout New York City. 

For a touring program throughout the southeast by two profes- 10,000 

sional jazz groups. 

For a program of jazz concerts and educational presentations, 5,000 

and for "Jazz Week." 

For a concert series, the New York Women’s Jazz Festival, the 20,000

Young Musicians’ Institute, the Big Apple Jazzwomen’s performance at the Kansas City Jazz Festi~’al and the costs of administeri~g services to jazz artists. 

For the administrative costs of seminars and concerts. 10,000

For a series of performances for the community by professional 1,900 

jazz artists from New York or Boston 

For a series of jazz seminar-clinics and concerts by professional 7,500 

jazz artists during Richmond~ bicentennial celebration. 

For a series of jazz concerts featuring both local performers and 5,500 

nationally recognized artists. 

For a three-day jazz festival avd a series of residencies in West 8,000 

Virginia communities by natioually known jazz groups. 

To engage nation, ally known jazz artists to participate in the 1980 3,500 

Wichita Jazz Festival. 

To engage artists to perform and conduct workshops during the 10,000 

1980 Wolf Trap International Jazz Festival. 

For the 1980 Women’s Jazz Festival, consisting of concerts, in- 10,000 

school programs, workshops, and jam sessions. 

For a program of jazz instr~ctiou and performance in the 2,500 

Indianapolis public schools. 

Jazz-Related Activities: Individuals 

Bradley, Jack 

Harwichport, Massachusetts 

Lawson, Janet 

New York, New York 

Parkerson, Michelle 

Washington, D.C. 

Pelletier, Ronald

Los Angeles, California 

Ridley, Larry 

Englishtown, New Jersey 

To prepare an extensive photo-essay on the life of Louis Armstrong. 

$3,500 

To develop Women in Jazz Theater, a musical-theater work using 

jazz performers to illustrate the role women have played in jazz. 

7,500 

To complete a film portrait of Betty Carter. 5,000 

For a program of jazz instruction a~td demonstration in the Los 

Angeles public schools. 

5,000 

For administrative assistance as national coordinator for the 

Music/Jazz component of the Artists-in-Schools Program. 

15,000 
Music 237 

Russell, George To support further development and refinement of the Lydian 15,000 

Cambridge, Massachusetts Chromatic Concept of Tonal Organization. 

Wong, Herbert H. For a concert in tribute to Count Basic based on archival material 5,000 

Kensington, California documenting Basie’s contributior~ to American music. 

Jazz-Related Activities: Organizations 

Consortium of Jazz Organizations and 

Artists 

New York, New York 

Consortium of Jazz Organizations and 

Artists 

New York, Ne~v York 

Country Music Foundation 

Nashville, Tennessee 

National Jazz Foundation 

Washington, D.C. 

National Public Radio 

Washington, D.C. 

Newark Public Radio 

Newark, New Jersey 

Solo Artists 

Pro Musicis Foundation 

New York, New York 

For administrative costs to operate a full-time jazz service $26,000 

organization which provides info~Tnation to the public concerning 

jazz activity; offers technical assistance to jazz organizations; and 

gathers information concerning nonprofit jazz programs. 

To hire an administrator to assist the Consortium in its pro- 15,000 

grams. 

To engage a jazz historian-discographer to assist the Foundation 7,500 

in identifging and cataloguing its extensive collection of jazz 

recordings for a jazz archive. 

For the administration of a program of technical assistance to 40,000 

jazz organizations. 

For a series of special broadcasts called "Jazz Alive!" 12,500 

For a retrospective on the life and music of Roland Kirk. 4,320 

To assist a limited number of solo artists through a grant to a musical 

organization. 

Program funds: $10,000 

For the activities of the Fonndation, including development of the $10,000 

eareers of young American concert soloists. 

*contract; PG - Program Funds; TF - Treasury Funds 
238 Opera-M~sical Theater 

It’s ~ merriest romp in all opera!

Full of bubbly songs 

~A_II performances in English. 
239
 

Opera-Musical
 

Theater
 

Why should the National Endo~vment for the 

Arts provide funds to support opera, an art form 

which was brought to the United States from its 

native Europe and which appeals to relatively 

few people? Why should the Endowment make 

grants to musical theater, which can earn large 

profits on Broadway? We are often asked 

questions like these, and we, too, ask them of 

ourselves. 

We believe that both opera and musical 

theater are part of a wide music theater 

spectrum that includes a diverse and colorful 

variety of sung theater. Music theater is one of 

man’s most basic, yet complex, arts. It enables 

him to celebrate his humanity through the 

drama of sung music, when the spoken word 

alone is inadequate to express his loves and 

hates, his joys and fears, his uncertainties and 

desires, his aspirations and passions. 

Two-and-one-half years ago, the Opera-Musical 

Theater Program was created at the Endowment 

to provide public funds in support of music 

theater activities in all parts of the country. The 

following list of grants for the 1980-81 season 

describes those projects deemed worthy of 

assistance by the members of the panels listed in 

the following pages and by the National Council 

on the Arts and the Chairman of the Endowment. 

The panelists considered many more applications 

than could be funded with the money available 

and made their recommendations on several 

bases: the quality of the proposed project; its 

value to citizens and to the art of music theater; 

the excellence, stability, and potential for service 

of the group proposing it; and the likelihood that 

it could be carried out successfully. 

It is always difficult to judge quality; such 

determinations are better left to history. The 

assistance of the National Endowment for the 

Arts, therefore, is most useful when it allows a 

broad and varied range of ideas and activities to 

enter the crucible of history. We can best serve 

our art by allowing its creators and interpreters 

to survive as long as possible in pursuit of their 

dreams. We can never be sure of our judgments 

of talent; but we can be sure that our funds are 

being well used if they enable an artist to keep 

working a little bit longer or make it possible for 

him to see his work reach its public. 

The Opera-Musical Theater Program has, 

from its inception, emphasized support for the 

production of music theater works, in the 

conviction that art is a communication between 

the creator and interpreter and the audience. We 

have also emphasized the irreplaceable role of 

new work in keeping the art form healthy. 

Critics might find an irony in this concern for 

new works in a program which serves, as one of 

its components, opera--a form often unfairly 

derided for dully repeating, over and over, the 

same few dozen masterpieces. Opera in the 

United States is certainly not now characterized 

by such repetition. In the last 20 years, as opera 

companies have sprouted and flourished in 

almost every American city and town, interest in 

developing and presenting new works has 

become the most significant feature of a 

distinctly American operatic profile. Opera in 

the United States is now a genuinely American 

art form, bursting with vitality--reaching sellout audiences everywhere; nourishing the most 

talented singers, conductors, directors, and 

designers to be found anywhere in the world; 

and continuously investigating fresh approaches 

to the lyric theater. 

At the same time, the musical play or comedy, 

America’s unique contribution to music theater, 

has grown up. This form deals with the issues 

and concerns of life as the world approaches the 

twenty-first century. It is stretching its creative 

perspective to become a major intellectual and 

emotional force in our lives. With the attention 

music theater as a ~vhole is now receiving from 

the Endowment and other funding sources, a 

generation of nonprofit institutions is coming 

into being. They aim both to preserve the best of 

American musical theater of the last 100 years 

and to provide the means and structure for the 

gestation of the musical theater of the future. 

How should panelists and staff determine 

quality, in a pluralistic society and in circumstances in which the need for support will always 
240 Opera-Mxsical Theater 

Beverly Sills 

GianCa,’loMenotti’s ~_a~.~ L©CA
 

SAN DIEGO OPERA/WORLD PREMIERE/JUNE 3, 1979 
Opera-M~sical Tl~eater 241 

outstrip the money available? Quality is no 

longer related to the personal tastes of the 

wealthy and powerful; the benefits and choices 

that formerly accrued to a privileged class 

from the labors of the many are now distributed 

much more widely. But quality is not democratically determined by popularity. Thus one of the 

jobs of the National Endowment for the Arts is 

that of leadership in demonstrating that there is 

such a thing as quality and that it deserves 

recognition. Our panels accept this task while 

remembering that, in our pluralistic democracy, 

many sorts of competing and complementing 

activities can all reflect high quality in different 

ways. 

Opera-Musical Theater panelists must continually make choices: between preserving the best 

of the old and stimulating the new, between 

making fewer large grants to especially significant projects and more small grants to plant 

artistic seeds throughout the land, between 

supporting the artist and supporting the organization that transmits his work to an audience. 

Since the Endowment operates on the premise 

that its grants can supply only a small part of the 

support needed for arts activities and that a 

partnership must therefore exist between public 

and private sources of funds, these choices need 

not be made to the exclusion of alternatives. 

There are no unquestionably right answers for 

all time to the issues discussed above. Our 

Opera-Musical Theater Program guidelines will 

therefore change from time to time to reflect the 

most urgent needs in a field which itself is full 

of change. 

Edward Corn 

Director, Opera-Musical Theater Program 
242 Opera-Musical Theater 

Opera-Musical Theater A dvisory Panel
 

Policy Panel 

Carlisle Floyd, Chairman 

Composer, librettist, educator
 

Houston. Texas
 

Patricia Collins, Vice-Chairman

Lighting designer
 

Hamden, Connecticut
 

Kurt Herbert Alder 

Conductor, opera company general
 

director
 

San Francisco, California
 

Carmen Balthrop 

Soprano
 

Los Angeles, California
 

Michael Bronson 

Opera company business administrator,
 

television producer
 

New York, New York
 

Edward Corn 

Opera company manager
 

Philadelphia, Pennsylvania
 

Robert Darling 

Stage designer, opera company artistic 

director 

Central City. Colorado 

David Gockley 

Opera manager and director 

Houston, Texas 

Joan Harris 

Arts advisor, trustee
 

Chicago, Illinois
 

Stuart Ostroxv 

Producer
 

Pound Ridge, New York
 

Stanley Silverman 

Composer, music, consultant 

New York, New York 

Stephen Sondheim

Composer, Lyricist 

New York, New York 

Edxvar(1 Weston 

Actor’s union executive 

Los Angeles, California 

New American Works 

Special Opera-Musical Theater 

Projects 

Carlisle Floyd, Chairman 

Composer. librettist, educator 

Houston, Texas 

Patrlcia Collins, Vice-Chairman 

Lighting designer
 

Hamden, Connecticut
 

Wesley Balk 

Stage director, educator
 

Minneapolis, Minnesota
 

Adelaide Bishop 

Stage director, singer, educator
 

Boston, Massachusetts
 

Edxvard Corn 

Opera company manager
 

Philadelphia, Pennsylvania
 

Robert Darling 

Stage designer, opera company artistic 

director 

Central City. Colorado 

John Kander 

Composer, conductor, arranger
 

New York, New York
 

Mike Malone 

Stage director, choreographer 

Cleveland, Ohio 

Thea Musgrave 

Composer, lyricist, conductor

Norfolk, Virginia 

Stuart Ostroxv 

Producer
 

Pound Ridge, New York
 

Stanley Silverman 

Composer, music consultant 

New York, New York 

Stephen Sondheim 

Composer, lyricist 

New York, New York 

Conrad Susa 

Composer 

San Francisco, California 

Professional Companies

Regional Touring 

Services to the Art 

Carlisle Floyd, Chairman 

Composer, librettist, educator 

Houston, Texas 

Patricia Collins, Vice-Chairman 

Lighting designer 

Hamden, Connecticut 

Kurt Herbert Alder 

Conductor, opera company general 

director 

San Francisco, California 

Wesley Balk 

Stage director, educator
 

Minneapolis, Minnesota
 

Carmen Balthrop 

Soprano


Los Angeles, California
 

Michael Bronson 

Opera company business administrator, 

television producer 

New York, New York 

Hazel Bryant 

Producer, performer, playwright 

New York, New York 

Nash Cox 

Arts administrator, arts consultant 

Frankfort, Kentucky 

David Gockley

Opera manager and director 

Houston, Texas 

Joan Harris 

Arts advisor, trustee 

Chicago, Illinois 

Robert Herman 

Opera manager 

Miami, Florida 

Robert Holton 

Music publisher 

New York, New York 

Lynne Meadow 

Producer, artistic director 

New York, New York 

Stuart Ostrow 

Producer 

Pound Ridge, New York 

Anthony Turney 

Executive director, regional arts 

organization

Atlanta, Georgia 

Edward Weston 

Actor’s union executive 

Los Angeles, California 
Opera-Musical Theater 243 

Opera-Musical Program funds: $2,097,000

Treasury funds: $3,500,000 

Private gifts: $3,500,000 Theater Grants 

Professional 

Companies 

Allen (Richard) Center for Culture

and Art 

New York, New York 

Amas Repertory Theater 

New York, New York 

Amas Repertory Theater 

New York, New York 

Anchorage Civic Opera Association 

Anchorage, Alaska 

Annapolis Opera 

Annapolis, Maryland 

Annapolis Opera 

Annapolis, Maryland 

Arizona Opera Company 

Tucson, Arizona 

Arkansas Opera Theater 

Little Rock, Arkansas 

Asolo Opera Guild 

Sarasota, Florida 

Atlanta Civic Opera Association 

Atlanta, Georgia 

Augusta Opera Association

Augusta, Georgia 

Baltimore Opera Company 

Baltimore, Maryland 

Bronx Opera Company 

Bronx, New York 

Central City Opera House 

Association 

Denver, Colorado 

Charlotte Opera Association 

Charlotte, North Carolina 

Charlotte Opera Association 

Charlotte, North Carolina 

Chattanooga Opera Association 

Chattanooga, Tennessee 

To help opera companies improve their artistic quality and their 

management, reach new audiences, and broaden their repertoire to 

include more works by American artists. 

Program funds: $1,086,200 

Treasury funds: $3,150,000 

Private gifts: $3,150,000 

For the residencies of a musical director and a composer during 

the 1980-81 performance season. 

For the 1980-81 season of production. 

For the 1981-82 season of productions, including the engagement of 

artistic and administrative staff. 

To hire an administrative director and an artistic director. 

To maintain professional administrative staff. 

To engage administrative and technical personnel for the 

1981-1982 season. 

For the engagement of administrative and technical personnel, 

for education programs, audience development activities, and 

statewide touring. 

To hire consultants on set and costume design, and American 

artists. 

For the 1981 opera season of productions, to include works by 

Verdi, Barber, Mozart, and Sousa. 

To hire a music d~rector, a production director, and a business 

manager. 

For the resident artists’ ensemble program. 

To strengthen the company’s administration, opera education, 

and production departments. 

For the 1980-81 season of productions. 

To engage performers and support personnel for the Apprentice 

Artists’ Program; for two productions during the 1980 Summer 

Festival; and for a production in Denver. 

To hire personnel for ~gs, and make-up, costuming, and 

properities. 

For the engagement of administrative, technical, and artistic personncl; marketing and fund-raising activities; a fourth production 

during the 1981-82 season; and the education program. 

To engage stage directors, stage managers, lighting designers, and 

choreographers. 

$5,000 

5,000 

5,000 

5,000 

3,000 

3,000 

6,000 

3,000 

3,000 

7,500 

8,000 

26,000 

TF 50,000 

PG 5O,OOO 

3,000 

17,500 

TF 40,000 

PG 40,000 

10,000 

10,000 

6,700 
244 Opera-Musical Theater 

Chautauqua Opera Association 

Chautauqua, New York 

Chicago Opera Theater 

Chicago, Illinois 

Cincinnati Opera Association 

Cinncinati, Ohio 

City Center of Music and Drama 

New York, New York 

Colorado Opera Festival 

Colorado Springs, Colorado 

Columbus Symphony Orchestra 

Columbus, Ohio 

Connecticut Opera Association 

Hartford, Connecticut 

Dallas Civic Opera Company 

Dallas, Texas 

Des Moines Metro Opera Company 

Des Moines, Iowa 

Encompass Theater Company 

New York, New York 

Encompass Theater Company 

New York, New York 

Fargo-Moorhead Civic Opera

Company 

Fargo, North Dakota 

Fort Worth Civic Opera Association 

Forth Worth, Texas 

Glimmerglass Opera Theater 

Cooperstown, New York 

Goodspeed Opera House Foundation 

East Haddam, Connecticut 

Han Sheng Chinese Opera Institute 

Washington, D.C. 

Hawaii Opera Theater 

Honolulu, Hawaii 

Houston Grand Opera Association 

Houston, Texas 

Houston Grand Opera Association 

Houston, Texas 

International Arts Relations 

New York, New York 

For a new production of Cost fan Tutte; the Apprentice Progra~n 

for young American singers; and the engagement of a stage 

director, an assistant stage director, and a technical director. 

For a new production of The Marriage of Figaro. 

For the 1980-81 season of prodnctior~, including the addition of a 

fall production; for education o~treach programs; and for the 

engagement of performers and support personncl for a resident 

company. 

To support four new prodnctions of tI~e New York City Opera: 

Bizet’s The Pearl Fishers, Nicolai’s The Merry Wives of Windsor, Verdi~ Attila and Janacek~ The Cunning Little 

Vixen. 

For the 1980-81 season of productious and related theatrical 

activities. 

To produce three fldly staged operas in English. 

To engage yonng American artists to participate in touring and 

educational programs in addition to season productior~; and for 

a fourth production dnring the 1980-81 season. 

To support artistic resources, o~treach a~d andience development 

programs, and marketing and fund-raising campaign, s. 

To engage American artists for the 1980-81 section. 

For the 1980-81 season of productions, including premieres of 

American operas, revivals of seldom performed works, and 

premieres of contemporary foreign n,orks. 

For the 1981-82 season of production~, including premieres of 

new American operas, revivals of neglected worl~v, and premieres 

of contemporary foreign works. 

To hire a business manager. 

For a production of Strauss’ Elektra; for t~e engagement of a fulltime marketing director;" and to increase the number of 

performances presented by the mini-opera touring company, 

Southwestern Opera Theater. 

For the production of Bernstein’s Trouble in Tahiti; and for 

touring activities, incl~Ming performances in Lewiston, Utica, 

and Albany. 

For the engagement of administrative a~d artistic personnel, and 

for workshop productions of new American musicals. 

For the 1980-81 season of prodnctions. 

For the engagement of artistic personnel, edncation programs in 

cooperation with the Departme~t of Education, and development 

programs. 

For the engagement of guest conductors, stage directors, and 

designers; the engageme~t of the Houston Symphony Orchestra for 

winter season rehearsals and performances; a marketing 

campaign to increase subscription sales; and to strengthen the 

fund-raising department. 

For the Texas Opera Theater~ touring and community service 

programs including musical theater performances and residencies 

servivg up to 60 communities within a ten-state region. 

For two musical theater productions, including intensive training in music, dance, voice, and diction for performers by INTAR, 

a bilingual Hispanic organization. 

10,000 

TF 20,000 

PG 20,000 

10,000 

TF 90,000
 

PG 90,000
 

40,000 

TF 185,000

PG 185,000 

3,000 

TF 20,000
 

PG 20,000
 

6,000 

TF 95,000
 

PG 95,000
 

7,500 

6,000 

6,000 

5,000 

17,500 

5,000 

20,000 

TF 2O,OOO 

PG 20,000 

3,000 

10,000 

TF 20,000 

PG 20,000 

30,000 

TF 175,000 

PG 175,000 

85,000 

3,000 
Opera-Musical Theater 245 

Kentucky Opera Association

Louisville, Kentucky 

Lyric Opera of Chicago

Chicago, Illinois 

Lyric Opera of Chicago

Chicago, Illinois 

Lyric Opera of Kansas City 

Kansas City, Missouri 

Manhattan Theater Club 

New York, New York 

Memphis Opera Theater

Memphis, Tennessee 

Metropolitan Opera Association 

New York, New York 

Michigan Opera Theater 

Detroit, Michigan 

Milwaukee Florentine Opera 

Company 

Minnesota Opera Company 

St. Paul, Minnesota 

Mississippi Opera Association 

Jackson, Mississippi 

Mobile Opera Guild 

Mobile, Alabama 

Mobile Opera Guild 

Mobile, Alabama 

Music-Theater Performing Group 

New York, New York 

Natural Heritage Trust/Artpark 

Lewiston, New York 

Natural Heritage Trust/Artpark 

Lewiston, New York 

Nevada Opera Guild 

Reno, Nevada 

New Cleveland Opera Company 

Cleveland, Ohio 

New Orleans Opera Association 

New Orleans, Louisiana 

New Theater School of Washington 

Washington, D.C. 

Omaha Opera Company 

Omaha, Nebraska 

For the engagement of artistic personnel, including guest 

conductors and stage directors; and to increase the budget for 

scenery rental. 

To engage apprentice artists for regular season performances; 

for production and rehearsal costs, three matinee performances 

for students, and the extension of the opera season by two weeks. 

To support programs of the Opera School of Chicago, including 

production of a chamber opera and specially prepared 

performances for school children, the handicapped, and the 

elderly. 

To hire artistic, production, and management personnel. 

For the Musical Theater Program, with emphasis on the 

development of works in progress by American composers and 

lyricists. 

To strengthen artistic quality, including the engagement of a 

lighting designer/director for all productions. 

For artistic and technical preparation for the 1980-81 season; the 

revival production of Berg’s Lulu, including the new third act; 

and two weeks of free parks concerts. 

To engage management and artistic personnel. 

For a third performance of each of three prodnctions, additional 

rehearsals, the engagement of a director of audience development, 

and to hire artistic personnel. 

For the engagement of administrative and artistic personnel, 

including guest stage directors; and for commissioning and 

copying costs of a new American work. 

For the engagement of administrative and artistic pers~nel, and 

for education programs. 

For the engagement of guest artistic personnel, including a 

lighting design evaluator. 

For the 1981-82 season of productions, including the constructio~ 

of scenery and costumes and the engagement of artistic personnel. 

For the 1980-81 season of productions of new American musictheater at the Lenox Arts Center. 

For the 1980 summer opera-musical theater season, including 

two musical theater and four opera productions, and programs for senior citizens and youth. 

For the 1981 summer opera-musical theater season of productions. 

For the engagement of administrative and artistic personnel. 

To produce a classic American operetta to tour m~jor cities in 

northern Ohio. 

For additional rehearsals u~th members of the New Orleans 

Philharmonic, the engagement of guest conductors and directors, 

and a student performance. 

For the 1980-81 season of productions and related mnsic-theater 

costs. 

For the engagement of a general director and music programs 

director, the expansion of community outreach programs, and 

additional rehearsal time. 

2,000 

TF 20,000 

PG 2O,OOO 

35,000 

TF 175,000 

PG 175,000 

35,OO0 

10,OO0 

TF 50,000 

PG 50,000 

10,000 

TF 20,000

PG 20,000 

TF 25,000 

PG 25,000 

TF 750,000 

PG 75O, OOO 

20,000 

TF 20,000 

PG 20,000 

TF 20,000 

PG 20,000 

35,000 

TF 50,000 

PG 50,000 

5,000 

6,OO0 

6,000 

17,500 

TF 20,000 

PG 20,OO0 

6,500 

10,000 

15,000 

9,000 

TF 30,000
 

PG 30,O00
 

3,000 

TF 25,000 

PG 25,OOO 
246 Opera-Musical Theater 

Opera Association of New Mexico 

Santa Fe, New Mexico 

Opera Company of Boston 

Boston, Massachusetts 

Opera Company of Boston 

Boston, Massachusetts 

Opera Company of Philadelphia 

Philadelphia, Pennsylvania 

Opera Ebony/Philadelphia

Philadelphia, Pennsylvania 

Opera Festival Association 

Glen Falls, New York 

Opera Guild of Greater Mianfi 

Miami, Florida 

Opera Ne~v England 

Boston, Massachusetts 

Opera Theater of St. Louis 

St. Louis, Missouri 

Opera Theater of Syracuse

Syracuse, New York 

Pittsburgh Opera 

Pittsburgh, Pennsylvania 

Portland Opera Association

Portland, Oregon 

St. Luke’s Chamber Ensemble 

New York, New York 

San Diego Opera Association 

San Diego, California 

San Francisco Opera Association 

San Francisco, California 

Seattle Opera Association 

Seattle, Washington 

Sino-American Cultural Society 

Bethesda, Maryland 

Skylight Comic Opera 

Milwaukee, Wisconsin 

Spoleto Festival, U.S.A. 

Charleston, South Carolina 

Spring Opera Theater 

San Francisco, California 

For Santa Fe Opera’s apprentice training programs for siugers 

and technicians during the 1981 summer season, and for the 

engagement of American artists. 

For marketing, development, and operations programs; the 

engagement of designers and technical perso~nel; a~d a fourth 

performance series of each of the company’s four productions. 

To help offset losses associated a,ith a caucelled performance of 

Aida during the company’s engagemeut at Wolf Trap in 

Jnne 1980. 

For a new production and the tonring of a fnll-scale prodnction to 

urban ceuters throughout the state. 

To support the engagement of administrative persounel. 

For four productions at the 1981 Lake George Opera Festival and 

for the Yonng Resident Artist training programs. 

For four productions; and development a~d educatiou programs. 

For the engagement of adnliuistrative personnel, iuclndiug a 

general manager, a techuical director, and a toar manager," and 

for a regional fund-raisiu9 drire. 

For the 1981 season of prodactions iu English, iuclnding a world 

premiere. 

To engage artistic aud production personuel to be part of a 1980-81 

collaborative season of three productions incolring a part the communities of Syracuse, Buffalo, and Rochester: 

To engage artistic, admiuistratire, aud technical personuel, 

ineludin9 guest eouduetors and designers. 

For a new production of Mozart’s Don Giovanni using a minimal 

physical setting, and for the Association’s first production of 

Wagner’s Die Walkure nsiug American singers. 

For a new production in English of Rossini’s La Scala di Seta by 

Children’s Free Opera of New York. 

For det’elopmeut progranm, a special series of j)’ee street opera 

performances throughout the courtly, and a~ eighth production 

for the 1980-8l seaso~. 

For production and artistic resource needs, including increased 

rehearsal time, and for the e~gagement of additional administrative staff. 

For the sixth annual Pacific Northwest Festival production of 

Wagner’s The Ring of the Nibelung during the summer of 1980; the Opera-in-English Program; the development program; and 

education/outreach programs, ineludiug services to special 

constituencies. 

For the Chinese Opera Society to produce authentic Chinese 

operas, engage artistic personnel, and prepare demonstration 

materials for lectures and instructional parposes. 

To engage an American tenor and a mezzo-soprano as resident 

artists for the 1980-81 season. 

For four productions during the 1980 Festival, including Conrad 

Snsa’s Transformations. 

For productions of contemporary or rarely performed opera and 

musical theater works in English, featuring young American 

artists. 

60,000 

TF 75,000 

PG 75,000 

TF 100,000 

PG 100,000 

TF 5,000 

PG 5,000 

27,500 

TF 60,000 

PG 60,000 

6,000 

10,000 

TF 25,000 

PG 25,000 

10,000 

TF 100,000 

PG 100,000 

55,000 

17,500 

TF 40,000

PG 40,000 

15,000 

TF 35,000 

PG 35,000 

7,000 

TF 50,000 

PG 50,000 

3,000 

TF 80,000
 

PG 80,000
 

55,000 

TF 195,000 

PG 195,000 

25,000 TF 175,000 

PG 175,000 

3,000 

5,000 

TF 25,000
 

PG 25,000
 

TF 50,000 

PG 50,000 
Opera-Musical Theater 247 

Symphony Society of San Antonio 

San Antonio, Texas 

Theater Express

Pittsburgh, Pennsylvania 

Tri-Cities Opera Company

Binghamton, New York 

Tulsa Opera 

Tulsa, Oklahoma 

Urban Arts Theater 

Nexv York, New York 

Utah Opera Company 

Salt lake City, Utah 

Utah Opera Company

Salt Lake City, Utah 

Virginia Opera Association 

Norfolk, Virginia 

Washington Opera 

Washington, D.C. 

West Michigan Opera Company

Grand Rapids, Michigan 

Western Opera Theater 

San Francisco, California 

Whitewater Opera Company 

Richmond, Indiana 

Wolf Trap Foundation

Vienna, Virginia 

New American 

Works 

Central City Opera House Association 

Denver, Colorado 

Choregos 

New York, New York 

City Center of Music and Drama 

New York, New York 

Encompass Theater Company 

New York, New York 

Inner City Cultural Center

Los Angeles, California 

For the 1981 season of productions. 

For an improved pay scale for staff and performers, and for the 

development and distribution of promotional and educational 

materials. 

For productions, including the engagement of artistic, technical, 

and administrative personnel. 

For three productions, including orchestral services. 

To engage artistic and management personnel. 

To engage American singers for the 1980-81 season. 

For the 1981-82 season of productions, including one special 

Christmas production. 

To engage administrative, artistic, and technical personnel. 

To rent the Kennedy Center Opera House and Terrace Theater 

and to hire production, musical, and technical support personnel. 

To engage a full-time general manager. 

For various activities, including the construction of sets and 

costumes for new and revived productions and the development of 

educational materials. 

To engage artistic personnel. 

For two new productions, the engagement of American artists, 

and a series of 12 interpretive programs conducted by the artists, 

designed to introduce new audiences to opera. 

TF 15,000 

PG 15,000 

5,000 

2,500 

TF 20,000 

PG 20,000 

10,000 

TF 30,000 

PG 30,000 

15,000 

TF 5,000 

PG 5,000 

5,000 

5,000 

15,000 

TF 20,000 

PG 20,000 

20,000 

TF 100,000 

PG 100,000 

3,000 

85,000 

3,000 

TF 25,000 

PG 25,000 

To encourage the creation, development, rehearsal, and production 

of contemporary American opera-musical theater works; to

encourage their introduction into the standard repertory; and to 

make audiences more aware and appreciative of them. 

Program funds: $377,100 

To continue the "Composer-at-Central" series, involving labo- $25,000 

ratory productions of two new American works. 

For the composition of The Seasons, a four-act opera bg 3,500

Tom Johnson. 

For the premiere by New York City Opera of a music- 40,000

theater work on an American subject by Stanley Silverma~, 

composer, and Richard Foremen, librettist. 

For laboratory productions of three new American works. 10,000 

To support the creation of a new work by C. Bernard Jackson, 10,000 

composer, and Ron Milner, librettist, dealing with the multiethnic community in which the center is located. 
248 Opera-Musical Theater 

International Arts Relations 

New York, New York 

Medicine Show Theater Ensemble 

New York, New York 

Minnesota Opera Company 

St. Paul, Minnesota 

National Opera Institute 

Washington, D.C. 

Natural Heritage Trust/Artpark 

Lewiston, New York 

O’Neill (Eugene) Theater Center 

Waterford, Connecticut 

Opera Association of New Mexico 

Santa Fe, New Mexico 

Opera Theater of St. Louis 

St. Louis, Missouri 

St. Luke’s Chamber Ensemble 

New York, New York 

Snake Theater 

Sausalito, California 

Theater for the New City Foundation 

New York, New York 

Special OperaMusical Theater 

Projects 

Affiliate Artists 

New York, New York 

American Music Center 

New York, New York 

Ashley, Robert 

Oakland, California 

Hoffman (Byrd) Foundation 

New York, New York 

Houston Grand Opera Association 

Houston, Texas 

Light Opera of Manhattan 

New York, New York 

Metropolitan Opera Association 

New York, New York 

For the development of two new American musical theater works 

by INTAR, a bilingual Hispauic theater. 

10,000 

For the creation of a new music-theater work by William 

Hellerman, composer; Stephen Policoff, writer; James Barbosa, 

artistic director; a~d Joel Handorff, designer, using structured 

improvisation with a group of four performers. 

10,000 

For the premiere of Black River, a three-act opera by composer 

Conrad Susa and librettist Richard Street. 

93,750 

To continue the "Music Theater Workshop" project, involving the 

development of four new Anlerican works by two producing 

organizations. 

30,000 

For the American premiere of Philip Glass’ Satyagraha. 25,000 

To continue the "Composer/Librettist Conference," involving 

laboratory productions of two neu, works and a pilot television 

workshop to develop a new work specifically for television. 

20,000 

For the premiere of a new American opera. 73,500 

For the creation of a full-length work by composer Stephen Paulus 11,250 

and librettist Colin Graham. 

For a laboratory performance and costume and set designs for 7,500 

Vittorio Rieti’s The Clock by Children’s Free Opera of Neu, York. 

To support the creation of two new musical theater works at this 4,100 

organization which produces only o,~ginal material. 

To support t~e creation of four new works by a~¢ists A¢~hur Sainer, 3,500 

Rosalyn Drexler, Marie Irene Forness, and Sam Shepard. 

For exemplary projects of national scope which respond to the needs 

and goals of the art, are innovative, and will enhance the development

appreciation, and future of opera and musical theater. 

Program funds: $343,700 

To continue the San Francisco/Affiliate Artists career devel- $35,000
 

opment program for yoking American opera performers.
 

To publish and circulate a catalogue of completed scores and 3,200
 

works-in-progress of American opera and musical theater pieces.
 

To develop a large scale, collaborative performace form based 6,000
 

upon the compositions of jazz pianist Bud Powell, using a small
 

chorus and orchestra, four speaker-singers, a large "player
 

organ," and video monitors.
 

To develop a co-sponsorship of Robert Wilson’s works by 15,000
 

American and European producing organizations.
 

To continue the Houston Opera St~lio, an advanced musical 50,000
 

theater training program, jointly sponsored by the University of
 

Houston and the Houston Grand Opera.
 

For an advanced training program in light opera and operetta 10,000
 

for eight young artists.
 

For the Metropolitan Opera "Young Artist Program" in which 50,000
 

six American emerging professional singers u~ill be coached,
 

and perform under the direction of visiting and resident artists of
 

the company.
 
Opera-Musical Theater 249 

Michigan Opera Theater

Detroit, Michigan 

New Cleveland Opera 

Cleveland, Ohio 

Oklahoma, State Arts Council of 

Oklahoma City, Oklahoma 

Opera America 

Washington, D.C. 

Opera Association of New Mexico 

Santa Fe, New Mexico 

Opera Company of Philadelphia 

Philadelphia, Pennsylvania 

Puerto Rican Culture, Institute of 

San Juan, Puerto Rico 

Southern Arts Federation 

Atlanta, Georgia 

Uris, Dorothy 

New York, New York 

Washington Opera 

Washington, D.C. 

Regional Touring 

(Pilot) 

Midwest Opera Theater 

St. Paul, Minnesota 

Opera New England 

Boston, Massachusetts 

Texas Commission on the Arts 

Austin, Texas 

Virginia Opera Association 

Norfolk, Virginia 

Western States Arts Federation 

Denver, Colorado 

For the resident core of six singers. 20,000 

To support the pilot project "Arts in the Market Place." 7,500 

For a series of workshops, demonstrations, and performances of 10,000 

opera by the Church Circuit Opera Company at various prisons 

throughout the state. 

To develop and present a marketing seminar for the organ­ 7,500 

ization’s membership to emphasize the marketing of new American mnsic-theater works. 

For the Santa Fe Opera’s apprentice program in 12 areas of 10,000 

performance, production, and administration. 

For six performances of the Kurt Weill-Maxwell Anderson 50,000 

musical drama, Lost in the Stars, in association with Opera 

Ebony/Philadelphia. 

To support expenses of the Lyric Theater of Puerto Rico, an 4,500 

umbrella organization serving the six companies in Puerto Rico 

which produce grand opera, operetta, and zarzuela. 

For the second phase of a three-year project designed to encourage 30,000 

cooperation among Southeastern opera companies by sharing a 

new production of Offenbach’s The Tales of Hoffman among the 

Agusta, Piedmont, and Kentucky opera companies. 

For a seminar-workshop in English diction for 35 vocal teachers 10,000 

and coaches in the New York area from which cassette tapes will 

be produced for nation distributio~ 

To engage American artists for productions of chamber works, 25,000 

including two new one-act operas, in the Terrace Theater of the 

Kennedy Center for the Performing Arts. 

To enable professional, nonprofit opera or musical theater companies 

which are incorporated specifically as touring companies producing 

original productions to tour multi-state regions. 

Program funds: $145,00 

For productions with residencies to tour throughout the upper $25,000 

Midwest. 

To assist New England communities which host the touring 25,000 

programs provided by Opera New England. 

For six weeks of residencies and performances by Texas Opera 40,000 

Theater in Texas, Oklahoma, and Louisiana. 

For Virginia Opera Theater’s touring activities, including 15,000 

residencies in Virginia, North Carolina, Tennessee, and West 

Virginia. 

For touring activities, including residencies by Western Opera 40,000 

Theater in several western states. 
250 Opera-Musical T]~eater 

To assist organizations that provide services to the opera-musical Services to the Art theater field as a whole or to a sector of it. 

National Opera Institute

Washington, D.C. 

National Opera Institute 

Washington, D.C. 

New York Public Library, Astor, 

Lenox, and Tildon Foundations 

New York, New York 

OPERA America 

Washington, D.C. 

OPERA America 

Washington, D.C. 

PG - Program Funds; TF - Treasury Funds 

Program funds: $145,000 

Treasury funds: $350,000 

Private gifts: $350,000 

For services, includi~g fellowstdps to singers; apprenticeships in 

administration and production; assistance w, ith productio~ of 

contemporary American repertory and, in exceptional c~es, 

premieres; and special colloquia and publicotior~. 

For technical assistance to opera and mnsical theater organizations. 

To increase administrative support for the Rodgers and 

Hammerstein Archives of Recorded SouT~d. 

To continue support to OPERA America’s national office, 

which provides programs of sert~ce to professional opera 

compauies. 

For the second year of the "Accessible Arts Demonstration 

Project" to continue the technical assistance program which helps 

member companies comply with Section 504 of the 1973 

Rehabilitation Act. 

TF 350.000
 

PG 350,000
 

50,000 

15,000 

55,000 

25,000 

252 Program Coordi~ation 

A Cultural 

Celebration 

Todayl 
253
 

Program 

Coordination 

As head of the office that "coordinates" the the Endowment understand more fully the 

various Endowment programs, I am frequently needs, trends, and unique regional differences 

asked, "Just what do you do?" Here is the that characterize the arts in the United States. 

answer. Working under Mary Ann Tighe, International activities are the most recent 

Deputy Chairman for Programs, we in Program arrival in Program Coordination. They were 

Coordination are responsible for four major housed here in 1980 to help encourage all the 

areas: guidelines, regional representatives, inter- Endowment’s Programs and panels to include 

national activities, and cross-cutting program international concerns in their overall planning. 

explorations of such topics as touring and Our efforts in this area are quite new and 

presenting. They are all quite different, yet all exciting, ranging as they do from our advisory 

interrelate and all are challenging. work with the International Communication 

During 1980, we continued the effort to Agency to consultative work with UNESCO to 

improve program guidelines in a variety of modest funding for international symposia such 

ways. The language was crisper, the approach as 1980’s highly successful "Belgium Today" and 

more straightforward, and the design better artists’ exchanges with the government of 

than before this effort was begun. Even more Japan. The Endowment’s primary role and 

fundamentally, program content and substance focus, of course, is to help American art and 

received more attention. A great deal of work artists. But the agency has begun to play an 

went into making these changes, which involved increasingly active leadership and catalytic role 

all the programs. Guidelines remain what has here, since the international arena provides 

been called "the primary communication link important opportunities to share our artists and 

and the definitive expression of program policy learn from other nations. We will devote 

to the field." Developing and improving them,considerable time in the coming year to 

which involves countless hours of staff, panel, clarifying our policies and refining our priorities 

and Council deliberation and effort, continues to in these new international activities. 

stimulate and educate all of us who are involved The year 1980 also seemed, at least sometimes, 

in the process. If I were to characterize 1980 to be the year of touring and presenting. An 

with guidelines in mind, I would call it the yearexploration of these related areas occupied 

of consolidation and clarification--and the year considerable attention throughout this past year. 

that all the programs paid more attention to A steering committee, composed of representaminority concerns. rives from state and regional arts agencies, the 

In 1980 the Endowment finally reached its Association of College, University, and Communifull complement of regional representatives. ty Arts Administrators, and Endowment proTwelve men and women now do this important gram directors met regularly to discuss these 

work, living in different regions of the country,topics. Throughout the year, too, our program 

providing free services to artists, organizations, panels have been looking carefully at current 

and the public. These representatives, most of and proposed approaches to touring and presentwhom work out of their own homes and have only ing the arts across the country. The results of 

part-time secretarial help, provide critical links some of these discussions have already begun to 

between the Endowment and those around the show up in such program guidelines as Theater 

country who might otherwise think of us as a and Inter-Arts. And the work goes on. 

bloodless, faceless bureaucracy. They travel So "Program Coordination" may sound a bit 

endlessly in their regions, conduct workshops, nebulous, but it certainly doesn’t feel that way. 

answer hundreds of mail and telephone inquiries. Working as we do with all the programs, we are 

Most importantly, they help people all over the expected to know a great deal about all of them 

country learn about us, and they help us here at and help them learn from each other. The 
254 Pro.qro ~ Coordint~tion 

guidelines we help produce offer information to 

a good many people. The regional representatives 

take that information out to the field and bring a 

lot back to us. This information can, in turn, feed 

into program deliberations. Our international 

activities offer new vistas for us all. And crosscutting program issues constantly arise to 

challenge our minds and our energies. We 

expect that the next 15 years will be at least as 

stimulating as the first 15 have been. 

Ana Steele 

Director, Program Coordination 
Program Coordination 255 

International Grants Program funds: $350,131

International 

Activities 

Arizona Commission on the Arts 

and Humanities 

Phoenix, Arizona 

Belgian American Educational 

Foundation 

New York, New York 

Cohen, John 

Putnam Valley, New York 

Guggenheim (Solomon R.) Foundation 

New York, New York 

Hodson, Millicent 

New York, New York 

International Communication Agency

Washington, D.C. 

Japan-U.S. Friendship Commission 

Washington, D.C. 

Labor Institute for Human 

Enrichment 

Washington, D.C. 

Meridian House International 

Washington, D.C. 

Randolph, Anne

Montgomery, Alabama 

Turocy, Catherine 

New York, New York 

Valle del Sol 

Phoenix, Arizona 

Wong, Carey

Portland, Oregon 

To broaden the exposure of American artists and audiences to international arts activities. 

For the Bi-Notional Arts Program, involving the coordination of $10,000 

joint arts programs between Mexico and the border states of 

Arizona, California, New Mexico, and Texas. 

For the "Belginm Today" symposium to enhance American 114,500 

awareness and nnderstanding of contemporary Belgium. 

For a United States/United Kingdom Exchange Fellon’ship. 26,000 

To present a display of Pol Bury’s work as part of the 15,000 

"Belgium Today" symposium. 

For a United States/United Kingdom Exhange Fellon,ship. 16,200 

For curatorial expenses of a major art exhibit involving 20,000 

five ar~a museums. The exhibit u~s presented by the Agency in 

Mexico City. 

For the United States/Japan Fellowship Program which enables 75,000 

five American artists to work and stndy in Japan. 

For Ed Weston to attend a special co~ference on the problems of 2,631 

dancers, attended by representatives of 45 nations; and to 

provide the Endowment n~th a report covering the conference. 

For the Meridian Honse International to participate in the 3,000 

"Belginm Today" symposium by offering exhibitiomg, mnsical 

events, panel discusions, film viea’ing, performing artists, and 

school programs. 

For a United States/United Kingdom Exchange Fellowship. 16,400 

For a United States/United Kingdom Exchange Felloa,ship. 18,600 

For the Theater Exchange Project, to enable American sponsors 20,000 

in southwestern cities to present Mexican theater prodnctions. 

For a United States/United Kingdom Exchange Fellowship. 12,800 

*contract; PG - Program Funds; TF - Treasury Funds 

257 

Theater
 

In discussing the Theater Program at the Jones. Others created festivals in San Diego, in 

Endowment, it is tempting to lay before the Ashland (Oregon), in Stratford (Connecticut). As 

reader all this year’s new programs, new they began to grow and build, a model emerged 

categories, new "pilots" that capture the imagina- out in the prairies: Sir Tyrone Guthrie, together 

tion. But first we need to remember that theater with Peter Zeisler and a talented roster of 

is an ancient and an honorable impulse, and its artists, took up the challenge and created out of 

artists are the priests of that impulse. They can whole cloth a full-fledged, classical repertory 

be decked out in new raiments, and they theater in the mode of the Stratford (Canada)

can preteud to be All New, All Improved. But and the Royal Shakespeare and the National 

they are not. They are the heirs of Thespis, of (then the Old Vic) in England. The Ford 

Pantalone, of Moliere, and of Bernhardt as well Foundation stepped in with daring insight and 

as of Sophocles, Shakespeare, Miller, and provided vast sums just at the right moment to 

Medoff. let these pioneer theaters sink tap roots in their 

What is new is the spark they kindle everyown regions. The country was startled to find 

evening in the audience: The idea that suddenly itself dotted ~vith theaters of national and 

becomes clear, the tear that creeps from the eye, international repute. 

the laugh that erupts from the gut, the Almost simultaneously the "next generation" 

realization of our own mortality. So let us look (usually only a few years younger and less 

at theater and the Theater Program from a experienced) popped up and was profoundly 

different angle. dissatisfied with what had, almost overnight, 

The Endowment began 15 years ago as an become "establishment theater." Alternatives 

attempt to make palpable the federal presence in emerged, sometimes in the very cities where the 

the arts in America. A noble ambition and, for Big Guys were (Minneapolis, Washington, Los 

this country, a daring departure. From the start, Angeles, San Francisco, Chicago, and, of course, 

there was a recognition that a new breed of New York) and sometimes in cities which had 

theater was emerging in America. Where there not even thought of theater beyond the annual 

had been commercial theater, educational thea- senior class production at the local high school. A 

ter, and amateur theater, a different aesthetic Next Generation of Dreamers was nudging its 

was informing a unique expression of that way into the limelight. 

ancient art form. Professional artists were And before we could catalogue and absorb this 

uniting to make theater happen in alternativenext generation of theaters, another was squirmpatterns from that of the commercial, the ing and announcing itself from storefronts, 

amateur, or the educational. They were pitching abandoned churches, and former movie houses. 

their tents (sometimes literally) not on Broadway America had rediscovered theater. What, 

or just in New York City, but all over the around the turn of the century, had been "the 

country. They were essaying quite different road" had died away in the face of radio, "the 

repertoires: the classics, the plays of the cutting talkies," and television. But something had gone 

edge, the forgotten masterpieces. wrong with the machine-made, machine-fed 

These pioneer theaters were almost entirely "drama." Audiences sensed a loss of personal 

the babies of the Dreamers who found, in the not- contact, of getting up and going out, of making a 

for-profit formula, a forum for bringing theaterceremony of theater-going. They missed someto America. These early daredevils included, thing; or in the popular parlance, they were 

amazingly enough, men and women still largely"alienated" in a world which made less sense 

the leaders of their own (and our national) than ever before. They needed what Camus has 

theaters: William Ball, Adrian Hall, Josephcalled their "illusions." Theater came along to 

Papp, Gordon Davidson, Zelda Fichandler, as help fill the need, to respond to the loss, to 

well as the now-departed Nina Vance and Margo replenish the dream. 
258 Tl~eater 

The Theater Program has tried to stabilize, 

encourage, re-enforce the institutions through 

which these amazing artists might work their 

magic. Over the years, the Theater Program 

defined its territory: the professional, not-forprofit theater. At first largely limited to the 

larger, more established companies, it eventually 

divided and subdivided until now our "turf" 

includes all of the categories listed on the 

following pages. Of these, the new categories, 

approved in 1980 and effective for the 1981-1982 

performance season, include: 

I~termediate Professio~al Theater Companies, 

which will support theaters which previously 

have had to "compete" inequitably either with 

the largest or the smallest companies. 

Fellowships for Playwrights (transferred to 

the Theater Program from the Literature 

Program), which will provide funds to enable 

dramatists to create new work for theaters and 

audiences. 

Residencies for Playwrights (also transferred 

to Theater from Literature), which will enable 

theater companies and other organizations to 

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work directly and closely with playwrights of 

their own choice. 

Artistic Associates, which will provide theater 

companies and mature artist with the benefit of 

sustained associations with one another. 

In addition, three new pilot programs seek to 

examine ways by which the Theater Program 

can broaden assistance to the arts of theater and 

to theater audiences: 

Director/Fellows, which brings mid-career 

directors to residencies in regional non-profit 

theater companies for a season of work. 

Dramatm~ge~, which gives literary and artistic 

experts residencies with selected companies to 

extend the theater’s repertoire and to introduce 

audiences to a broader, more varied kind of 

production and play. 

Script Services, which provides theaters with 

access to new plays and provides playwrights 

with access to potential producing theaters. 

By and large, our funding is small in every 

category. In fact, we give less than 4.4 percent to 

most of our large theaters, in terms of their 

annual operating budgets; and ~ve provide only 
T]~eater 259 

6.1 percent to our small theaters, which have a community and the institution. If productions 

much more difficult time raising money butmust be cut down, so be it; but if artists must

xvhich, of course, have much smaller operating work longer for less money, then both our 

budgets. However, the actual sums of money are institutions and our society must be made 

only relative, because they make possible three cognizant of the consequences. In sum, we will 

distinct things: continue to put our money on the line to support 

 ̄ These funds provide recognition by peers, the institutions in order to make it possible for 

and at a federal level, of the legitimacy, the artists to create excellent theater. 

quality, and the importance of each institution. Times will be tough, no question about it. But 

 ̄ By judiciously expending the funds available,we suggest that the best of theater will survive 

the panels constantly try to encourage exploration the worst of times. For as much as the theater 

of the outer edges of theater and at the same time needs its audiences, so does Man need his 

to encourage theaters to be daring and innovative illusions, his dreams. The living theater is quite 

in their repertoires. If each company had to irreplaceable, quite indestructible because it is 

depend solely on box office revenues, it would be needed. So, Endowment or no, theater will 

extremely cautious in selecting a season or insurvive. In fact, art will survive. Our monuments, 

daring to present new plays, let alone new our battles, our papers and our task forces, our 

playwrights. committees and our wars, our offices and our 

 ̄ Our funding can be very effective, we know, pretensions, will all in time vanish. As Shelley 

if the company will use it as leverage in raisingwrote in Ozymandias of the monument bearing 

other monies from other sources: local and the boastful legend: 

national, private and public. 

An overview of the theater today must take My name is Ozymandias, king of kings: 

note of the fact that the recession is particularly Look on my works, ye Mighty, and despair! 

hard on theater. Lumber, electricity, materials 

all soar at an incredible rate, while sources of But Shelley goes on, of that monument: 

revenue are drying up. Box office and seating 

capacity are finite; if tickets go too high, the Nothing besides remains. Ro~nd tI~e decay 

audience will perforce vanish; private donors Of that colossal wreck, bo~ndless and bare feel the financial pinch and become more Tt~e lone and level sands stretch far away. 

reluctant or unable to support companies of 

artists; and the major foundations seem to be But Art will remain. It will not only survive, but 

drifting in their emphasis to projects in theit will evolve and change and be our final 

physical and social sciences. epitaph, our sharing of Eternity. For ~vhen the 

Too often, as the crunch presses in on these nonsense is all stripped away, a poem, a play, a 

companies, the artists are the "fall guys"; theybit of statue, a space will be our link with Time 

work for less and for longer hours to make beyond our reckoning. 

theater come alive. The Theater Program 

urgently stresses that the artist must not be the 

one to bear the brunt financially of bringing art 

to America. We can best help by constantly 

reminding the institutions that artists are the 

heart of the matter and that they must be 

rendered dignity, salaries, and respect commen- Arthur Ballet 

surate with the services they provide to the Director, Theater Program 
260 T]~eater 

Theater Advisory Panel
 

Policy Panel 

Lloyd Richards, Co-Chairman 

Dean; professor, artistic director, theater company 

New Haven, Connecticut 

Donald Schoenbaum, Co-Chairman 

Managing director, theater company

Minneapolis, Minnesota 

Margo Albert 

Civic and cultural leader
 

Los Angeles, California
 

Dorothy Cullman 

Television producer, theater company 

board member 

New York, New York 

Gordon Davidson 

Artistic director, theater company 

Los Angeles, California 

Richard Foreman 

Artistic director, theater company 

New York, New York 

David Frank 

Artistic director, theater company
 

Buffalo, New York
 

Donald Grody 

Union representative
 

New York, New York
 

Rosetta LeNoire 

Artistic director, theater company; 

actress 

New York, New York 

Jonathan Levy 

Playwright, professor
 

New York, New York
 

Henry Moran 

Regional arts agency director
 

Kansas City, Missouri
 

Sara O’Connor 

Managing director, theater company 

Milwaukee, Wisconsin 

Gideon Schein 

Artistic director, theater company


Minneapolis, Minnesota
 

Peter Zeisler 

Service organization director
 

New York, New York
 

Large Professional Theater
 

Companies
 

Donald Schoenbaum, Chairman 

Managing director, theater company 

Minneapolis, Minnesota 

Margo Albert 

Civic and cultural leader
 

Los Angeles, California
 

Paul Baker 

Managing director, theater company 

Dallas, Texas 

Len Cariou 

Actor 

New York, New York 

Jean Dalrymple 

Actress, director, producer, author 

New York, New York 

Gordon Davidson 

Artistic director, theater company 

Los Angeles, California 

Donald Grody 

Union Representative 

New York, New York 

Elizabeth Huddle 

Actress 

San Francisco, California 

Robert Moss 

Artistic director, theater company 

New York, New York 

Tharon Musser 

Lighting designer 

New York, New York 

Sara O’Connor 

Managing director, theater company 

Milwaukee, Wisconsin 

William Patton 

General Manager, theater company
 

Ashland, Oregon
 

Nikos Psacharopoulos 

Artistic director, theater company
 

Williamstown, Massachusetts
 

Steven Schacter 

Artistic director, theater company


Chicago, Illinois
 

Michelle Shay 

Actress
 

Los Angeles, California
 

Peter Zeisler 

Service organization director
 

New York, New York
 

Small Professional Theater
 

Companies
 

Lloyd Richards, Chairman 

Dean, professor; artistic director, theater company 

New Haven, Connecticut 

Lee Breuer
 

Artistic director
 

New York, New York
 

Richard Foreman 

Artistic director, theater company
 

New York, New York
 

Georgine Hall 

Actress, educator 

Princeton, New Jersey 

Gregory Hausch 

Co-Artistic director, theater company 

Gainesville, Florida 

Jorge Huerta 

Professor 

Cardiff, Califonia 

Rosetta LeNoire 

Artistic director, actress 

New York, New York 

Patricia McIlrath 

Artistic director, theater company 

Kansas City, Missouri 

Edith Oliver 

Drama critic 

New York, New York 

Gideon Schein 

Artistic director, theater company 

Rochester, New York 

Luis Valdez 

Artistic director, theater company; 

playwright 

San Juan Bautista, California 

Peg Yorkin

Managing director, theater foundation; civic leader 

Los Angeles, California 

Professional Theater for Youth 

Jonathan Levy, Chairman 

Playwright, professor
 

New York, New York
 

Barbara Coiton 

Actress, union representative
 

New York, New York
 

John Clark Donahue 

Artistic director, theater company
 

Minneapolis, Minnesota
 

Nancy Ebsen 

Artistic director, educator
 

Balboa Island, California
 

Wayne Lawson 

State arts agency director
 

Columbus, Ohio
 

Margo Lovelace 

Artistic director, theater company;
 

playwright, designer


Pittsburgh, Pennsylvania
 

Zuri McKie 

Associate producer, theater company
 

New York, New York
 
Theater 261 

Theater Grants Program funds: $5,311,44g

Treasury funds: $3,106,150 Private gifts: $3,106,150 

Professional 

Theater Touring 

(Pilot) 

Affiliated State Arts Agencies of the 

Upper Midwest 

Minneapolis, Minnesota 

Alabama State Council on the Arts 

and Humanities 

Montgomery, Alabama 

Arizona Commission on the Arts and
 

Humanities
 

Phoenix, Arizona 

Arts Alaska 

Anchorage, Alaska 

Association of Community Arts 

Councils of Kansas 

Topeka, Kansas 

Georgia Council for the Arts and 

Humanities 

Atlanta, Georgia 

Indiana Arts Commission 

Indianapolis, Indiana 

Kentucky Arts Commission

Frankfort, Kentucky 

Lake Placid Olympic Organizing 

Committee 

Lake Placid, New York 

Memphis Arts Council 

Memphis, Tennessee 

Michigan, University of

Ann Arbor, Michigan 

New Jersey Council on the Arts 

Trenton, New Jersey 

New York State Council on the Arts 

New York, New York 

Southern Arts Federation 

Atlanta, Georgia 

State Foundation on Culture and 

the Arts 

Honolulu, Hawaii 

State Foundation on Culture and 

the Arts 

Honolulu, Hawaii 

State Foundation on Culture and 

the Arts 

Honolulu, Hawaii 

To bring high quality professional theater to areas where it has not 

been available. 

Program funds: $744,776 

To assist a five-week tour of the G~tthrie Theater to states through- $77,600 out the region. 

To assist a tour of the Alabama Shakespeare Festival throughout 10,000 

the southeast. 

To assist a two-week residency by the Arizona Theater Company 17,750 in the greater Phoenix area. 

To assist a tour of the Alaska Repertory Theater to eight commu- 42,080 

nities throughout the state. 

To assist a tour of the Vanguard Company of the Missouri Reper- 9,540 tory Theater to communities throughout Kansas. 

To assist tours of the Academy Theater and the Alliance 26,850 

Theater throughout the state. 

To assist tours by the Indiana Repertory Theater, Milu’aukee 50,000 

Repertory Theater, Loretto-Hilton Theater, National Theater of 

the Deaf, and Actors’ Theater of Louistqlle to communities 

throughout Indiana. 

To assist a five-week to~tr of the Actors’ Theater of Louistqlle to 43,680 

communities throughout Kentucky and West Virginia. 

To assist the premiere of a new work during a one-week residency 25,000 

by the Long Wharf Theater at the 1980 Winter Olympic Games. 

To assist a three-week tour @ the Playhouse on the Square to 8,660 

communities in Kentucky, Tennessee, and Missouri. 

To assist a two-u’eek tonr of the Acting Company to six commn- 22,200 

nities throughout the state. 

To assist a six-week tour by the McCarter Theater Company to 50,000 

communities throughout New Jersey and a three-u’eek tour to 

communities in Delaware, New York, and Pennsylvania. 

To assist a four-week tour of the Syracuse Stage to communities 24,000 throughout the state. 

To assist tours by the Negro Ensemble Company and the National 74,668 

Theater of the Deaf to communities in the south. 

To assist the Honolulu Theater for the Youth Neighbor Island 22,500 

Tour. 

To assist a two-week residency of the American Conser~utory 40,000 

Theater Foundation in Hawaii. 

To assist a statewide tour of the National Theater of the Deaf. 5,000 
262 Tt~eater 

Theater Association of Pennsylvania 

University Park, Pennsylvania 

United Auto Workers 

Detroit, Michigan 

Valley Shakespeare Theater 

Seottsdale, Arizona 

Walker Art Center 

Minneapolis, Minnesota 

Western States Arts Foundation 

Denver, Colorado 

Large Professional

Theater Companies 

A Contemporary Theater

Seattle, Washington 

Actors Theater of Louisville 

Louisville, Kentucky 

Alaska Repertory Theater

Anchorage, Alaska 

Alley Theater 

Houston, Texas 

American Conservatory Theater
 

Foundation
 

San Francisco, California
 

American Place Theater 

New York, New York 

American Repertory Theater 

Cambridge, Massachusetts 

Amherst College, Trustees of

Washington, D.C. 

Arizona Theater Company 

Tucson, Arizona 

Asolo State Theater 

Sarasota, Florida 

Atlanta Arts Alliance 

Atlanta, Georgia 

Barter Foundation 

Abingdon, Virginia 

Berkeley Repertory Theater 

Berkeley, California 

To assist tonrs by the Independent Eye, the Iron Clad Agreement, 9,918 

the Lovelace Theater Company, and Theater Express througl~out 

the state. 

To assist a six-week tonr of the Labor Theater Company to com­ 10,000

munities in Michigan, Ohio, New York, Co~nectic~t, and North 

Carolina. 

To assist a residency by the Old Globe Company at the Scottsdale 20,000

Center for the Arts. 

To assist five one-week reside~cies of an experimental theater 10,000

company in Minneapolis, Dtd~dh, Milwankee, Chicago, Baltimore, and Pittsbnrgh. 

To assist the tonrs of the Acting Company, Colonnades Theater 145,330

Lab, Montana Repertory Theater, Paper Bag Players, and Seattle 

Repertory Theater thronghont the Fonndatio~ ~" ten-state region. 

To assist in the development of a theater company by aiding in 

artistic development, improving the effectiveness of administration, 

or supporting community service activities. 

Program funds: $1,926,750 

Treasury funds: $3,001,000 

Private gifts: $3,001,000 

For the 1980-81 season of performances a~d for administrative TF $40,000 

staff developnlent. PG 40,000 

For the 1980-8l season of prod~ctions and related activities.	 TF 140,000 

PG 140,000 

30,00 

TF 30,000 

PG 30,000 

For the 1980-81 season of prod~ctions and related activities. 

TF 110,000 

ministrative development. PG 110,000 For the 1980-81 season of prodnctions and for artistic and adFor the 1980-81 season of productio~s and related acticities.	 TF 195,000 

PG 195,000 

For tke 1980-81 season of prodnctions a?td staged readings. 35,000 

For artistic and creative development for the 1980-81 season. 10,000 

TF 85,000 

PG 85,000 

25,000
 

Grotq~ and for artistic and st~pport staff det’elopment. TF 20,000
 

For the 1980-81 season of prodnctions by the Folger Theater 

PG 20,000 

For the 1980-81 mainstage season and for artistic staff develop- TF 40,000

mont. PG 40,000

For the 1980-81 season of pe~)rmances a~d for administratire 27,500

assistance to the Department of PlannStg and De~,elopment. 

For the Alliance Theater Company~ 1980-81 season of prodnc- TF 45,000 

tions. PG 45,000 

For artistic and administraticc decelopment for Barter Theater’s 5,000
 

1980-81 seasott.
 

For the 1980-81 season of prodnctio~s a~d for expansion of 17,500
 

artistic a~d admlnistratlre octlclties.
 
Theater 263 

Boarshead Players 

Lansing, Michigan 

Brooklyn Academy of Music

Brooklyn, New York 

California Actors’ Theater 

Redwood City, California 

Center Stage Associates 

Baltimore, Maryland 

Center Theater Group of Los Angeles 

Los Angeles, California 

Chelsea Theater Center 

New York, New York 

Chicago Theater Group 

Chicago, Illinois 

Cincinnati Playhouse in the Park 

Cincinnati, Ohio 

Circle in the Square 

Ne~v York, New York 

Circle Repertory Company 

New York, New York 

Colonnades Theater Lab 

New York, New York 

Community Arts Foundation 

Chicago, Illinois 

Connecticut Players Foundation 

New Haven, Connecticut 

Cricket Theater Corporation 

Minneapolis, Minnesota 

Dallas Theater Center 

Dallas, Texas 

Denver Center for Performing Arts 

Denver, Colorado 

Free Hall Theater Company

Allentown, Pennsylvania 

Free Public Theater Foundation 

Los Angeles, California 

Genesee Valley Arts Foundation 

Rochester, New York 

George Street Playhouse 

New Brunswick, New Jersey 

Group I Acting Company 

New York, New York 

Guthrie Theater Foundation 

Minneapolis, Minnesota 

Hartford State Company 

Hartford, Connecticut 

To support playwrights involved in the production of their new 

plays during the 1980-81 season by enabling a residency at the 

BoarsHead Theater. 

For BAM Theater Company’s 1980-81 season of productions and 

related activities. 

For artistic staff development for the 1980-81 season. 

For the 1980-81 season of plays and related activities. 

For Mark Taper Forum’s 1980-81 season of mainstage productions, the Forum Laboratory, and community service programs. 

For the 1980-81 season of productions. 

For the Goodman Theater’s 1980-81 season of productions, touring, education and community services, studio work, and administrative and audience development. 

For the 1980-81 season of plays on the mainstage and for the

expansion and development of the Shelterhouse Theater. 

For the 1980-81 season of productions. 

For the 1980-81 season of productions and for administrative 

and artistic development. 

For the 1980-81 season of productions and for artistic and administrative development. 

For the 1980-81 season of plays of Body Politic Theater. 

For the 1980-81 season of productions of Long Wharf Theater. 

For the 1980-81 season of mainstage productions, the Works-inProgress Series, and outreach programs. 

For the 1980-81 season of productions on the mainstage and at the 

Down Center Stage, and for administrative expansion. 

For the Denver Center Theater Company’s 1980-81 season of 

productions, for workshops and touring programs. 

For educational and community outreach programs during the 

Pennsylvania Stage Company’s 1980-81 season. 

For the free Shakespeare season during the summer of 1980 and 

for administrative development. 

For GeVa Theater’s 1980-81 season of productions and for administrative development. 

For the development of fully staffed administrative and production departments for the 1980-81 season. 

For the Acting Company’s production of plays during the 1980-81 

season and for administrative staff support. 

For the 1980-81 season of plays, touring projccts, and community 

services. 

For the 1980-81 season of productions and related theatrical 

activities. 

4,000 

50,000 

10,000 

TF 85,000
 

PG 85,000
 

TF 200,000 

PG 200,000 

35,000 

TF 95,000 

PG 95,000 

TF 85,000 

PG 85,000 

25,000 

TF 25,000 

PG 25,000 

30,000 

TF 30,000 

PG 30,000 

TF 35,000 

PG 35,000 

1,000 

100,000 

TF 75,000 

PG 75,OO0 

7,500 

TF 60,000

PG 60,000 

45,000 

2,500 

2,000 

22,500 

17,000 

75,000 

TF 65,000 

PG 65,000 

TF 180,000

PG 180,000 

50,000 

TF 75,000 

PG 75,000 
264 Theater 

Hartman Regional Theater 

Stamford, Connecticut 

Indiana Repertory Theater 

Indianapolis, Indiana 

Inner City Cultural Center 

Los Angeles, California 

Intiman Theater 

Seattle, Washington 

La Mama Experimental Theater Club 

New York, New York 

La Mama Experimental Theater Club 

New York, New York 

Loretto-Hilton Theater 

St. Louis, Missouri 

Manhattan Theater Club 

New York, New York 

McCarter Theater Company 

Princeton, New Jersey 

Milwaukee Repertory Theater 

Milwaukee, Wisconsin 

MRT, Inc.

Kansas City, Missouri 

Negro Ensemble Company 

New York, New York 

New Federal Theater 

New York, New York 

New York Shakespeare Festival 

New York, New York 

North Carolina, University of 

Chapel Hill, North Carolina 

North Light Repertory Company

Evanston, Illinois 

Oakland University 

Rochester, Michigan 

Old Globe Theater 

San Diego, California 

O’Neill (Eugene) Memorial Theater 

Foundation 

Waterford, Connecticut 

Oregon Shakespearean Festival 

Association 

Ashland, Oregon 

Organic Theater Company 

Chicago, Illinois 

Performing Arts Foundation of 

Long Island 

Huntington Station, New York 

For the 1980-81 season, including artistic and administrative 

development, and for the extension of rehearsal and performance 

periods. 

For the Second Theater’s 1980-81 season and to increase actors’ 

salaries. 

For the 1980-81 season of productions. 

For the 1980-81 season of performances and for artistic administrative development. 

For productions and other theatrical activities for the 1980-81 

season. 

For a six-week season of repertory with the International Center 

of Theater Research, under the direction of Peter Brook. 

For the 1980-81 season of prodvctions on the mainstage and in the 

Studio Theater. 

For the Downstage and Upstage Series dnring the 1980-81 season. 

For staff development and outreach programs during the 1980-81 

season. 

For artistic development for the 1980.81 season and for the play 

development program. 

For Missouri Repertory Theater’s 1980-81 season of productions 

and for artistic staff development. 

For the 1980-81 season of productions, for on-the-job- training, 

intern programs, and playwrights-in-residence. 

For increased production and artistic expenses for the 1980-81 

season. 

For theatrical activity at the Public Theater for the 1980-81 

season. 

For artistic and administrative development for Playmakers 

Repertory Company’s 1980-81 season. 

For administrative staff development during the 1980-81 season. 

For artistic development for Meadow Brook Theater’s 1980-81 

season. 

For increased artistic and administrative activities for the 

1980-81 season. 

For the 1981 National Playwrights’ Conference and the National 

Critics’ Institute. 

For the 1980-81 season of prod~ctions and for increased artistic 

and administrative activities. 

For the 1980-81 season of mainstage prodactions, play readings, 

youth theater progra ms, and fo r a dministra tire staff development. 

For the 1980-81 season of prodactions at PAF Playhonse. 

5,000 

25,000 

TF 25,000

PG 25,000 

20,000 

TF 15,000 

PG 15,000 

15,000 

50,000 

TF 20,000 

PG 20,000 

5,000 

TF 65,OO0

PG 65,000 

47,125 

TF 25,375 

PG 25,375 

10,000 

TF 30,0O0 

PG 30,000 

15,000 

TF 70,000 

PG 70,OO0 

58,000 

190,000 

TF 10,000 

PG 10,000 

45,000 

TF 10,000 

PG 10,000 

TF 195,000 

PG 195,000 

10,000 

10,000 

TF 30,000 

PG 30,000 

15,000 

TF 60,000 

PG 60,000 

67,000 

TF 68,000 

PG 68,000 

TF 40,000 

PG 40,000 

27,250 

25,000 
Theater 265 

Philadelphia Drama Guild For the 1980-81 season of productions and related theatrical 

Philadelphia, Pennsylvania activity. 

Pittsburgh Public Theater Corporation For artistic and administrative staff development for the 1980-81 

30,000 

25,000 

TF 25,000 

PG 25,000 

TF 78,000 

PG 78,000 

5,000 

41,375 

TF 18,625 

PG 18,625 

17,500 

TF 32,500 

PG 32,5OO 

15,000 

TF 30,000
 

PG 30,000
 

30,000 

TF 125,000 

PG 125,000 

TF 32,000 

PG 32,000 

40,000 

TF 10,000 

PG 10,000 

10,000 

TF 34,500 

PG 34,500 

lO,0O0 

TF 40,000 

PG 40,000 

5,000 

15,000 

20,000 

TF 20,000 

PG 20,000 

65,000 

TF 125,000 

PG 125,000 

25,000 

7,500 

235,000 

7,500 

57,000 

TF 72,000 

PG 72.000 

Pittsburgh, Pennsylvania 

PlayHouse 

Cleveland, Ohio 

Players State Theater 

Coconut Grove, Florida 

Play~vrights Horizons 

New York, New York 

Provisional Theater Foundation 

Los Angeles, California 

Puerto Rican Traveling Theater 

New York, New York 

St. Nicholas Theater Company

Chicago, Illinois 

Seattle Repertory Theater 

Seattle, Washington 

South Coast Repertory 

Costa Mesa, California 

season and for the production of new plays. 

For Cleveland PlayHouse’s 1980-81 season of productions and 

for artistic staff development. 

For the 1980-81 season of productions. 

For the 1980-81 season of new plays in Manhattan and Queens. 

For the 1980.81 season of productions and .for administrative 

development. 

For artistic and administrative staff development and community service projects during the 1980.81 season. 

For Me 1980.81 season. 

For the expansion of the theater’s artistic programs during the 

1980-81 season. 

For the 1980.81 season of productions and related artistic and 

administrative growth activities. 

Southeastern Academy of Theater and For artistic and administrative development dnring Academy 

Music 

Atlanta, Georgia 

Springfield Theater Arts Association

Springfield, Massachusetts 

Studio Theater School 

Buffalo, New York 

Syracuse University Theater 

Corporation 

Syracuse, New York 

Theater Arts of West Virginia

Beckley, West Virginia 

Theater by the Sea 

Portsmouth, New Hampshire 

Theater, Inc. 

New York, New York 

Trinity Personna Company 

Providence, Rhode Island 

Utah, University of

Salt Lake City, Utah 

Virginia Museum of Fine Arts

Richmond, Virginia 

Washington Drama Society

Washington, D.C. 

Whole Theater Company 

Montclair, New Jersey 

Yale University 

New Haven, Connecticut 

Theater’s 1980-81 season. 

For artistic development during State West’s 1980.81 season. 

For Studio Arena Theater’s 1980-81 artistic, administrative, 

and community service programs.
 

For Syracuse Stage’s 1980-81 season of plays and related theatrical activity.
 

For the 1980.81 season of productions and touring activity.
 

For the 1980-81 season of productions, for artistic development,
 

and administrative programs.
 

For Phoenix Theater’s 1980-81 season of new plays.
 

For Trinity Square Repertory Company’s 1980-81 season of 

productions and related theatrical activity. 

For Pioneer Memorial Theater’s 1980-81 season of productions. 

For Virginia Museum Theater’s 1980-81 season of productions. 

For Arena Stage’s 1980-81 season of productions and workshops. 

For the 1980-81 season of plays, for administrative development, 

and for the expansion of education programs.
 

For Yale Repertory Theater’s 1980-81 season of productions and
 

for a community service program.
 
266 Theater 

Professional 

Theater Companies 

with Short Seasons 

Alabama Shakespeare Festival 

Anniston, Alabama 

Arrow Rock Lyceum 

Arrow Rock, Missouri 

Berkshire Theater Festival 

Stockbridge, Massachusetts 

California Shakespearean Festival 

Visalia, California 

Connecticut Center for Performing 

Arts 

Stratford, Connecticut 

Dallas Theater Arts 

Dallas, Texas 

Great Lakes Shakespeare Association 

Cleveland, Ohio 

Horse Cave Theater 76 

Horse Cave, Kentucky 

League of Theater Artists 

Albany, New York 

New Jersey Shakespeare Festival of 

Morris County 

Madison, New Jersey 

New York Shakespeare Festival 

New York, New York 

Oak Park Festival Theater 

Oak Park, Illinois 

Ohio Outdoor Historical Drama 

Association 

Dover, Ohio 

Peninsula Players Theater Foundation 

Green Bay, Wisconsin 

Peterborough Players

Peterborough, New Hampshire 

Shakespeare and Company 

Lenox, Massachusetts 

Souhegan Theater Council 

Milford, New Hampshire 

Theater at Monmouth 

Monmouth, Maine 

Williamstown Theater Foundation 

Williamstown, Massachusetts 

To assist professional theater companies ~vith performance seasons 

of less than five months, such as summer theaters and festivals. 

Program funds: $103,000 

Treasury funds: $105,150 

Private gifts: $105,150 

For the 1981 season of prodnctions and for artistic and adminis- $5,000 

trative staff development. 

For the 1980 season of productions and for administrative devel- 3,000 

opment. 

For the 1980 season of productio~s in t~ree theaters and for TF 3,150 

apprentice and children’s theater acticities. PG 3,150 

For the 1980 season of prodnctiorm. 7,500 

For American Shakespeare Theater’s production costs for the 15,000 

Student Audience and Festira! Seasons, for audieuce development and edncational and community service activities. 

For salaries, transportation, and honsing for the company 5,000 

during the 1980 Shakespeare Festival of Dallas. 

For artistic staff development for the 1980-81 season. 17,500 

For artistic staff development for the 1980-8l season. 8,000 

For artistic and administratice deeelopment and for the play- 5,000 

wrights-in-residence program .for the 1980-81 season. 

For artistic staff development for the 1980 season. 3,000 

For the Free Shakespeare i~ Central Park and the Mobile TF 60,000
 

Theater for the 1980-81 season.
 PG 60,000 

For the 1980-81 season of pe~:formances and for artistic and 3,500
 

administratice derelopment.
 

For artistic and technical staff decelopme~t for the 1980 season. 2,500 

For the 1980-81 season of productions. 4,000 

For artistic staff development durirtg the 1980-8l season, includ- 3,000
 

ing extended rehearsal periods, ittcreased salaries for guest
 

directors, and support of the New Plays Program.
 

For the 1980 summer season qf performa~wes at the Mount. 4,000 

For American Stage Festival’s 1980 summer season of pro- 15,000
 

ductio~ts.
 

For commnnity sereices project for the 1980 seaso~. 2,000 

For the Williamstou’n Theater Festical~ artistic and adminis- TF 42,000
 

trative expansion, an intern program, a~td ~tew play de~’elopment PG 42,000
 

during the 1980-81 season.
 
Theater 267 

Professional Theater To assist professional groups that are engaged primarily in the production of dramatic material for audiences aged five through four- for Youth teen. 

A Contemporary Theater

Seattle, Washington 

Archaesus Productions 

Washington, D.C. 

Asolo State Theater 

Sarasota, Florida 

Atlanta Arts Alliance 

Atlanta, Georgia 

Center Stage Association

Baltimore, Maryland 

Center Theater Group of Los Angeles 

Los Angeles, California 

Children’s Theater Company and 

School 

Minneapolis, Minnesota 

CTA Theater for Young People 

Baltimore, Maryland 

East-West Players

Los Angeles, California 

Educational Puppet Theater

Atlanta, Georgia 

Genesee Valley Arts Foundation 

Rochester, New York 

Green Mountain Guild 

White River Junction, Vermont 

Hartford Slage Company 

Hartford, Connecticut 

Henry Street Settlement 

New York, New York 

Honolulu Theater for Youth 

Honolulu, Hawaii 

Looking Glass Theater 

Providence, Rhode Island 

Loon and the Heron Theater for 

Children 

Boston, Massachusetts 

Loretto-Hilton Theater 

St. Louis, Missouri 

Louisville Children’s Theater 

Louisville, Kentucky 

Marionette Theater Arts Council 

Pittsburgh, Pennsylvania 

Metro Theater Circus 

St. Louis, Missouri 

Nashville Children’s Theater 

Nashville, Tennessee 

Program funds: $380,000 

For the 1979-80 touring season of the Young ACT Company. $11,200 

For the 1979-80 season of performances for children. 1,500 

For the 1979-80 season of the Asolo Touring Theater. 9,100 

For the 1979-80 season of productions of the Atlanta Children’s 6,500
 

Theater.
 

For the 1979-80 touring season of the Young People’s Theater. 3,500
 

For the Improvisational Theater Project’s 1979-80 season of 31,500
 

productions for children.
 

For the 1979-80 season of eight productions and related theatrical 37,800
 

activity.
 

For the 1979-80 touring season of four productions. 2,500
 

For the touring season of the Total Theater Ensemble to commu- 4,9O0
 

nities in California.
 

For artistic staff development at the Center for Puppetry Arts 4,600
 

during the 1979-80 season.
 

For the production of two new plays for touring during the 3,500
 

1979-80 season of GeVa on Tour.
 

For artistic staff development and increased touring activity 4,000
 

during the 1979-80 season.
 

For the Touring Theater’s production of two new plays during the 12,9O0
 

1979-80 season.
 

For the Family Matinee Theater’s 1979-80 season of productions. 5,000
 

For artistic staff development during the 1979-80 season. 10,000
 

For the development of three new works during the 1979-80 season. 5,000
 

For the 1979-80 touring season of four sho~vs to schools and 2,9O0 

community groups. 

For increased touring, rehearsal time, and artistic staff develop- 7,200 

ment during the Imaginary Theater Company’s 1979-80 season. 

For the 1979-80 season of six productions. 3,500 

For the 1979-80 resident and touring season of the Lovelace 12,000 

Theater. 

For the production and touring of two plays. 4,000 

For artistic staff development dnring the 1979-80 season. 2,9O0 
268 Theater 

Nebraska Arts Council 

Omaha, Nebraska 

Paper Bag Players 

New York, New York 

Paper Bag Players 

New York, New York 

Performing Arts Foundation of 

Long Island 

Huntington Station, New York 

Performing Arts Repertory Theater 

Foundation 

New York, New York 

Periwinkle Production 

Monticello, New York 

Poncho Theater Advisory Council 

Seattle, Washington 

New York, Research Foundation of 

the State University of 

Albany, New York 

Shadowy Box Theater 

New York, New York 

South Coast Repertory 

Costa Mesa, California 

Southeastern Academy of Theater and 

Youth 

Atlanta, Georgia 

Twelfth Night Repertory Company 

Studio City, California 

Washington Drama Society 

Washington, D.C. 

Wayside Foundation for the Arts 

Middletown, Virginia 

Small Professional 

Theater Companies 

Actor’s Studio 

New York, New York 

Actors’ Theater of St. Paul 

St. Paul, Minnesota 

Afro/American Total Theater Arts

Foundation 

New York, New York 

Alice People 

Tampa, Florida 

Amas Repertory Theater 

New York, New York 

American Contemporary Theater 

Hopewell Junction, New York 

To snpport the Nebraska Theater Caravan~ 1979-80 season. 2,500 

For the development of ~ew works and tourb~g during the 1979-80 

season. 

60,000 

For artistic development geared to handicapped audiences and 

for the decelopment of a ~ew work for a national tour for the 

1980-81 season. 

5,000 

For the Pe~ormi~g Arts Fonndation Ce~ter’s 1979-80 season of 

p~vdnctions .for children,. 

11,900 

For the 1979-80 season of tonri~g p~vdnctions for young 

audiences. 

21,500 

For the 1979-80 season of five productions for children. 2,900 

For the production of a new work du~ng the 1979-80 season of 1,500 

the Poncho Theate~ 

For the Empire State Youth Theater Institute’s 1979-80 sedan of 7,800 

productions. 

For artistic and administrative staff development. 4,000 

For the development of a new work by the Educational Theater 2,000 

Program during the 1979-80 seaso~. 

For artistic staff development dn~g the I979-80 seas’on of the 9,000 

Academy Theater for Youth Program. 

For 20 weeks of toning to communities in California. 5,800 

For the Living Stage~ 1979-80 season. 57,900

For the Wayside Theater on Tour’s 1979-80 se~von. 4,000 

To assist small groups that concentrate on furthering the development of theater artists and the development and presentation of new 

works. 

Program funds: $875,140 

For the 1979-80 season of activity, i~cluding the New York Play- $12,000 

wrights’ Lab, the Prodnction Program, and the Development and 

Public Affairs Department. 

For the 1979-80 season of prodnctions and related theatrical 2,500 

activity. 

For the 1979-80 season of plags. 5,000 

For uvrkshops in theater arts.for professional actors. 2,000 

For new productions during the 1979-80 season. 5,000 

For artistic staff development and the decelopment of a new work. 6,000 
Theater 269 

American Theater Company 

Tulsa, Oklahoma 

Appalshop

Whitesburg, Kentucky 

Artists in Prison 

Los Angeles, California 

Associated Recreation Council 

Seattle, Washington 

Associated YM-Y~VHA’s of Greater 

New York 

New York, New York 

Association for the Development of 

Dramatic Arts 

New York, New York 

At the Foot of the Mountain 

Minneapolis, Minnesota 

Berkeley Stage Company

Berkeley, California 

Billie Holiday Theater

Brooklyn, New York 

BoarsHead Players

Lansing, Michigan 

Brooklyn Academy of Music 

New York, New York 

Broom Street Theater 

Madison, Wisconsin 

Center for Community Action 

Minneapolis, Minnesota 

Centro Campesino Cultural 

San Juan Bautista, California 

Chicago Project New York 

New York, New York 

Chicago Theater Strategy 

Chicago, Illinois 

Circuit Playhouse 

Memphis, Tennessee 

Company Theater Foundation 

Los Angeles, California 

C.S.C. Repertory Limited 

New York, New York 

Cultural Council Foundation 

New York, New York 

Direct Theater 

New York, New York 

Douglass (Frederick) Creative Arts 

Center 

New York, New York 

Downtown Cabaret Theater 

Bridgeport, Connecticut 

East--West Players 

Los Angeles, California 

Empty Space Association 

Seattle, Washington 

For audience development activity for the 1979-80 season. 1,500 

For Roadside Theater’s production of new plays for touring. 1,500 

For the production of a new work during the 1979-80 season. 5,000 

For Bathhouse Theater’s 1979-80 season of productions. 2,000 

For the 1979-80 season of the Jewish Repertory Theater. 1,500 

For the 1979-80 season of the Jean Cocteau Repertory. 4,000 

For the development of a new work during the 1979-80 season. 6,000 

For the 1979-80 season of plays and for the development of a new 20,000
 

ensemble work.
 

For the 1979-80 season of plays. 1,500
 

For artistic staff development. 1,540
 

For the 1979-80 season of the Dodger Theater. 20,000
 

For the 1979-80 season of productions. 5,000
 

For artistic staff development for the Mixed Blood Theater 3,000
 

during the 1979-80 season.
 

For artistic and administrative staff development for El Teatro 30,000
 

Campesino.
 

For the New York Art Theater Institute’s 1979-80 season of 1,500
 

performances.
 

For the 1979-80 season. 2,000
 

To support administrative and artistic staff development for the 7, 500
 

Playhouse on the Square.
 

For a Festival of New Plays by Women and related theatrical 5,000
 

activities.
 

For the 1979-80 season of productions. 16,000
 

For the Production Company’s 1979-80 season of productions. 1,500
 

For the 1979-80 season of productions. 5,000
 

For the 1979-80 season of productions. 5,000
 

For the 1979-80 season of productions. 1,500 

For a playwright-in-residence during the 1979-80 season. 6,640 

For audience development and for promotion and fund-raising 25,000 

activities duriug the 1979-80 season. 
270 Theater 

Encompass Theater Company 

New York, New York 

Equinox Theater 

Houston, Texas 

Equity Library Theater 

New York, New York 

Eugene Theater Company 

Eugene, Oregon 

Eureka Theater 

San Francisco, California 

Facets Multimedia 

Chicago, Illinois 

Fairmount Center for the Creative 

and Performing Arts 

Cleveland, Ohio
 

Family, Inc.
 

New York, New York
 

Fifth Street Studio Theater 

Los Angeles, California 

Florida Studio Theater 

Sarasota, Florida 

Foundation for the Open Eye 

New York, New York 

Free Street Theater 

Chicago, Illinois 

Friends Mime Theater 

Milwaukee, Wisconsin 

Germinal Stage 

Denver, Colorado 

HB Playwrights Foundation 

New York, New York 

Henry Street Settlement 

New York, New York 

Hippodrome Theater Workshop 

Gainesville, Florida 

Hoffman (Byrd) Foundation 

New York, New York 

Hudson Guild Theater 

New York, New York 

Illusion Theater and School 

Minneapolis, Minnesota 

Impossible Ragtime Theater 

New York, New York 

Independent Eye
 

Lancaster, Pennsylvania
 

International Arts Relations 

New York, New York 

Julian Company Theater 

San Francisco, California 

Labor Theater
 

New York, New York
 

For audience development and fi~nd-raising activities dnring the 1,500 

1979-80 season. 

For the Playwrights" Seminar Series, irtcluding lecture-seminars 2,000 

by ~ix contemporary playwrights. 

For artistic staff development, production expenses, and develop- 6,000 

merit activities during the 1979-80 season. 

For artistic staff development during the 1979-80 season of the 2,500 

Oregon Repertory Theater.
 

For artistic and administrative staff development during the
 2,000 

1979-80 season.
 

For the 1979-80 season of the Facets Performance Ensemble.
 1,500 

For artistic staff development for the Fairmount Theater of ttte 5,000 

Deaf dnring the 1979-80 season. 

For the 1979-80 season of performances. 3,000 

For artistic and administrataive staff decelopme~t activities. 2,000 

For artistic and administrative staff development and fund- 3,000
 

raising activities.
 

For the 1979-80 season.
 11,000 

For artistic staff development for Free Street Too. 2,000
 

For the production of new work for tonri~tg during the 1979-80 2,000
 

season.
 

For artistic staff development dnring the 1979-80 season. 7,500
 

For the 1979-80 season of new plays and related theatrical 5,000
 

activity.
 

For the 1979-80 season of the New Federal Theater.
 50,000 

For touring activity during the 1979-80 season. 15,000 

For the development and the production of a new work by Robert 40,000 

Wilson. 

For artistic staff development duriug the 1979-80 se~on. 6,000 

For the development and production of a new work duri~g the 1,500 

1979-80 season. 

For the 1979-80 season of new and revival productions. 7,500 

For audience development during the 1979-80 season. 6,000 

For INTAR Theater’s 1979-80 season of new plays. 5,000 

For artistic staff development during the 1979-80 season. 3,500 

For artistic staff development during the 1979-80 season. 4,000 
League of Theater Artists 

Lexington, New York 

Lilith Foundation 

San Francisco, California 

Lion Theater Foundation 

New York, New York 

Little Flags Theater Foundation 

Roxbury, Massachusetts 

Los Angeles Actors’ Theater 

Foundation 

Los Angeles, California 

For the expansion of current activities, including the PRO VOS 

program, the Lexington Conservatory Theater season, and the 

Cultural Reso~trces Task Force. 

For the production of a new work during the 1979-80 season. 

For the 1979-80 season of plays. 

For the 1979-80 season. 

For the 1979-80 season. 

Mabou Mines Development Foundation For Mabou Mines’ 1979-80 resident season. 

New York, New York 

Mabou Mines Development Foundation For the production of a new work by Squat Theater during the 

New York, New York 

Magic Theater 

San Francisco, California 

Magic Theater Foundation 

Omaha, Nebraska 

Montana, University of 

Missoula, Montana 

Morning Glory Theater Foundation 

San Anselmo, California 

Moving Men Theater Company of 

Berkeley

Berkeley, California 

Muse Conceptions 

Boston, Massachusetts 

National Black Theater Workshop 

New York, New York 

New American Theater 

Rockford, Illinois 

New Dramatists 

New York, New York 

New Playwrights Theater of

Washington 

Washington, D.C. 

Odyssey Theater Foundation 

Los Angeles, California 

Old Creamery Theater Company 

Garrison, Iowa 

Open Door Theater of Boston 

Jamaica Plain, Massachusetts 

Open Space Theater Experiment 

New York, New York 

Other Theater 

New York, New York 

Otrabanda Company 

New Orleans, Louisiana 

Palace Theater 

Minneapolis, Minnesota 

Pan Asian Repertory Theater 

New York, New York 

1979-80 season.
 

For the 1979-80 season of productions.
 

For the development and production of new work during the 

1979-80 season and for related theatrical activity.
 

To hire a director of sponsor development for the Montana Repertory Theater.
 

For the development and performance of a new work.
 

For the development of a new production for the 1979-80 season.
 

For the 1979-80 season of performances.
 

For the 1979-80 season of plays and for audience development
 

activity.
 

For artistic staff and audience development activity during the
 

1979-80 season.
 

For programs and services for playwrights, including script
 

readings, production observerships, and publications.
 

For the production of new plays during the 1979-80 season.
 

For artistic and administrative staff development and fm~draising activity during the 1979-80 season.
 

For the 1980 season of productions.
 

For administrative staff development during the 1979-80 season. 

For administrative staff and actors’fees during the company’s 

World Theater Season. 

For the production of two new works. 

For the development of new work during the 1979-80 season.
 

For the 1979-80 season of productions.
 

For the 1979-80 season of productions.
 

Theater 271 

4,000 

1,500 

10,000 

6,000 

10,000 

40,000 

2,000 

40,O00 

20,000 

2,500 

1,500 

2,500 

1,500 

6,000 

2,000 

9,000 

7,500 

5,000 

1,500 

1,500 

1,500 

10,000 

5,000 

2,500 

2,000 
272 Theater 

Performance Community

Chicago, Illinois 

Play Group 

Knoxville, Tennessee 

Playwrights’ Lab 

Minneapolis, Minnesota 

Profile Theater 

Portland, Maine 

Provisional Theater Foundation 

Los Angeles, California 

Puerto Rican Traveling Theater 

Ne~v York, New York 

Quaigh Theater 

New York, New York 

Reality Theater 

Boston, Massachusetts 

Ridiculous Theatrical Company 

New York, New York 

Riverside Shakespeare Company of 

New York City 

New York, New York 

Roadside Attractions 

Detroit, Michigan 

San Diego Repertory Theater

San Diego, California 

Shared Forms Theater 

Ne~v York, New York 

Shelter West Company 

New York, New York 

Silvera (Frank) Writers’ Workshop 

Foundation 

New York, New York 

Snake Theater 

Sausalito, California 

Spanish Theater Repertory Company 

New York, New York 

Storefront Actors’ Theater 

Portland, Oregon 

Talking Band 

New York, New York 

Teatro de la Esperanza 

Santa Barbara, California 

Theater Center Philadelphia 

Philadelphia, Pennsylvania 

Theater Express 

Pittsburgh, Pennsylvania 

Theater for the New City 

New York, New York 

Theater X 

Milwaukee, Wisconsin 

Time and Space Limited Theater 

Company 

New York, New York 

For administrative and staff decelopme~t d~o’ing the 1979-80 6,000
 

season.
 

For the development of a new work a~td p~vgrams for the com- 4,090
 

munity.
 

For the 1979-80 program of script readi~gs. 1,500
 

For artistic and administrative staff developnlent du~ng Po~¢- 3,000
 

land Stage Company’s 1979-80 seaso~.
 

For the development of new work d~ring the 1979-80 season. 17,500
 

For t~e 1979-80 season of plays and touring activity. 27,500
 

For the 1979-80 season of ~mjor prodnctions and related theatri- 1,500
 

cal activity.
 

For the 1979-80 season of prod~ctions. 2,000
 

For the production of ~ew plays dnring the 1979-80 season. 22,500
 

For the 1979-80 season of prod~wtio~s. 1,500
 

For the Attic Theater~ 1979-80 season of prod~wtions. 7,500
 

For administrative staff and a~tdie~ce development activity. 2,000
 

For artistic and administrative staff development. 1,500
 

For the 1979-80 season of plays arid the in-hoarse Works Ensemble 1,500
 

Workshop.
 

For the 1979-80 season, includi~tg the Monday Night Series a~td 20,000
 

the Writer~-Director’s Staged Readings.
 

For the production of a new u’ork d~t~ffng the 1979-80 seaso~. 2,000
 

For the 1979-80 season of prod!~ctions. 7,500
 

For administrative a~d artistic staff derelopme~t dt~ri~g the 4,000
 

1979-80 season.
 

For a production of Pedro Paramo dnring tire 1979-80 season. 1,500
 

For the theater’s 1979-80 seaso~t of prodt~ctio~s. 5,000
 

For the Playwrights’ Workshop, prod~,ctions, and Scripts-in- 2,000
 

Progress Workshops.
 

For the 1979-80 season of prod~ctions a~td .for administrative 4,000
 

a~d artistic staff development.
 

For the 1979-80 season of prod~wtions a~d related theatrical 25,000
 

a ctirity.
 

For artistic staff development arid the 1979-80 season of pro- 5,000
 

d~wtions.
 

For the 1979-80 seaso~ of prodl~ctio~s. 1,500
 
Two Penny Circus 

Barre, Vermont 

Urban Arts Corps 

New York, New York 

Victory Gardens Theater

Chicago, Illinois 

Westchester-Rockland Regional 

Theater 

Harrison, New York 

Wisconsin, University of 

Madison, Wisconsin 

Wisdom Bridge Theater

Chicago, Illinois 

Women’s Experimental Theater 

New York, New York 

Women’s Interart Center 

New York, Ne~v York 

Wooster Group 

New York, New York 

Workshop for the Players Art 

Foundation 

New York, New York 

Professional 

Theater Training 

League of Professional Theater

Training Programs 

New York, New York 

Director Intern 

Program 

American Repertory Theater 

Company

Cambridge, Massachusetts 

Circle Repertory Company 

New York, New York 

Empty Space Association 

Seattle, Washington 

Manhattan Theater Club 

New York, New York 

For audience development and fnnd-raising acitt~ty during the
 

1979-80 season.
 

For the production of plays during tl~e 1979-80 season and for
 

artistle staff and audience development activity.
 

For the prodnction of new plays during the 1979-80 season.
 

For the 1979-80 season of productions.
 

For the 1980 Midu,est Playwrights’ Laboratory.
 

For the 1979-80 season of plays.
 

For performances and for the development of a new work during
 

the 1979-80 season.
 

For the Interart Theater’s 1979-80 season of productions.
 

For the Performance Group’s 1979-80 season.
 

For the 1979-80 season of productions and workshop performances.
 

Theater 273 

1,500 

13,500 

10,000 

2,000 

1,500 

4,500 

6,500 

10,000 

40,000 

7,500 

To assist training projects that benefit the field as a whole. 

Program funds: $200,000 

To support major theater training programs throughout the $200,000 

nation, such as supplementing existing faculty uqth visiting 

master teachers, using gnest directors to enhance the perfo~nnanee 

experiences of yonug artists, providing financial assistance to 

students in their final year of training, and evaluating aud 

communicating uqth the field. 

To help talented individuals make the transition between professional training and full professional work experience. 

Program funds: $144,000 

For a director fellow to collaborate for one year with the theater’s $18,000

artistic director by directing one play in the repertory season and 

participating in all aspects of the theater’s operations. 

For a director fellow to direct u’orks by emerging pIaywrigMs and 18,000 

to participate in the Projects-in-Progress Series and in the Circle 

Laboratory’s experimental works. 

For a director fellow to participate in all aspects of the theater’s 18,000

operations, inclnding two directing projects and contacts n’ith 

new playwrights, and to gain experience in managing the daily 

operations of the season. 

18,000 For a director fellow to work as assistant director on ta’o major 

prodnctions, direct several in-honse stage readings, and work 

closely with the casting staff and literary associate in reading 

scripts during the theater’s 1980-81 season. 
274 Theater 

New York Shakespeare Festival 

New York, New York 

Pittsburgh Public Theater 

Pittsburgh, Pennsylvania 

Washington Drama Society 

Washington, D.C. 

Yale University 

Ne~v Haven, Connecticut 

Play Publication 

(Pilot) 

Theater Communications Group 

New York, New York 

Dramaturgen

Program (Pilot) 

Ne~v York Shakespeare Festival 

New York, New York 

PlayHouse 

Cleveland, Ohio 

Services to the Field/

Theater Resources 

Afro-American Total Theater 

New York, New York 

American Puppet Arts Council 

New York, New York 

American Theater Association 

Washington, D.C. 

American Theater Association 

Washington, D.C. 

Black Theater Alliance 

New York, Ne~v York 

For a director fellow to work with sereral professional directors 18,000 

in the country and with the festival’s artistic, administrative, and 

technical staffs. 

For a director fellow to participate in the selection of repertory, 18,000 

direct at least one mainstage production, participate in all staff 

operations, and assist in other mainstage productions. 

For a director fellaw to participate in Arena Stage~ 1980-81 18,000 

production season. 

For a director fellow during Yale Repertory Theater’s 1980-81 18,000 

season to assist the artistic director, direct one play in the theater’s 

tVinterfest, serve as director qf the Playwrights’ Theater, and 

direct works for the Sunday Series and the Yale Cabaret. 

To advance the professional careers of contemporary playwrights 

and the artistic development of theaters by supporting the publication and dissemination of new plays. 

Program funds: $40,000 

For the Plays Project, including the selection, publication, and $40,000
 

distribution of up to 24 scripts by contemporary playwrights.
 

To advance the artistic development of a theater by enabling it to

employ a literary manager, or dramaturg, who will assist in the 

selection, development, and analysis of plays for the theater’s season. 

Program funds: $40,000 

To engage Wilford Leach as a dramaturg for the 1980-81 season $20,000 

at the Public Theater. 

To engage Peter Sander as dramaturg for the 1980-81 season at 20,000 

the Cleveland PlayHouse. 

To assist organizations that provide services to the theater field as 

a whole or to a sector of it. 

Program funds: $857,776 

For a Participating Directors’ Conference, for audience develop- $10,000 

ment, and promotion activity for the "Black Theater Festival 

International--An Arts RecivaI at Lincoln Center." 

For transportation and artistic salaries for presentations by Bil 4,473 

Baird~ Marionettes at the International Puppet Festival in 

Washington, D.C., in 1980. 

For directors’ honoraria and travel expenses for the 12th annual 5,000 

American College Theater Festiral’s lVorkshop-Symposia. 

For a management stndy of the association conducted by Arthur 5,000 

D. Little, Inc. 

For administrative staff development and the continaation of 30,000 

services offered to black theater companies, inrlnding publications and newsletters. 
Theater 275 

California Theater Council 

Santa Maria, California 

Foundation for the Extension and 

Development of the American 

Professional Theater 

Ne~v York, Ne~v York 

International Theater Institute of the 

United States 

New York, New York 

Los Angeles Theater Alliance

Los Angeles, California 

Minnesota, University of 

Minneapolis, Minnesota 

Museo del Barrio 

New York, New York 

New Theater Festival 

Balitmore, Maryland 

New York Public Library 

Nexv York, Ne~v York 

North Carolina, University of 

Chapel Hill, North Carolina 

Off Off Broadway Alliance 

New York, New York 

Puppeteers of America

Washington, D.C. 

Puppeteers of America 

Washington, D.C. 

Theater Communications Group 

New York, New York 

Theater Communications Group* 

New York, New York 

Theater Development Fund 

New York, New York 

Turner, Knox*

Washington, D.C. 

University Players

Washington, D.C. 

For administrative staff development for the Council. 5,000 

For the technical assistance services offered by FEDAPTto non- 38,420 

profit tl~eaters. 

To s~pport the Institute’s service programs, including publica- 75,000 

tions, a reference library, visitor and consultation services, and 

co~fevence representation. 

For the Alliance’s services, developmental projects, and advocacy 5,000 

efforts for 42 small professional theaters in Los Angeles. 

To provide an outstanding arts administrator with the oppor- 60,023 

tunity to serve temporarily in the Endowment’s Theater program 

under the Intergovernmental Personnel Act. 

For the second Latin American Popular Theater Festival. 10,000 

15,000 For artistic, instructor, and seminar fees for tt~e 1980 New 

Theater Festival. 

For the continued operation, supervisian, and growth of the 75,000

Theater on Film and Tape Project. 

10,000 For the Institute of Outdoor Drama’s advisory service consultation to outdoor drama companies. 

For services to Off Off Broadway theaters, including the Resources 25,000 

and Referral Center and training meetings, seminars, and 

workshops. 

For the 1980 World Puppetry Festival. 20,000 

7,500 For administrative staff development. 

For service programs and activities during 1979-80, including 200,000 

publications, management services, and artist and personnel 

services to member nonprofit professional theaters. 

119,241 To amend a previous contract to provide a program of services 

related to artistic and administrative evaluation for member 

nonprofit professional theater companies throughout the country. 

100,000 For service programs, including the ticket subsidy program, the 

non-subsidized ticket distribution program, the theater voucher 

program, and the costume collection. 

20,620 To plan and implement two new categories of fi~nding for the 

Theater Program, Fellowships for Playwrights a~d Residencies 

for Playwrights. 

17,500 For artistic staff development for the 32~d annual tour of t~e 

National Players. 

*contract; PG - Program Funds; TF - Treasury Funds 
276 Vis~al Arts 
277 

Visual Arts
 

We had rivers of proposals and applications 

come through again this year. One of the 

impressive things that we have been noticing is 

the diversity of modes of artmaking. Artists are 

working in ne~v mediums that they have 

invented themselves; some are seriously working 

with such subjects as ecological and social 

structures. Today artists are forcing us to 

redefine traditional disciplines and even to 

revise our preconceptions of what art is. 

Artists who focus on art for and of public 

places are no exception. The past year has shown 

us how differently they can approach public 

projects. The Art Commission of King County, 

Washington, for example, invited artists to find 

ways of transforming exhausted strip-mining 

sites. That may sound like an odd assignment to 

give to artists, but it isn’t when you consider how 

artists are naturally involved in transformation. 

To render a scar in the landscape into a 

wonderful place to be is a perfect job for some 

artists. Alan Sonfist, for example, has developed 

ways of restoring vegetation to a city. He brings 

in a research team that finds out what the 

landscape looked like hundreds of years ago 

before the city was there. He reintroduces those 

grasses, those shrubs, those trees, so that you 

have a city block in lower Manhattan with the 

old landscape. It’s a long way from the days 

when we thought of a public artwork as a statue 

of a prominent citizen on horseback or an arty 

shape designed with no concern for where it 

would appear. 

In past years we’ve seen some regrettable 

results when the artwork is an afterthought, 

commissioned and installed after all else is 

completed. A sculpure in that situation often 

ends up looking as though it were stuck on where 

it didn’t belong. Recently, the Visual Arts 

Program has had some success in bringing 

architects and artists together while a project is 

still being planned. We’re beginning to see some 

sensational results from this kind of collaboration. 

Commissions for art in an architectural 

context may involve not only sculptors and 

painters but also craftspeople. Such collaboration 

used to be common practice: The craftswork at 

Timberline Lodge or the Library of Congress is 

integral to those buildings. Commissions to 

craftspeople this past year have included the 

flooring of a plaza and wrought ironwork in the 

plaza furniture. The new category of Building 

Arts encourages research leading to the design 

of components for buildings. 

Building Arts also encourages research leading 

to the building of one-of-a-kind houses for 

personal use. Especially on the West Coast and 

in the Southwest, large numbers of artists are 

moving to rural areas, buying land in the 

wilderness and building on it. They are handbuilding their own houses and doing it with 

ingenuity and a great sense of purpose. The 

results are frequently quite beautiful and closely 

attuned to the land and the climate. Instead of 

building a house that might be suitable 

anywhere and then hooking up their energy 

sources, they are starting with their energy 

sources. A sculptor in New Mexico, for example, 

designed his own hydro-electric system to tap a 

stream on his property and then built his house 

around it. Considering the increasing scarcity of 

energy sources and materials, such demonstrations of alternatives are timely and worth 

encouraging. 

Questions of supply and survival ~vorry 

photographers as well. The days of silver 

printing seem to be numbered. With the 

invention of new processes and alternatives to 

silver, photographic artists will undoubtedly 

surprise us with new imagery. Artists are that 

resourceful. 

Again this year, the Visual Arts Program has 

delighted in helping increase the number of 

first-rate photography exhibitions and publishing 

activities throughout the country. Public awareness of photographic art has grown rapidly; the 

increase in shows and sales reflects it. And yet 

there’s reason to doubt that the nature of 

photographic art is understood. People tend to 

think of it in terms of painting, as though it were 

possible to draw analogies between two such 

inherently different disciplines. For example, 
278 Vis~al Arts 

An exhibition of photographs by 

GROUP 

64 

Willard Van Dyke 

June 12-Jv~v 7o 1978 

10, 1978 

critics look for periods of Abstract Expressionism even bring us revelations of the world, providing 

and Formalism to appear. Again, the difficulty we let them. 

can be traced back to faulty preconceptions 

which get in the way of seeing. If we can trust 

artists to be our eyes, we’ll find that they can free 

us from outlived notions of what a discipline is James Melchert 

like or of the nature of art itself. Our artists can Director, Visual Arts Program 
Visual Arts 279 

Visual Arts Advisory Panel
 

Policy Panel 

Robert Adams 

Photographer 

Longmont, Colorado 

Benny Andrexvs 

Painter 

New York, New York 

Richard Artsch~vager 

Artist 

Charlottesville, New York 

Anne d’Harnoneourt 

Museum curator 

Philadelphia, Pennsylvania 

Anne Focke 

Arts organization director 

Seattle, Washington 

Janis Harris 

State arts agency director 

Indianapolis, Indiana 

Luis Jimenez 

Sculptor 

El Paso, Texas 

Ruth Kohler 

Arts center director
 

Sheboygan, Michigan
 

Edxvard Levine 

Dean of arts college 

Minneapolis, Minnesota 

Nathan Lyons 

Photographer, director of

photography workshop 

Rochester, New York 

Warren MacKenzie 

Potter 

Stillwater, Minnesota 

Critics’ Fellowships 

La~vrence Alloway 

Critic, professor of art 

Stony Brook, New York 

David Driskell
 

Artist, critic, professor
 

College Park, Maryland
 

May Natalie Tabak 

Critic
 

New York, New York
 

Photographers’ Fellowships 

Carole Kismaric 

Photography editor
 

New York, New York
 

Bart Parker 

Photographer 

Providence, Rhode Island 

Leland Rice 

Photographer 

Inglewood, California 

Eve Sonneman 

Photographer 

New York, New York 

Evon Streetman 

Photographer 

Gainesville, Florida 

Apprentice Felloxvships 

in Crafts 

Lisa Cook 

Fiber artist 

Berkeley, California 

Bob Fosdick 

Artist-collaborator 

Ne~v York, New York 

Warren Mackenzie 

Potter
 

Stillwater, Minnesota
 

Bruce Schnabel 

Artist, bookbinder 

Photography Workshops 

Photography Surveys 

Robert Ficter 

Photographer
 

Tallahassee, Florida
 

Frank Gohlke 

Photographer
 

Minneapolis, Minnesota
 

Nathan Lyons 

Photographer, director of
 

photography workshop
 

Rochester, New York
 

Ellen Manchester 

Director of photography workshop
 

Sun Valley, Idaho
 

Artists’ Spaces 

John Baldessari 

Artist
 

Los Angeles, California
 

Linda Goode Bryant 

Director of artists’ spaces organization 

New York, New York 

Leonard Hunter 

Artist, professor of art 

Lexington, Kentucky 

Marcia Tucker 

Museum director 

New York, New York 

Crafts Exhibitions 

Workshops and Master Classes 

Penelope Hunter-Steible 

Museum curator 

New York, New York 

Bernard Kester 

Fiber artist, professor 

Los Angeles, California 

Andrexv Maass 

Art center director 

Fresno, California 

Angelo Randazzo 

Arts center director 

Nashua, New Hampshire 

Betty Woodman 

Ceramist 

Boulder, Colorado 

Artists’ Fellowships (Video) 

Ira Schneider 

Video artist
 

New York, New York
 

David Ross 

Museum curator 

Berkeley, California 

Jamie Davidovich 

Video artist
 

New York, New York
 

Gayla Jamison 

Video center director
 

Atlanta, Georgia
 

Artists’ Felloxvships (Draxving 

and Printmaking) 

Anna Bliss
 

Printmaker
 

Salt Lake City, Utah
 

Mike Kanemitsu 

Printmaker
 

Los Angeles, California
 

Hoxvardena Pindell
 

Printmaker, professor
 

New York, New York
 
280 Visual Arts 

William Wegman
 

Video/performance artist
 

Alexis Smith 

Video/performance artist
 

Los Angeles, California
 

Artists’ Fello\vships (Conceptual 

and Performance) 

Vito Acconci
 

Video/performance artist
 

New York, New York
 

Artists’ Felloxvships (Painting


and Sculpture)
 

Tom Garver
 

Museum director
 

Newport Beach, California
 

Nancy Holt
 

Sculptor
 

New York, New York
 

Alex Katz
 

Painter
 

Nexv York, New York
 

Nilda Peraza 

Director of artists’ spaces organization 

New York, New York 

Katherine Porter 

Painter 

Lincolnville, Maine 

Martin Puryear

Sculptor 

Chicago, Illinois 

Photography Exhibition and

Publications 

Thomas Barrow 

Photographer 

Albuquerque, New Mexico 

William Ewing 

Photography cu rator 

New York, New York 

Therese Heyman 

Photography curator 

Oakland, California 

Anne Tucker 

Photography curator 

Houston, Texas 

Craftsmen’s Fellowships 

Craftsmen’s Projects 

Art Carpenter 

Woodworker 

Bolinas, California 

Jamie Carpenter 

Glass artist, designer 

New York, New York 

Marlene Gabel 

Crafts gallery director 

Portland, Oregon 

Aleksandra Kasuba 

Architectural craftsman 

New York, New York 

Gerhard Knodel 

Fiber artist 

Bloomfield Hills, Michigan 

David McDonald 

Ceramist 

Syracuse, New York 

Art in Public Places 

Siah Armajani

Sculptor 

Minneapolis. Minnesota 

Hugh Davies 

University gallery director 

Amherst, Massachusetts 

Janel Kardon 

Museum director 

Philadelphia, Pennsylvania 

Emily Pulitzer 

Museum curator 

St. Louis, Missouri 

Challenge Grant Panel 

Ed Colker 

Artist, professor 

Chicago, Illinois 

Robert Fitzpatrick 

Art school director 

Valencia, California 

Mary McArthur

Director of artists’ spaces organization 

New York, New York 

Bill Shanhouse 

Sculptor
 

Arlington, Virginia
 

Rose Slivka 

Writer 

Services to the Field 

Ed Colker
 

Artist, professor
 

Chicago, Illinois
 

Helene Fried 

Art school gallery director 

San Francisco, California 

Mary McArthur 

Artists’ spaces organization director 

New York, New York 

Frank McNutt 

State arts agency crafts coordinator 

Columbia, South Carolina 

E. J. Montgomery 

Jeweler, curator 

Nashville, Tennessee 

Ed Moses 

Artist 

Los Angeles, California 

Carole Sedestrom 

Crafts marketing expert 

New Paltz, New York 

Building Arts 

Malcolm I.eland 

Industrial designer, craftsman 

Potnero, California 

Deva Rajar 

Craftsman, builder

Canyon, California 

Audrey Sabol 

Collector, patron 

Villanova, Pennsylvania 

James Sinatra 

Dean of design college 

Ames, Iowa 
Visual Arts 281 

Visual Arts Grants Program funds: $7,252,229

Art in Public Places 

Arizona, University of 

Tucson, Arizona 

California State College 

Bakersfield, California 

Cambridge Arts Council

Cambridge, Massachusetts 

Corpus Christi State University 

Corpus Christi, Texas 

Creative Time 

New York, New York 

Eleventh International Sculpture 

Conference 

Princeton, New Jersey 

Eleventh International Sculpture 

Conference 

Princeton, New Jersey 

Eugene Performing Arts Center 

Eugene, Oregon 

42nd Street Local Development

Corporation 

New York, New York 

Governors State University 

Park Forest South, Illinois 

Hanna, Town of 

Hanna, Wyoming 

Hartford, City of 

Hartford, Connecticut 

Janesville Art League 

Janesville, Wisconsin 

Kanawha Arts Alliance 

South Charleston, West Virginia 

Kent Art Commission 

Kent, Washington 

Massachusetts Institute of Technology

Cambridge, Massachusetts 

Milwaukee Art Center 

Milwaukee, Wisconsin 

Minnesota, Regents of the University of 

Minneapolis, Minnesota 

Ne~v Brunswick Tomorrow 

New Brunswick, New Jersey 

To enable cities, universities, nonprofit private groups, and state arts

agencies to commission or purchase works of art for such places as 

parks, plazas, riverfronts, airports, subways, and public buildings. 

Program funds: $865,260 

To commission Athena Tacha for an environmental sculpture on $50,000

a mall at the entrance to the campus. 

To commission Maria Nordman for an environmental sculpture 18,000

for an eleven-acre site on the California State College campus at 

Bakersfield. 

To commission Richard Fleischner for a site-specific sculpture at 40,000

the new Alewife Subway Station, terminal of the Massachusetts 

Bay Transportation Authority’s red line. 

To commission Vernon Fisher for a work on the lobby wall of the 10,000 

university’s new Center for the Arts. 

To commission Bill Brand for a permanent installation designed 27,000 

to create the experience of the cinema in the subway. 

For installations of sculpture by 47 American artists at sites 50,000 

throughout Washington, D.C., for the eleventh International 

Sculpture Conference in the summer of 1980. 

To commission Rockne Krebs to create and install a laser work on 10,000

the Capitol Mall in Washington, D.C., on the occasion of the 

eleventh International Sculpture Conference. 

To commission David Gilhooly and Anita Fisk for sculptures at 17,500 

the city’s new Performing Arts Center. 

To commission Mary Miss and Stephen Antonakos for the Thea- 50,000 

ter Row redevelopment project. 

To commission Mary Miss to create an ent~ronmental sculpture 40,000

on a five-acre site on the university campus. 

To commission Stanley Dolega to design an environmental earth 50,000 

sculpture for the town of Hanna. 

25,000 To commission Romare Bearden for a mural in the four entrance 

lobby areas of the city’s new Veterans’ Memorial Coliseum at the
 

Hartford Civic Center.
 

To commission Joseph Kinnebrew to collaborate with a landscape 10,000 

architect ,m the development of a new mini-park for the city. 

To commission Charles Ginnever for a scnlpture for the Post 27,000
 

Office Ptaza in South Charleston.
 

To commission Herbert Bayer to design an earth sculpture to be 15,000 

integrated into the design of an erosion and flood control project 

at the Mill Creek Canyon park. 

To support a collaboration between six artists and architects L M. 75,000
 

Pei and Partners in the design of the new Arts and Media Technology Facility at Massachusetts Institute of Technology.
 

To commission Richard Haas for a mural on a prominent down- 14,800
 

town building.
 

To commission Robert Iru, i~ for a sculpture for the campus. 50,000 

For a commission for a sculpture by Tony Smith. 50,000 
282 Visual Arts 

Ne~v Orleans, City of 

New Orleans, Louisiana 

Palomar College 

San Marcos, California 

Partners for Livable Places* 

Washington, D.C. 

Pennsylvania, Trustees of the 

University of 

Philadelphia, Pennsylvania 

Public Art Fund 

New York, New York 

Public Auditorium Authority of 

Pittsburgh and Allegheny County 

Pittsburgh, Pennsylvania 

Roanoke College 

Salem, Virginia 

St. Louis, City of 

St. Louis, Missouri 

Seattle Arts Commission 

Seattle, Washington 

Art in Public Places/

Planning Grants

for Artists 

Armajani, Siah

Minneapolis, Minnesota 

Dolega, Stanley

Laramie, Wyoming 

Fasnacht, Heide 

New York, New York 

Hirschfield, Jim 

Seattle, Washington 

Janto, Phyllis 

New York, New York 

Kostelanetz, Richard 

New York, New York 

Loeffler, Carl 

San Francisco, California 

Nelson, Judson 

New York, New York 

Richards, Peter 

San Francisco, California 

Sato, Nori 

Seattle, Washington 

To support a planning grant to the City of New Orleans to select 15,000
 

an artist to collaborate with a Iondscape architect in the creation
 

of a doumtown sculpture site for the city.
 

To support the completion of a mural by artists Edgar Rodriguez, 8,210
 

George Papciah, and Manuel Sepuh’eda on the west u’all of the
 

racquetball-court building.
 

To compile, design, and produce a comprehensive publication 55,000
 

describing over 300 projects for art in public places funded in
 

part by the Endowment.
 

To commission Claes Oldenburg for a work on the campus. 37,500 

To commission Eric Statler to create an environmental installa- 4,750
 

tion along a 1-1/4 mile stretch of East River Park.
 

To commission MarL" di Suvero for a sculpture at the yew David 50,000 

L. Lawrence Convention Center. 

To commission Siah Armojani to create a sculptare for a site 10,000
 

between the arts and humartities building and the Memorial
 

Chapel on the campus.
 

To amend a previous grant for a commission to Richard Serra 5,000 

for a sculpture for the Twelfth Street Plaza. 

To commission Robert Irwin for an environmental scnlpture for 50,000
 

the plaza of the Public Safety Building.
 

For artists’ exploration of the potential offered by public sites and for 

the development of proposals which expand current thinking about 

art in public places. 

Program funds: $26,000 

To investigate methods of extending the span and developing a $2,000
 new structural support system of trusses in wooden bridge sculptures.
 

To develop the concept of environmental sculpture in connection 2,000
 

u,ith the reclaiming of abandoned surface-mine land.
 

To plan environmental sculpture projects for the breaker zone of 2,000
 

the ocean shore.
 

To develop sculpture designs for 5dand water sites in the urban 2,000
 

Sealtle area.
 

To develop a concept for an environmental sculpture that offers 2,000 learnbtg and play experiences. 

To explore potential sites and the feasibility of permanent instal- 2,000
 

lations of works involving words, numbers, and lines.
 

To develop project designs for pew~mnent video installations in 2,000 

undergronnd transportation systems. 

To investigate materials and structural techniques for large-scale 2,000 

sculptures appropriate for public sites. 

To develop a design for a water organ sculpture that would pro- 2,000 

duce sounds when acted upon by u’aves and other ambient euvironmental forces. 

To research various aspects of placb~g the electro,tic arts in public 2,000 spaces, and to examine different types ofvideo work appropriate 

for public places. 
Visual Arts 283 

Simpson, Louis To develop a manual to be used by designers and urban planners 2,000 

Seattle, Washington outlining how to salvage materials from the urban environment 

for use in designs for public works. 

Smith, George 

Buffalo, New York 

Sonfist, Alan 

New York, New York 

Artists, Critics,

Photographers,

and Craftsmen 

in Residence 

To incestigate new materials for architectural sculptures or 2,000 

earthworks inspired by the indigenous architecture of northern 

Nigeria, Africa. 

To plan a project usir~g a system of natural terrains that would 2,000 

be botanically historical to a specific area as well as able to withstand periodic floodiug. 

To enable art schools, university art departments, and other arts

organizations to invite artists, critics, photographers, and craftsmen

of national reputation for short-term stays to instruct and work with

students and faculty while practicing their professions. 

Program funds: $221,047 

Alabama, University of 

Birmingham, Alabama 

American Crafts Council 

New York, New York 

Anderson Ranch Arts Foundation 

Aspen, Colorado 

$2,000 

2,000 

2,000 

Arizona Commission on the Arts and Humanities 1,500 

(Center for Creative Photography) 

Phoenix, Arizona 

Arizona, University of 

Tucson, Arizona 

Arizona, University of 

Tucson, Arizona 

Art Academy of Cincinnati 

Cincinnati, Ohio 

Artists in Residence 

New York, New York 

Arts Festival of Atlanta 

Atlanta, Georgia 

Baltimore Museum of Art 

Baltimore, Maryland 

Beaver College

Glenside, Pennsylvania 

Bennington College 

Bennington, Vermont 

Berry College 

Mount Berry, Georgia 

Boston University 

Boston, Massachusetts 

Boulder Public Library 

Boulder, Colorado 

California College of Arts and Crafts 

Oakland, California 

California, Regents of the University of 

Berkeley, California 

1,500 

2,000 

1,000 

1,000 

2,000 

1,200 

1,500 

1,600 

2,000 

2,000 

2,000 

2,000 

2,000 

California State University, Foundation of 

Sacramento, California 

California, University of 

Riverside, California 

Catskill Art Society 

Hurleyville, New York 

Catskill Center for Photography 

Woodstock, New York 

Chicago Project, Nexv York 

(New York Art Theater Institute)

New York, New York 

Chicago Project, New York 

(New York Art Theater Institute) 

New York, New York 

Chicago, University of 

Chicago, Illinois 

Cincinnati, University of 

Cincinnati, Ohio 

Claremont University Center 

Claremont, California 

Claremont University Center 

CIaremont, California 

Clayworks Studio Workshop 

New York, New York 

Colorado Mountain College 

Glenwood Springs, Colorado 

Colorado, University of 

Boulder, Colorado 

Colorado, University of 

Denver, Colorado 

Columbia College

Chicago, Illinois 

Columbus Recreation and Parks Department 

Columbus, Ohio 

Contemporary Arts Center 

New Orleans, Louisiana 

2,000 

1,800 

686 

2,000 

1,000 

2,000 

2,000 

875 

1,500 

1,490 

2,000 

2,000 

2,000 

1,800 

1,600 

2,000 

2,520 

California State College 2,000 

Bakersfield, California 
284 Visual Arts 

Cornell University 

Ithaca, New York 

Cornish Institute 

Seattle, Washington 

Corpus Christi State University 

Corpus Christi, Texas 

Cranbrook Academy of Art 

Bloomfield Hills, Michigan 

Dallas County Community College District 

Lancaster, Texas 

Dance Theater Workshop 

New York, New York 

Delaware, University of 

Newark, Delaware 

80 Langton Street 

San Francisco, California 

Film in the Cities 

St. Paul, Minnesota 

Fort Wright College of the Holy Names 

Spokane, Washington 

Fort Wright College of the Holy Names 

Spokane, Washington 

George Washington University 

Washington, D.C. 

Hawaii, University of 

Manoa, Hawaii 

Hudson River Museum 

Yonkers, New York 

Illinois, University of 

Chicago, Illinois 

Kutztown State College 

Kutztown, Pennsylvania 

La Mamelle 

San Francisco, California 

Laguna Gloria Art Museum 

Austin, Texas 

Lake Placid Association of Music, Drama, 

and Art 

Lake Placid, New York 

Los Angeles Center for Photographic Studies 

Los Angeles, California 

Los Angeles Institute of Contemporary Art 

Los Angeles, California 

Maryland, University of 

College Park, Maryland 

Massachusetts Institute of Technology 

Cambridge, Massachusetts 

Memphis State University

Memphis, Tennessee 

Metropolitan Dade County Center for the 

Fine Arts 

Miami, Florida 

Middle Tennessee State University 

Murfreesboro, Tennessee 

5OO 

2,000 

1,200 

2,000 

1,000 

1,800 

2,000 

2,000 

1,700 

405 

2,000 

1,060 

2,000 

1,000 

1,500 

2,000 

1,100 

2,000 

2,000 

2,000 

2,000 

2,000 

2,000 

1,500 

1,000 

1,326 

Middlebury College 

Middlebury, Vermont 

2,000 

Mississippi, University of

University, Mississippi 

1,500 

Muhlenberg College 

Allentown, Pennsylvania 

1,000 

New Organization for the Visual Arts 

Cleveland, Ohio 

1,300 

New York, Research Foundation of the State

University of 

Buffalo, New York 

680 

New York, Research Foundation of the State 

University of

Plattsburgh, New York 

2,000 

Nexus 

Atlanta, Georgia 

2,000 

North Carolina School of the Arts Foundation 

Winston-Salem, North Carolina 

1,500 

North Carolina State University 

Raleigh, North Carolina 

850 

North Carolina State University 

Raleigh, North Carolina 

850 

North Dakota, University of 

Grand Forks, North Dakota 

1,500 

Northern State College 

Aberdeen, South Dakota 

1,500 

Northwestern University 

Evanston, Illinois 

2,000 

Pacific North~vest Arts and Crafts Association 

(Bellevue Art Museum) 

Bellevue, California 

2,000 

Pennsylvania, University of

(Institute of Contemporary Art) 

Philadelphia, Pennsylvania 

2,000 

Phillips Exeter Academy 

Exeter, New Hampshire 

2,000 

Polytechnic Institute of New York 

New York, New York 

2,000 

Portland Art Association 

Portland, Oregon 

750 

Portland Art Association 

Portland, Oregon 

2,000 

Portland Center for the Visual Arts 

Portland, Oregon 

700 

Portland State University 

Portland, Oregon 

2,000 

Pratt Institute 

Brooklyn, New York 

1,500 

Private Arts Foundation 

(Washington Project for the Arts) 

Washington, D.C. 

2,000 

Rice University 

Houston, Texas 

2,000 

Roberson Memorial 

Binghamton, New York 

1,000 
Visual Arts 285 

Rochester Institute of Technology 

Rochester, Ne\v York 

1,500 Virginia Polytechnic Institute

Blacksburg, Virginia 

930 

Rutgers University

New Brunswick, New Jersey 

1,500 Visual Arts Center of Alaska 

Anchorage, Alaska 

1,000 

Rutgers University 

Newark, New Jersey 

1,600 Visual Arts Center of Alaska 

Anchorage, Alaska 

1,200 

Skoxvhegan School of Painting and Sculpture 2,000 Visual Studies Workshop 2,000 

Skowhegan, Maine Rochester, New York 

Southern Illinois University, Board of Trustees of 1,700 

Carbondale, Illinois 

Wake Forest University 

Winston-Salem, North Carolina 

1,500 

Southern Illinois University, Board of Trustees of 1,300 

Carbondale, Illinois 

Walker Art Center 

Minneapolis, Minnesota 

1,000 

Summer School of Painting at Saugatuck,

Michigan 

2,000 Walla Walla College 

College Place, Washington 

900 

Chicago, Illinois 

Sun Valley Center for the Arts and Humanities 1,300

Sun Valley, Idaho 

Temple University 

Philadelphia, Pennsylvania 

4,000 

Washington State University

Pullman, Washington 

Wilkes College

Wilkes-Barre, Pennsylvania 

Women’s Caucus for Art 

4,500 

2,000 

2,000 

Texas, University of 1,575 Detroit, Michigan 

San Antonio, Texas Women’s Community 1,500 

Union of Independent Colleges of Art 36,000 Los Angeles, California 

Kansas City, Kansas Women’s Studio Workshop 2,000 

Vanderbilt University 1,250 Rosendale, New York 

Nashville, Tennessee Wright State University 1,500 

Virginia Commonwealth University

Richmond, Virginia 

1,500 Dayton, Ohio 

Virginia Commonwealth University 1,500 

Richmond, Virginia 

Photography To help groups organize or borrow photography exhibitions of contemporary or historical significance. This category also assists in the Exhibitions publication of exhibition catalogues. 

Program funds: $341, 357 

Amarillo Art Center For "Touring the World," an exhibition of 60 19th-century travel $3,000 

Amarillo, Texas photographs of Egypt, the Near East, India, Italy, and Central 

Europe. 

Apeiron Workshop For two photography exhibitions: "An Edwardian Observer," an 7,500 

Millerton, New York exhibition of 50 photographs by L. H. Wilson; and "The Exotic 

View," an exhibition of 60 19th-century photographs from Tibet, 

the South Seas, and the Orient. 

Appalshop For a catalogne of "Portraits and Dreams," an exhibition of 3,000 

Whitesburg, Kentucky photographs by children. 

Arapahoe Community College To bring an exhibition of the photographs of Dorothea Lange to the 3,000 

Foundation Community Gallery of Art. 

Littleton, Colorado 

Arizona State University For the Northlight Gallery’s exhibition program for the 1980-81 7,500 

Tempe, Arizona academic year. 

Arizona, University of For a n~ajor retrospective exhibition of the work of Aaron Siskind 15,000 

Tucson, Arizona at the Center for Creative Photography. 
286 Visual Arts 

Association for the Preservation of the 

Eno River Valley 

Durham, North Carolina 

California State University Long 

Beach Foundation 

Long Beach, California 

California State University Long 

Beach Foundation 

Long Beach, California 

Catskill Center for Photography 

Woodstock, New York 

Center for Exploratory and 

Perceptual Arts 

Buffalo, New York 

Cochise Fine Arts 

Bisbee, Arizona 

Coleman (Alex) Foto Gallery 

New York, New York 

Corcoran Gallery of Art, Trustees of the 

Washington, D.C. 

Cranbrook Academy of Art 

Bloomfield Hills, Michigan 

Cultural Council Foundation 

New York, New York 

Everson Museum of Art 

Syracuse, New York 

Eyes and Ears Foundation 

San Francisco, California 

Film in the Cities 

St. Paul, Minnesota 

Fine Arts Museum Foundation 

San Francisco, California 

Friends of the Earth Foundation 

San Francisco, California 

Georgia, University of

Athens, Georgia 

Harvard College, President and 

Fellows of 

Cambridge, Massachusetts 

Harvard College, President and 

Felloxvs of 

Cambridge, Massachusetts 

Institute for Art and Urban Resources 

New York, New York 

Institute of Contemporary Art 

Boston, Massachusetts 

International Center of Photography 

New York, New York 

For four photography exhibitions: "Eye Music," work by black 5,000 

photographer Gordon Parks; an exhibition of work by contemporary Durham photographers; an exhibition of historical portraiture; and an exhibition of work by Durham photographer Hugh 

Me,gum. 

For an exhibition resnltlng from a photography survey of Long 9,000 

Beach by six Los Angeles area photographers. 

To amend a previous gray, t for publication costs for a catalogue to 4,250 

accompany an exhibition of the work of Frederick Sommer. 

For a series of small photography exhibitions. 3,000 

For a series of three photography exhibitions: "Gestnres in Se- 4,000 

quence"; an exhibition examining current trends in portraiture; a~d an exhibition of work by Charles Schorre. 

For an exhibition of photographs taken between 1880 and 1920 6, O00 

illustrating the development of Bisbee. 

For a series of photography exhibitions. 2,000 

For a series of contemporary photography exhibitions a~d accom- 10,000 

pa~ying catalogues. 

For a catalogue on the Academy~ "Still Life" exhibition. 2, O00 

For two exhibitio~s by cow, temporary Hispanic photographers at 7,500 

En Foco. 

For "The Coming of Age of Color Photography," a traveling ex- 12,500 

hibition, with catalogue, of 200 works by contemporary artists. 

For an outdoor exhibition of work by eight California photogra- 7,200 

phers which a’ill be mou~ted on a commercial billbo~rd in San 

Fraucisco. 

For a series of exhibitions of work by regional and nation, ally 10,000 

recognized photographers. 

For "San Francisco/Los Angeles, 1945-80," a photography ex- 5,500 

hibition of approximately 60 works by Max Yarno. 

For "At Mono Lake," an exhibitio~ of photographs of Mono Lake 5,000 

and the surrou~di~g area. 

For the production of a catalogue of the work of photographer 3, 500 

William E. Wilson. 

For an exhibition and catalogne of the a’ork of Joe Steinmetz from 9,540 

1940 to 1979. 

For an exhibitio~ of the work of photographer Josef Koudelka. 4,000 

For the P.S. 1 Solo Exhibitio~s series incolring two New York 10,000
 

artists a~d ta’o ~mtio~ml artists, and for a group exhibition of 75
 

photographers.
 

For a retvospectire exhibition on the Carl Siembab Gallery. 10,000
 

For Insights III, a series of photography e.rhibitions includi~tg 15,000
 

work by Charles Roitz, Gary Metz, Bill Jones, Judith Tur~wr,
 

am! Robert Bo~o’deau.
 

League of United Chicano Artists To prepare an exhibitim~ of tin, temporary Mexican photography, 3,000 

Austin, Texas organized by Mexican photographer Manuel Alrarez Braro. 
Maine, University of

Presque Isle, Maine 

Media Study 

Buffalo, New York 

Memphis Academy of Arts 

Memphis, Tennessee 

Museo del Barrio 

New York, New York 

Museum of Fine Arts 

Houston, Texas 

New Hampshire Art Association 

Manchester, New Hampshire 

New Muse Community Museum of 

Brooklyn 

Brooklyn, New York 

Nexv York University 

New York, New York 

Northeastern Pennsylvania 

Philharmonic 

Avoca, Pennsylvania 

Northwestern University 

Evanston, Illinois 

Oakland Museum Association 

Oakland, California 

Oregon Center for the Photographic 

Arts 

Portland, Oregon 

Port Washington Public Library 

Port Washington, New York 

Private Arts Foundation of 

Washington 

Washington, D.C. 

Puerto Rican Arts Cultural Center 

Rochester, New York 

San Francisco Camerawork 

San Francisco, California 

San Francisco Museum of Modern Art 

San Francisco, California 

For a traveling exhibition of historical photographs of Aroostook 

Connty, Maine, from 1875 to 1945. 

For the exhibitions, "From tl~e Dagnerreotype to the Sih’er Print: 

A History of Photography throngh Images of Niagara Falls." 

For a city-wide exhibition, "Southern Eye -- Southern Mind: A 

Photographic Inquiry, "for which ten museums and institutions of 

higher education u~ll collaborate to mount 12 exhibitions. 

For a series of exhibitions of work by contemporary Hispanic 

photographers. 

For "The Calotype Process in Great Britain and France, 1839­

1870," a major exhibition including the work of 20 artists. 

For an exhibition of theater and dance photographs by Lotte
 

Jacobi.
 

For "Sepia Tone, "an exhibition of work by six African-American 

photographers. 

For the Grey Art Gallery and Study Center to research and organize the first art museum exhibition concerned with outer space, 

using the photographic resources available through NASA and 

the Jet Propulsion Laboratories. 

For a traveling exhibition of photographs which document seven 

counties in northeastern Pennsylvania by Mark Cohen. 

For "Exploring Society Photographically," an exhibition at the 

Mary and Leigh Block Gallery, ~bqth accompanying catalogue of 

photographs made by anthropologists and sociologists in the 

course of their research. 

For an exhibition with accompanying catalogne of western landscape photography. 

For an exhibition and catalogue of works by photographers shown 

at Blue Sky Gallery during the past five years. 

For a series of photography exhibitions and videotaped interz~ews with photographers. 

For a series of photography exhibitions of works by significant 

local photographers at the Washington Project for the Arts. 

For an exhibition of community photography, "Community and 

Its Habitat," and for a series of seminars. 

To bring the exhibition "Disability and the Arts" to San Francisco, and for the accompanying catalogue. 

For an exhibition and accompanying catalogue of work that deals 

with the narrative in pl~otography. 

Visual Arts 287 

3,000 

5,000 

9, 000 

2,500 

15,000 

3,000 

5,000 

5,182 

2,500 

10,000 

7,885 

5,000 

4,000 

6,900 

2,000 

3,000 

7,500 

San Francisco, California 

Southern Illinois University, Board of 

Trustees of 

Carbondale, Illinois 

Southern Illinois University, Board of 

Trustees of 

Carbondale, Illinois 

Visual Arts Center of Alaska 

Anchorage, Alaska 

San Francisco Museum of Modern ArtFor an exhibition and accompanying catalogue of the work of 7,500 San Francisco, California Will Connell.
 

San Francisco Museum of Modern ArtFor an exhibition and accompanying catalogue of European
 15,000 photography from the period between the two world wars. 

For an exhibition of early 20th-century photographs and a cata­ 10,000 logue documenting Joliet Prison.
 

For an exhibition and accompanying catalogue of the work of
 7,500 Adelaide Hanscom Leeson.
 

For the exhibition "The Manipulated Photograph." 2,900
 
288 Visual Arts 

Visual Studies Workshop 

Rochester, New York 

For the traveling exhibitions program, which circulates 15 shows 

to various institntions around the country. 

10,000 

Wisconsin, University of 

La Crosse, Wisconsin 

For a traveling exhibition of Paul Caponlgrob Stonehenge photographs. 

5, 000 

Crafts Exhibitions 

American Crafts Council 

New York, New York 

American Federation of the Arts 

New York, New York 

Arts and Crafts Society of Portland, 

Oregon

Portland, Oregon 

California State University 

Fullerton, California 

Colorado Springs Fine Arts Center

Colorado Springs, Colorado 

Contemporary Crafts Association 

Portland, Oregon 

Cooperative Social Settlement Society 

of the City of New York 

New York, New York 

Craft and Folk Art Museum
 

Los Angeles, California
 

Craft and Folk Art Museum
 

Los Angeles, California
 

Fashion Institute of Technology
 

New York, New York
 

Florida Department of State

White Springs, Florida 

Fondo del Sol
 

Washington, D.C.
 

Frog Hollow Craft Center

Middlebury, Vermont 

Gallup Area Arts Council

Gallup, New Mexico 

Grossmont College
 

E1 Cajon, California
 

Hawaii, University of
 

Honolulu, Hawaii
 

Honolulu Academy of Art
 

Honolulu, Hawaii
 

To help groups organize or borrow crafts exhibitions of contemporary or historical significance. This category also assists in the publication of exhibition catalogues. 

Program funds: $325,820 

$20,000 To support "For the Tabletop," an exhibition at the Museum of
 

American Crafts in New York.
 

15,000 For "The Art Fabric," a major exhibition of works ~n fiber bg 35
 

internationally known artists.
 

10,000 For a major regional exhibition of works in fiber and metal that
 

will be coordinated with a workshop-conference of northwestern
 

craftsmen.
 

7,000 For "Claire Zeisler: Dimensional Fiber, "an exhibition and catalogue of her work.
 

15,000 For a comprehensive exhibition and catalogue of contemporary
 

woodcrafts of the Rocky Mountains and southern regions.
 

7,200 For an exhibition and catalogue of current works by Toshiko
 

Takaezu.
 

5,000 For four one-person exhibitions in the Greenwich House Gallery
 

featuring ceramists M. C. Richards, Rudy Autio, Jane Ford, and
 

Warren MacKenzie.
 

15,000 For "Crafts of Hollywood," a major exhibition and catalogue 

documenting design and construction of sets, recording of action
 

in picture and sound, costume design and presentation, make-np,
 

and special effects.
 

2,750 To show the traveling exhibition "Miniature Fiber Arts: A National Exhibition," organized by the Textile Workshops in Santa
 

Fe. 

18,000 For the third biennial exhibition of tt~e Surface Design Association at tt~e FIT Gallery in April 1980 and for a catalogue docnmenting the exhibition.
 

5,000 For an exhibition at the Stephen Foster Center, of the basketry
 

styles of Florida, from traditional to contemporary form, and for
 

a catalogue.
 

10,000 For "The Other Gods," an exhibition and catalogue of contemporary artists who make icons, fetishes, altars, and ritual objects
 

using archetypal themes, racial memories, and mythological
 

images.
 

2,990 For "Fiber and Fabrics: The Process, "an exhibition of contemporary uvven, dyed, stitched, and spnn fiber pieces.
 

1,500 For a general exhibition of area craflspersons. 

3,500 For "Viewpoint: Ceramics 1981," an exhibition with catalogue of
 

conceptual artists n,orking in ceramics.
 

10,000 For "Filaments of the Imag~natwn, traveling exhibition with
 

catalogue of contemporary American work in fiber.
 

10,000 For "Matter, Meaning and Memory," an exhibition of 12 craft
 

artists.
 
Visual Arts 289 

Institute of Contemporary Art	 For an exhibition u,ith catalogue of the work of ceramist Marilyn 7,500 Boston, Massachusetts	 Levine. 

Los Angeles Institute of Contemporary 

Art 

Los Angeles, California 

Moore College of Art 

Philadelphia, Pennsylvania 

Moore College of Art 

Philadelphia, Pennsylvania 

National Standards Council of
 

American Embroiderers
 

Northfield, Illinois
 

Native American Center for the Arts 

Niagara Falls, New York 

Nexv Gallery of Contemporary Art 

Cleveland, Ohio 

Northern Illinois University 

DeKalb, Illinois 

Oakland Museum
 

Oakland, California
 

Rhode Island School of Design 

Providence, Rhode Island 

St. Clair Community College

Point Huron, Michigan 

Sheboygan Arts Foundation 

Sheboygan, Wisconsin 

Sheboygan Arts Foundation

Sheboygan, Wisconsin 

Springfield Library and Museums
 

Association
 

Springfield, Massachusetts 

Tennessee Arts Commission 

Nashville, Tennessee 

Textile Workshops 

Santa Fe, New Mexico 

Western Association of Art Museums 

Oakland, California 

Wildcliff Museum 

New Rochelle, New York 

For "Primarily Paper," a comprehensive exhibition, including a 

catalogue, of craftspersons whose work investigates the properties 

and potentials of paper. 

7,500 

For the 1st American exhibition of the work of Claus Bury from 

1969-1980. 15,000 

For "Sur~’ey of the 70’s," an exhibition that explores works in all 

media, and for a catalogne. 23,000 

For "Needle Expressions ’80, " a biennial exhibition of textile art. 5,000 

For "Shining Symbols--Iroquois Silver-work," an exhibition 

providing an historical overview of the development of silver 

ornaments among the Iroquois. 

10,000 

For an exhibition and catalogue of the work of five makers of 

handmade wood furniture. 6,000 

For an exhibition of fiber arts in the midwest from 1940 to 1980. 10,000 

For "Western Woodworkers," an exhibition featuring furniture 

and related wood objects by 10 established and emerging California craftsmen. 

11,380 

For an exhibition and catalogue of six contemporary ceramic 

artists whose work is considered to be contemporary art rather 

than pottery. 

15,000 

For six one-person exhibitions in varions media. 2,000 

For "Paint on Clay," an exhibition and catalogue of surface 

embellishment of clay objects using non-fired materials. 3,000 

For "Basketworks," a major exhibition of baskets and basketmaking in the United States. 

For three one-person exhibitions, including catalognes, of the 

work of Thomas Patti, glass-maker; Wendell Castle, n’oodworker; and Brother Thomas, ceramist at the Smith Art Mnseum. 

For a project to plan and research the exhibition potential of the 

newly opened Appalachian Center for Crafts in Smithville, 

Tennessee. 

15,000 

7,500 

7,500 

For a catalogue to accompany the "National Miniature Fiber 

Exhibition." 10,000 

For the traveling exhibition "Homage to Josiah Wedgewood." 7,500 

For an exhibition featuring work by artists experimenting with 

paper, and for a catalogne. 5,000 

Photography To make possible the publication of important works in photography, 

including works of historical or contemporary importance, works of Publications little-known but historically important photographers, and books 

containing research findings, criticism, or essays about the art of 

photography. 

Program funds: $128,500 

Arizona, University of	 For the Center for Creative Photography to publish a monograph, $15,000 Tucson, Arizona	 Color Photography in the Seventies, that contains 50four-color 

reproductions of nearly two dozen photographers. 
290 Visual Arts 

Calaveras Heritage Council 

San Andreas, California 

Colorado Springs Fine Arts Center

Colorado Springs, Colorado 

Confederacion Agricola de California 

Salinas, California 

Cultural Council Foundation 

New York, New York 

Eakins Press Foundation 

New York, New York 

Friends of Photography 

Carmel, California 

International Center of Photography 

New York, New York 

Los Angeles Institute of Contemporary 

Art 

Los Angeles, California 

Media Study 

Buffalo, New York 

Miami Beach, City of

Miami Beach, Florida 

New Orleans Museum of Art 

New Orleans, Louisiana 

Temple University 

Philadelphia, Pennsylvania 

Visual Studies Workshop 

Rochester, New York 

Visual Studies Workshop 

Rochester, New York 

7,500 To publish the work of photographer Jack Fnlton, including 

photographs taken in the Sierra Nevada since 1977. 

10,000 To publish a book of the photographs taken in 1940 by Russell Lee 

in Chamisal and Penasco, two New Mexico villages. 

2,500 To prepare the publication, In the Fields, a comprehensit’e photographic and literary essay on the lives of farmworkers. 

2,500 For Another View to prepare Volnme Five of The Black Photog­ graphers Annual. 

10,000 For the publication of two Eakins Exhibitions Albnms, Heroes of 

Harlem and Soul of Puerto Rico. 

15,000 For the pnblication of a major mouograph, Robert Heinecken, 

1962-1980. 

10,000 To publish a major book on the history of Polish photography. 

12,500 To publish a book of the photographs of George Platt Lynes. 

15,000 To publish The Roots of Modern Photography in Western New 

York, which examines the work of pictorial artists u,orking from 

1893 to 1927 in Buffalo. 

5,000 To publish Miami Beach, a photography survey of the South 

Beach area of Miami Beach. 

10,000 To publish a book on the work of Mother St. Croix, from the Ursuline convent in New Orleans. 

4,500 To publish The Altered Print, an edition featuring work by photographers who have engaged in the process of altering or manipulating the traditional p~otographic print.
 

6,000 For a monograph on the work of photographer Bart Parker, to 

include photographs, a critical essay, and an extensive chronology. 

3,000 To amend a previous grant for additional pnblication costs for 

the monograph William Klein: Painter, Photographer, Filmmaker. 

Photography Surveys To help organizations commission photographers to document the 

geography or way of life in a particular city or region. 

Arlington Council School Board

Arlington, Virginia 

Art Institute of Boston 

Boston, Massachusetts 

Artists Foundation 

Boston, Massachusetts 

Beloit College 

Beloit, Wisconsin 

Confederacion Agricola de California 

Salinas, California 

Dutchess County Arts Council

Poughkeepsie, New York 

Program funds: $116,075 

$5,000 For a photography sum’ey of Arlington County. 

9,000 For the O~ter Boston Project, a photography snrvey of the subnrban areas between the two circumferential highn,ays around 

metropolitan Boston. 

14,500 For a photography survey of the Leather District and the Fort 

Point Channel area. 

10,000 For a photography surrey of the ver~acnlar strttctures and architectural landscapes of southern Wisconsin. 

5,575 For a photography snrvey, to be comple~ne~ited by historical 

photographs, of the life of contemporary agricnltural field 

u,orkers in California. 

9,000 For a photography survey of Millerton, New York, incl~tding an 

examination of the impact on the commnnitg of the adducable retarded, who form a significant percentage of the pop~dation. 
Grossmont College

E1 Cajon, California 

Hampshire College 

Amherst, Massachusetts 

Maryland Institute 

Baltimore, Maryland 

Pittsburgh Filmmakers

Pittsburgh, Pennsylvania 

Sacramento Museum and History 

Division 

Sacramento, California 

Seattle Arts Commission 

Seattle, Washington 

Worcester Historical Museum 

Worcester, Massachusetts 

Artists Spaces 

Alternative Center for International 

Arts 

New York, New York 

American Indian Community House 

New York, New York 

and/or service

Seattle, Washington 

Apeiron Workshops 

Millerton, New York 

ARC Educational Foundation 

Chicago, Illinois 

Artists in Residence 

New York, New York 

Artlink 

Fort Wayne, Indiana 

Arts Place 

Portland, Oregon 

Asylum Hill Artists’ Cooperative 

Hartford, Connecticut 

Atlanta Art Workers Coalition 

Atlanta, Georgia 

Atlanta Women’s Art Collective 

Atlanta, Georgia 

Visual Arts 291 

For a photography survey of California water resources. 6,000 

For a photography survey of western Massachusetts documenting 9,000 architectural monuments, topography, industry and farming, 

towns, and educational institutions. 

For a comprehensive photography survey of the state of Maryland 9,000 examining selected cultural, geographical, economic, and topological features of the state.
 

For a photography survey of Pittsburgh. 9,000 

For a photography survey of the Central Sacramento Valley 15,000 using historical photographs. 

For a photography survey of Seattle and the surrounding area. 9,000 

For the Shrewsbury Street Photographic Project, documenting the 6, 000 culture and physical character of the Italian-American community of Worcester. 

To enable organizations to provide visual artists with spaces where 

they can experiment and create new works; and to provide access to 

resources, such as exhibition space, not generally available from 

museums or commercial galleries. Funds awarded to several grantees 

include a non-matching portion (NM) to be used for honoraria paid 

directly to artists for exhibitions, performances, sited works, or

screening/installations of video art. 

Program Funds $919,550 

For an exhibition series of 12 shows, including fees to participating artists and curators. 

For the presentation of three exhibitions of American Indian art 

in New York City. 

For the creation and presentation of art by local and national 

artists. 

For photography workshop programs, including an advanced 

summer workshop, one- and three-month residential programs, 

and special programs. 

To support an exhibition program at the ARC Gallery for local
 

women artists and a workshop series for the local art community.
 

For seminars and exhibitions by the first women’s cooperative 

gallery in the country. 

For an exhibition and performance program for local and nationally known artists. 

For an exhibition space for northwest and nationally known 

artists. 

For an alternative exhibition space showing local artists’ work 

and work from cooperative galleries across the country. 

For an exhibition program, which shows non-traditional media 

work by nationally known artists. 

For an exhibition program of the work of local and nationally 

known women artists, to include workshops, exchange exhibitions 

with other women’s groups, and catalogue documentation. 

$10,000 

2,000 

20,000 

NM 8,000 

10,000 

2,000 

NM 6,500 

7,500 

NM 1,000 

3,000 

2,000 

5,000 

3,500 

2,000 
292 Visual Arts 

Boston Visual Artists Union 

Boston, Massachusetts 

Boulder Assembly on the Arts and 

Humanities 

Boulder, Colorado 

Brandywine Graphic Workshop 

Philadelphia, Pennsylvania 

Cameravision 

Los Angeles, California 

Catskill Center for Photography 

Woodstock, New York 

Center for Book Arts 

New York, New York 

Center for Exploratory and


Perceptual Arts
 

Buffalo, New York 

Chicago Center for Contemporary

Photography 

Chicago, Illinois 

Cincinnati Artists Group Effort
 

Cincinnati, Ohio
 

Clayworks Studio Workshop 

New York, New York 

Committee for the Visual Arts 

Ne~v York, New York 

Contemporary Arts Center 

New Orleans, Louisiana 

Contemporary Arts Center
 

Cincinnati, Ohio
 

Craftsmen’s Guild of Mississippi

Jackson, Mississippi 

Creative Time 

New York, New York 

Crossroads Community, The Farm 

San Francisco, California 

Cultural Council Foundation 

New York, New York 

Dayton, City of 

Dayton, Ohio 

80 Langton Street
 

San Francisco, California
 

Fabric Workshop


Philadelphia, Pennsylvania
 

Fiberworks
 

Berkeley, California
 

Fog Store 

New York, New York 

Fondo del Sol 

Washington, D.C. 

For an exhibition program for local artists to be shon’n both in an 

artist-run gallery and in non-traditio~tal places throughont the 

the state. 

For a program of exchange shon’s orga~ized bg Front Range; 

Women in the Visual Arts Mth other wome~ arti.~ts’ grol~ps 

across the conntry. 

For support of a printmaking workshop facility which invites 

both local and nationally known minority artists to make prints. 

For an exhibition space and idea exchange fornm for photo.qraphers in the Los Angeles area, to incl~Me corks by minority and 

handicapped artists. 

For exhibitions and workshops for the commnnity condncted by 

nationally known artists. 

For a center that exhibits book art; enco~rages collaboration
 

amo~tg artists, binders, and prir~ters: and tonrs book art shows to
 

libraries and nnirersities.
 

For a photographic center a~d gallery space for local artists. 

For photography exhibitio~, catalog~ws, and a reso~o’ce center. 

For an alternative arts forum, focusing on exhibition, performance, experimentation, and dialogne in the visual arts.
 

For New York Experime~tal Glass Workshop’s facilities, n’ith 

all processes open to artists at large. 

For programs in performance, film a+td rideo ecents, exhibitions, 

panels, lectnres, and meetings at Artists Space. 

For a regional exhibition center, to offer workshops, technical 

assistance, and financial s++pport for artists who work in diverse 

media. 

For a program proriding presentation opport+o+ities for artists, 

including small grants for artists to prescott their own exhibitions. 

For a stndio space project a++d a trareling exhibition featnring 

local Mississippi artists. 

To commission temporary exhibitions of new artn’orks in highly 

visible, nn~sed corporate and mu~icipal spaces. 

For local and national artists to create a~d exhibit work within 

the context of The Farm, an animal a~d plant enriro~tment. 

For Bobsband’s nrban installations and site exhibitions. 

For installations and workshops by ~ ationallg k~towtt experimental artists in city publie spaces. 

For performance programs and exhibitio+ts, inclnding non-object, 

temporal, site-specific, and interdisciplinary formats. 

For short-term visiting artists’ n’orkshops for artists who work 

with fiber. 

For exhibitio~, lectnres, a~d performances. 

For exhibitions and performances sponsored by Fashion Moda in 

areas of New York City which otherwise n’onld not hare exposure 

to unnsnal art forms. 

For an exhibition space showing works of mi~writg artists and 

exchange shows. 

10,000 

2,000 

8,000 

4,000 

NM 1,000 

5,000 

NM 2,000 

5,000 

6,500 

10,000 

4,000 

5,000 

15,000 

NM 8,000 

12,500 

NM 5,000 

2,700 

NM 3,000 

3,000 

NM 1,000 

17,500 

NM 8,000 

7,500 

NM 3,000 

2,500 

10,000 

NM 2,500 

20, 000 

NM 8,000 

12,000 

5,000 

NM 8,000 

8,000 

NM 4,000 

5,000 

NM 3,300 
Visual Arts 293 

Forrest Avenue Consortium 

Atlanta, Georgia 

Foundation for Art Resources 

Venice, California 

Foundation for Today’s Art 

Philadelphia, Pennsylvania 

Franklin Furnace Archive 

New York, Ne~v York 

Friends of Photography 

Carmel, California 

Friends of Puerto Rico 

New York, New York 

Galeria/Studio 24 

San Francisco, California 

Haleakala 

New York, New York 

HaIlwalls 

Buffalo, New York 

Hera Educational Foundation 

Wakefield, Rhode Island 

Illinois Arts Council 

Chicago, Illinois 

Illinois Arts Council 

Chicago, Illinois 

Indiana University 

Indianapolis, Indiana 

Institute for Art and Urban Resources 

New York, New York 

Iowa, University of

Iowa City, Iowa 

Just Above Midtown 

New York, New York 

La Mamelle 

San Francisco, California 

Light Factory 

Charlotte, North Carolina 

Light Work 

Syracuse, New York 

Line Association 

New York, New York 

Los Angeles Contemporary 

Exhibitions 

Los Angeles, California 

Los Angeles Institute of Contemporary 

Art 

Los Angeles, California 

Maryland Writer’s Council 

Baltimore, Maryland 

For regional exhibitions, performances, and special projects. 

For an exhibition program featuring local artists working in a 

variety of media, including video, film, and performance. 

For exhibitions at Nexns featuring regional artists, and for exchange shows with other artist-run galleries nationwide. 

For a program of exhibitions, performances, and an information 

center for artists’ books. 

For 11 workshops for photography professionals, a conference of 

photographers from across the country, and a major group exhibition with a catalogue. 

For the Cayman Gallery program, featuring three-week solo 

exhibitions of works by Latino-American artists. 

For a program of experimental printmaking workshops. 

For the Kitchen’s video viewing room gallery, the performance 

series of 25 artists per season, the major installations room, and 

a short-term residency program. 

For a visiting artist program, exhibitions, and performances. 

For exhibitions of experimental work by professional women 

artists in conjunction with a lecture and visiting artists program. 

For exhibitions and a special events program at the West Hubbard Gallery to include film, ~deo, and performance arts. 

For the activities of Chicago Books, including a publishing cooperative for local artists and the publication of artists’ broadsides. 

For major exhibition with catalogues of Midwest artists, a performance schedule of nationally known artists, and smaller exhibitions and installations at the Herron School of Art. 

For 16 solo exhibitions at the Clocktower--a downtown public 

building. 

For a series of visiting artist programs including workshops,
 

exhibitions, and performances at Corroboree Gallery.
 

For an exhibition program and exhibition services for minority 

artists. 

For performances, exhibitions, and video documentation. 

For the development of a regional clearing house and exhibition 

space for photography as an art form and communication 

medium. 

For an exhibition and residency program for artists producing 

experimental photography. 

For exhibition projects, films, video screenings and performances, sponsored by Collaborative Projects.
 

For exhibitions by southern Californians and nationally known
 

artists who work in new and nnusual media.
 

For exhibitions by southern Californians and national artists 

selected by guest curators. 

For an interchange between national and local performance 

artists through productions in various locations around the city, 

organized by The Merzaum Collective. 

10,000 NM 4,000 

10,000 

NM 5,000 

6,000 

20,000 

NM 8,000 

7,500 

10,000 

4,000 

15,000 

20,000 

NM 8,000 

1,500 

2,500 

8,000 NM 1,500 

7,200 

5,000 

NM 2,500 

NM 5,000 

15,000
 

NM 1,000
 

4,000
 

NM 4,200
 

5,000 

12,000 

10,000 

9,700 

NM 4,000 

5,000 

NM 5,000 

5,000 

NM 2,500 
294 Visual Arts 

Mayor’s Advisory Committee on Art 

and Culture 

Baltimore, Maryland 

Minneapolis Society of Fine Arts 

Minneapolis, Minnesota 

Minneapolis Society of Fine Arts

Minneapolis, Minnesota 

MoMing Collection 

Chicago, Illinois 

N.A.M.E. Gallery

Chicago, Illinois 

New Gallery of Contemporary Art 

Cleveland, Ohio 

New Ground Presentations 

New York, New York 

New Harmony Gallery of 

Contemporary Art 

New Harmony, Indiana 

New Museum 

New York, New York 

New Organization for the Visual Arts 

Cleveland, Ohio 

Nexus 

Atlanta, Georgia 

Northwest Artists Workshop, Second 

Floor Gallery 

Portland, Oregon 

112 Workshops 

New York, New York 

1708 East Main 

Richmond, Virginia 

Open Gallery North~vest 

Eugene, Oregon 

Oregon Center for the Photographic 

Arts 

Portland, Oregon 

Photographic Resource Center 

Boston, Massachusetts 

Portable Channel 

Rochester, New York 

Portland Center for the Visual Arts 

Portland, Oregon 

Printmaking Workshop 

New York, New York 

Private Arts Foundation of 

Washington

Washington, D.C. 

Randolph Street Gallery 

Chicago, Illinois 

Real Art Ways 

Hartford, Connecticut 

San Francisco Camerawork 

San Francisco, California 

For a program providing exhibition space for local artists working in non-traditional methods and materials, performance, and 

video. 

For Minneapolis College of Art and Design’s workshop and exhibition program, including four prominent artists who will offer 

workshops and work on their own projects. 

For lectures and exhibitions selected bg local artists, showing 

regional art and work by artist groups from aronnd the nation. 

For a fornm exhibiting the work of local and national artists. 

For an exhibition space for local artists, a film and performance
 

series, and exchanges with other spaces.
 

For gallery symposia, lectures, and performances, including
 

regional and nationally knou’n artists.
 

To support the 15th annual A~,ant-Garde Festival of New York. 

For a local space for nationally exhibited artists from the region. 

For an exhibition program and an information-documentation

center for work that would not otherwise be seen in New York City. 

For a program of providing local artists with professional exhibit 

opportunities throughout the city. 

For exhibitions, workshops, and publications for local and 

nationally known artists. 

For a program devoted to experimental work by primarily local 

artists working outside the traditional museum or commercial 

gallery. 

For exhibition programs, screenings, performances, lectures, and 

installations for emerging artists in the New York area. 

For a regional exhibition space, perfo~vnance program, and 

artists services. 

For an exhibition and exchange program including visiting 

artists. 

For an exhibition program for emerging regional artists and 

nationally known artists, including thematic exhibitions which 

expand the limits of the medium. 

For publications, a film series, a library, and a photo-book 

workshop. 

For Pyramid Gallery, a regional exhibition center presenting the 

work of major contemporary artists. 

For a regional exhibition center presenting the work of major 

contemporary artists. 

For workshop and teaching exhibition programs, including 

traveling print exhibitions a~d classes in etching and lithography. 

For Washington Project for the Arts, an exhibition space and 

performance and resource center for locally and nationally 

known artists. 

For an exhibition, lecture, and workshops by local experimental 

artists. 

For a program of exhibitions, performance, video, and films. 

For photography exhibitions, workshops, a~d publications. 

7,000 

NM 5,400 

5,000 

NM 6,000 

9,000 

NM 3,OOO 

8,000 

16,500 

8,000 

4,000 

2,500
 

NM 2,000
 

20,000
 

NM 8,000
 

5,500 

10,000 

NM 1,900 

5, 000 

13,000 

NM 4,000 

8,000 

NM 2,500 

7,000 

NM 3,000 

5,000 

NM 1,650 

5,000 

5,000 

NM 1,500 

5, 000 

NM 5,000 

10,000 

20,000 

NM 3,000 

5, 000 

NM 2,000 

8,000 

10,000 
295 

Santa Barbara Contemporary Arts 

Forum 

Santa Barbara, California 

Sculpture Space 

Clinton, New York 

Self-Help Graphics and Art

Los Angeles, California 

Site, Cite, Sight 

San Francisco, California 

Soho Baroque Opera Company 

New York, New York 

Spaces 

Cleveland, Ohio 

Upstairs 

Tyron, North Carolina 

Urban Communications Group

Detroit, Michigan 

For exhibitions, lectures, and performances with a special interdisciplinary symposium, to be documented by a journal. 

For a workspace with facilities for artists to fabricate large-scale 

steel sculptures. 

For an exhibition space for Latin-American artists and a training program for gallery directors. 

For a project space and exhibition program. 

For support of visual artists’ exhibition spaces. 

For local artists’ exhibitions, workshops, works in progress, and 

community outreach involvement provided by Spaces. 

For an exhibition space and regional forum for artists. 

For exhibitions and performances by regional artists in the 

Detroit area. 

Urban Institute for Contemporary Art For a program of exhibitions, lectures, performances, and video. 

Grand Rapids, Michigan 

Visual Arts Center of Alaska 

Anchorage, Alaska 

Visual Studies Workshop 

Rochester, New York 

Washington Women’s Arts Center 

Washington, D.C. 

Wave Hill 

Bronx, New York 

WGBH Educational Foundation 

Boston, Massachusetts 

Women and Their Work 

Austin, Texas 

Women’s Interart Center 

New York, New York 

Wordworks 

San Jose, California 

Artists’ Fellowships 

For a work-space gallery, a library, and a lecture series. 

For a major photographic center’s program of lectures, exhibitions, and workshops. 

For an exhibition space and exchange program for local women 

artists, 

For exhibitions of site-oriented sculpture. 

For a broadcast laboratory program for visual artists from 

across the country. 

For a multi-ethnic series of visual workshops. 

For Interart Gallery’s exhibition space for artists from outside 

New York City. 

For exhibitions and performances of work by local artists. 

3, 000 

NM 3,000 

3,500 

5,000 

10,000 

NM 3,000 

4,500 

5,000 

NM 1,500 

1,500 NM 500 

5,000 

4,000 

NM 1,000 

4,000 

NM 1,000 

15,000 

7,500 

NM 1,500 

5,000 

NM 10,000 

3,500 

2,000 

NM 1,000 

4,500 

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. Video 

Artists’ Fellowships were funded jointly with the Media Arts Program. 

Program funds: $1,734,000 

The following artists were awarded $10,000 each: 

Abish, Ce cile Alvarez-Pineiro, Emma Aycock, Alice 

New York, New York New York, New York New York, New York 

Ahearn, John Anderson, Laurie Balsley, John 

New York, New York New York, New York Milwaukee, Minnesota 

Alexander, Peter Applebroog, Ida Bang, Thomas 

Topanga, California New York, New York Rochester, New York 
296 Vis~al Arts 

Boice, Bruce 

New York, New York 

Bosson, Jack 

New York, New York 

Brown, Joan

San Francisco, California 

Buchxvald, Howard 

New York, New York 

Buck, John 

Bozeman, Montana 

Butterfield, Deborah 

Bozeman, Montana 

Clapsaddle, Jerry 

Riverdale, Maryland 

Colescott, Robert 

Oakland, California 

Cortright, Steven 

Santa Barbara, California 

Couch, Jane 

New York, New York 

Dennis, Donna 

New York, New York 

Diamond, Martha 

New York, New York 

Diamond, Stuart 

New York, New York 

Diao, David 

New York, New York 

Donley, Robert 

Oak Park, Illinois 

Doolin, James

Los Angeles, California 

Downes, Rackstraw 

New York, New York 

Duseubery, Walter 

New York, New York 

Edinger, Thomas 

New York, New York 

Egner, John 

New York, New York 

Fleischner, Richard 

Providence, Rhode Island 

Francis, Linda 

New York, New York 

Gamboa, Harry 

Los Angeles, California 

Geis, William 

San Francisco, California 

Gianakos, Cristos

New York, New York 

Goldin, Leon 

New York, Nexv York 

Gordon, Russell 

Montreal, Canada 

Graves, Bradford 

New York, New York 

Green, Tom

Cabin John, Maryland 

Guerin, Spence 

Anchorage, Alaska 

Hafif, Marcia 

Gardiner, New York 

Hamrol, Lloyd 

Venice, California 

Hanson, Lawrence 

Bellingham, Washington 

Hatcher, L. Brower 

Eagle Bridge, New York 

Hendricks, David 

Chicago, Illinois 

Hill, Clinton 

New York, New York 

Hinman, Charles 

New York, New York 

Hobbs, Joe 

Norman, Oklahoma 

Hogan, Patrick 

Los Angeles, California 

Hollis, Douglas

Berkeley, California 

Huntington, James 

New York, New York 

Huzsom, Michael

Chicago, Illinois 

Jackson, Oliver 

Sacramento, California 

Jacquard, Jerald

Bloomington, Indiana 

Jones, Jerry 

New York, New York 

Kohn, Misch 

Castro Valley, California 

Lasch, Pat 

Ne~v York, Ne~v York 

Levers, Robert 

Austin, Texas 

Levine, Marilyn 

Oakland, California 

Madsen, Loren 

Nexv York, New York 

Mayo, Edxvard 

Washington, D.C. 

McGowin, Edward 

Nexv York, New York 

Mogensen, Paul 

New York, New York 

Moss, Joe 

Newark, Delaware 

Myers, Forrest 

New York, New York 

Myers, Rita 

New York, New York 

Neri, Manuel 

Benicia, California 

Newton, Carlton 

San Francisco, California 

Nexvton, Lee 

Boston, Massachusetts 

Obuck, John 

Chicago, Illinois 

Pasquini, Phil 

Sacramento, California 

Peterson, Jon 

Los Angeles, California 

Phillips, Michael 

Goshen, Indiana 

Portno~v, Marjorie 

New York, New York 

Potoff, Reeva 

Waterbury, Connecticut 

Reich, Mu rray 

New York, New York 

Reiss, Roland 

Venice, California 

Rigsby, John 

Evergreen, Colorado 

Ripps, Rodney 

New York, New York 

Roloff, John 

San Francisco, California 

Rose, Herman 

New York, New York 

Rosen, Jane 

New York, New York 

Ruben, Richards 

New York, New York 

Salazar, Jorge 

New York, New York 

Scanga, Italo 

La Jolla, California 

Schoonhoven, Terry 

Los Angeles, California 

Schueler, Jon 

New York, New York 

Semmel, Joan 

Nexv York, Nexv York 
Visual Arts 297 

Shatter, Susan 

New York, New York 

Short, Harriet 

New York, New York 

Simonds, Charles 

New York, New York 

Smyth, Ned 

New York, New York 

Snyder,Charles

Bloomington, Indiana 

Sonfist, Alan 

New York, New York 

Strider, Marjorie 

New York, New York 

Stuart, Michelle 

New York, New York 

Teraoka, Masami

Los Angeles, California 

Valentine, DeWain 

Venice, California 

Wayne, June 

Los Angeles, California 

Welch, Roger 

New York, New York 

Wharton, Margaret 

GIenview, Illinois 

The following artists were awarded $3,000 each: 

Aber, Richard 

Santa Barbara, California 

Adams, Allan 

San Francisco, California 

Adams, Mac 

New York, New York 

AIbertson, James 

Oakland, California 

Alfieris, Joey

Savannah, Georgia 

Amenoff, Gregory 

Boston, Massachusetts 

Andrade, Bruno 

Columbia, Missouri 

Aoki, Keith 

New York, New York 

Arlen, Nancy 

New York, New York 

Arreguin, Alfredo 

Seattle, Washington 

Axelrod, Dee 

New York, New York 

Ayers, Philip 

New Haven, Connecticut 

Azaceta, Luis Cruz 

Ridgewood, New York 

Baez, Myrna

Hato Rey, Puerto Rico 

Bao, Yee Jan 

New York, New York 

Beaumont, Betty 

New York, New York 

Bechara, Antonio 

New York, New York 

Beckman, Ericka 

New York, New York 

Berg, Peter 

New York, New York 

Berkeley, Pamela 

New York, New York 

Bernardi, Rosemarie 

Huntsville, Alabama 

Bills, Thomas 

New York, New York 

Blanc, Marc 

New York, New York 

Blell, Dianne 

San Francisco, California 

Bohnenkamp, Leslie 

New York, New York 

Bonar, Albert 

Austin, Texas 

Borstein, Elena 

New York, New York 

Bostick, Lynn 

Berkeley, California 

Boyle, Kevin

LOs Angeles, California 

Breverman, Harvey 

Buffalo, New York 

Brickhouse, Farrell 

New York, New York 

Broderick, Timothy 

Del Mar, California 

Bromberg, Faith 

Tarzana, California 

Buchanan, Beverly 

Macon, Georgia 

Whyne, Susan 

Austin, Texas 

Willis, Thornton 

New York, New York 

Willis, William 

Adelphi, Maryland 

Wilmarth, Christopher 

New York, New York 

Winters, Robin 

New York, New York 

Wofford, Philip 

Hoosick Falls, New York 

Buchman, James 

New York, New York 

Buckner, Barbara 

New York, New York 

Bunkley, John 

Jamestown, Rhode Island 

Butter, Thomas 

New York, New York 

Calamar, Gloria 

Summerland, California 

Carnwath, Squeak 

Alameda, California 

Charlesworth, Sarah 

New York, New York 

Childress, William 

New York, New York 

Chong, Ping 

New York, New York 

Cohen, Maxi 

New York, New York 

Cohen, Ronald 

Chicago, Illinois 

Colburn, Jon 

New York, New York 

Conley, Stoney 

Provincetown, Massachusetts 

David, Cyril Sag Harbor, New York 

Davis, Michael 

San Pedro, California 

Denby, Jillian 

New York, New York 

Dienes, Sari 

Stone Point, New York 
298 Visual Arts 

Dolega, Stanley

Laramie, Wyoming 

Dougherty, Edward 

Manhattan Beach, California 

Dunn, Catherine 

Montevalle, Alabama 

Dutterer, William 

New York, New York 

Eins, Stefan 

New York, New York 

EIozua, Raymond 

New York, New York 

Enck, Bill 

New York, New York 

Evans, Dennis

Seattle, Washington 

Ewing, May 

New York, New York 

Fahlen, Charles 

Philadelphia, Pennsylvania 

Fick, John 

Oakland, California 

Fisher, Vernon 

Denton, Texas 

Floeter, Kent 

New York, New York 

Ford, James 

New York, New York 

Franceschi, Edgar 

Humacao, Puerto Rico 

Friedman, Susan 

Sunderland, Massachusetts 

Geyer, George

Huntington Beach, California 

Gilbert-Rolfe, Jeremy 

New York, New York 

Gillen, John 

New York, New York 

Gilliam, Scott 

Atlanta, Georgia 

Goldsmith, Lloyd 

New York, New York 

Goodwin, Guy 

Ne~v York, New York 

Guberman, Sidney 

Atlanta, Geogia 

Gutkin, Peter 

San Francisco, California 

Hacklin, Allan 

Jefferson, New York 

Hassinger, Maren 

Los Angeles, California 

Healy, Wayne, and Botello, David 

Los Angeles, California 

Hershman, Lynn 

San Francisco, California 

Holden, Barry 

Oak Park, Illinois 

Holste, Thomas 

Orange, California 

Huebler, Douglas 

Newhall, California 

Hynes, Frances 

Bayside, New York 

Itatani, Michiko 

Chicago, Illinois 

Ivers, Peter 

Los Angeles, California 

Jenkins, Thomas 

Santa Monica, California 

Jenkins, Ulysses

Los Angeles, California 

Kahn, Ellen, and Kahn, Lynda 

New York, New York 

Karpowiez, Terrance

Chicago, Illinois 

Kelly, Mary 

Bozeman, Montana 

Kennedy, Brigid 

New York, New York 

Kosloff, Elliot 

New York, New York 

Lerner, Arthur
 

Chicago, Illinois
 

Levine, Les 

New York, New York 

Lightbody, Joyc e 

Malibu, California 

Lloyd, Gary
 

Los Angeles, California
 

Lonidier, Fred 

La Jolla, California 

Lub ar, Cynthia 

New York, New York 

Malicoat, Conrad 

Provincetoxvn, Massachusetts 

Mann, Story 

Durham, North Carolina 

Margolis, Margo 

New York, New York 

McCollum, Mike 

Blue Diamond, Nevada 

McKay, Martha 

Chevy Chase, Maryland 

Mechling, Elizabeth 

Richmond, Virginia 

Mendieta, Ana 

New York, New York 

Miyasaki, George 

San Francisco, California 

Mullican, Matt 

New York, New York 

Nahas, Nabil 

New York, New York 

Nanao, Kenjilo

Berkeley, California 

Neubert, George 

Oakland, California 

Nordgren, Carol 

Washington, D.C. 

Omar, Margit 

Venice, California 

Opinsky, James 

Washington, D.C. 

Paige, Patti 

New York, New York 

Patterson, Raymond 

Pacific Palisades, California 

Perlman, Joan 

San Francisco, California 

Picard, Lil 

New York, New York 

Pletos, Nancy

Detroit, Michigan 

Provisor, Janis 

San Francisco, California 

Reed, Robert 

New ttaven, Connecticut 

Resnick, Minna 

Fort Collins, Colorado 

Reynolds, Jane 

Fullerton, California 

Rios, Yando 

Fullerton, California 

Roberts, Kent 

San Francisco, California 

Roddy, Mike 

New York, New York 

Rodriquez, Jorge 

New York, New York 

Haley, Nade Marioni, Tom Ronth, Brian 

Washington, D.C. San Francisco, California Venice, California 
Visual Arts 299 

Rubins, Nancy 

Tallahassee, Florida 

Ruda, Edwin
 

New York, New York
 

Rush, Cynthia 

New York, New York 

Saganic, Livio 

North Bergen, New Jersey 

St. Pierre, Jean

Nexvport Beach, California 

Sakoguchi, Ben 

Pasadena, California 

Saltz, Jerry 

New York, New York 

Schneeman, George 

New York, New York 

Senungetuk, Joseph


Anchorage, Alaska
 

Shelton, Peter 

Los Angeles, California 

Sherk, Bonnie 

San Francisco, California 

Sherman, Stuart 

New York, New York 

Video Artists’ Fellowships 

Sky, Blue 

Columbia, South Carolina 

Snyder, Kit-Yin 

New York, New York 

Sorenson, Donald 

Pasadena, California 

Spofforth, John 

Athens, Ohio 

Sproat, Christopher 

New York, New York 

Statom, Therman 

Washington, D.C. 

Stein, Lewis 

New York, New York 

Stoltz, David 

New York, New York 

Sultan, Donald 

New York, New York 

Thomas, Larry 

San Francisco, California 

Thompson, Mark 

Orinda, California 

Tibbetts, Roger 

Pittsburgh, Pennsylvania 

Torres, Francese 

New York, New York 

Tufino, Nitza 

New York, New York 

Vaccarino, Robin 

Studio City, California 

von Hasselberg, Martin 

Venice, California 

Williams, Danny 

Dallas, Texas 

Williams, Mark 

Dallas, Texas 

Williams, Reese 

New York, New York 

Wilson, Ann 

New York, New York 

Wilson, Brett

Woodbridge, Virginia 

Witlicki, Randall 

Bristol, Connecticut 

Wojcik, Gary 

Trumansburg, New York 

Yarborough, Bert 

Provincetown, Massachusetts 

Zimmerman, Elyn 

New York, New York 

The following video artists received fellowships totalling $10,000 each, the funds for which were 

granted through two different Endowment programs: Visual Arts awarded $8,000 and Media 

Arts awarded $2,000 for each fellowship. 

Fried, Howard 

New York, New York 

Beirne, Bill San Francisco, California 

Burden, Christopher Friedman, Barton 

Venice, California Woodstock, New York 

Crane, Dena Gillette, Frank 

Windham, New York New York, New York 

Darling, Lowell Jonas, Joan 

Sacramento, California New York, New York 

Downey, Juan Kubota, Shigeko 

New York, New York New York, New York 

Lord, Charles 

San Francisco, California 

Meyers, Rita 

New York, New York 

Milano, Susan 

New York, New York 

Palestine, Charlemagne 

New York, New York 

Reeves, Daniel 

Burdett, New York 

Sturgeon, John 

Herber City, Utah 

The following video artists received fellowships totalling $3,000 each, the funds for which were granted 

throughtwo different Endowment programs: Visual Arts awarded $2,000 and Media Arts awarded 

$1.000 for each fellowship. 

Backus, Jules Bergery, Benjamin Blumberg, Skip
 

San Francisco, California Cambridge, Massachusetts San Francisco, California
 
300 Visual Arts 

Brettschneider, Jane 

New York, New York 

Broderlck, Timothy 

Del Mar, California 

Buchanan, Nancy 

Los Angeles, California 

Buckner, Barbara

New York, New York 

Cohen, Maxi 

New York, New York 

Despota, Nick 

Chicago, Illinois 

DeVito, Cara 

New York, New York 

Duane, Hildegarde Los Angeles, California 

Gillerman, Jo Ann 

Oakland, California 

Gold, Joel 

New York, New York 

Gorewitz, Shalom 

New York, New York 

Photographers’

Fellowships 

Grace, Sharon 

San Francisco, California 

Gussella, Ernest 

New York, New York 

Harris, Bob 

New York, New York 

Iatrou, Mildren 

New York, New York 

Iimura, Taka 

New York, New York 

Kriegman, Mitchell 

New York, New York 

Latham, Barbara 

Chicago, Illinois 

Logue, Joan 

New York, New York 

Lucier, Mary 

New York, New York 

Mack, Theresa 

New York, New York 

Maiwald, Christa 

New York, New York 

Marpet, William 

New York, New York 

McClard, Michael 

New York, New York 

McCray, Melvin 

New York, New York 

Nelson, Lisa 

Northampton, Massachusetts 

Pulido, Guillermo 

Houston, Texas 

Rosier, Martha 

San Francisco, California 

Rush, Cynthia 

New York, New York 

Sandlin, Daniel 

Chicago, Illinois 

Stensberg, Brad 

La Jolla, California 

Velez, Edin 

New York, New York 

To enable photographers to set aside time, purchase materials, and 

generally advance their careers as they see fit. 

Program funds: $662,000 

The following photographers were awarded $10,000 each: 

Alinder, Jim 

Carmel, California 

Barboza,Anthony 

New York, New York 

Bernal, Louis 

Tucson, Arizona 

Bowers, Harry 

Berkeley, California 

Brooks, Ellen 

San Francisco, California 

Brumfield, John 

Fraizer Park, California 

Callis, Jo Ann 

Los Angeles, California 

Chappell, Walter 

Santa Fe, New Mexico 

Clift, William 

Santa Fe, New Mexico 

Cooper, Ron 

Venice, California 

Cumming, Donigan 

Montreal, Canada 

Curran, Darryl

Los Angeles, California 

Deal, Joe 

Riverside, California 

Dow, James 

Belmont, Massachusetts 

Fichter, Robert 

Tallahassee, Florida 

Go~vin, Emmet 

Newton, Pennsylvania 

Henkle, James 

Minneapolis, Minnesota 

Hernandez, Anthony 

LOs Angeles, California 

Hujar, Peter 

New York, New York 

Kahn, Stephen 

Malibu, California 

Koudelka, Josef 

New York, New York 

Ksvilecki, Paul

Bainbridge, Georgia 

Land-Weber, Ellen 

Arcata, California 

Larson, William 

Wyncote, Pennsylvania 

Lazorik, Wayne 

Albuquerque, New Mexico 

Liebling, Jerome 

Amherst, Massachusetts 

Maguire, William 

Homestead, Florida 

Mark, Mary Ellen 

New York, New York 

Metz, Gary 

New York, New York 

Morimoto, Hiromitsu 

New York, New York 

Mudford, Grant

Los Angeles, California 

Nixon, Nicholas 

Cambridge, Massachusetts 

Pajunen, Timo 

Point Richmond Station, California 
Visual Arts 301 

Parker, William 

Eastford, Connecticut 

Phillips, Donna-Lee 

San Francisco, California 

Prince, Douglas 

Providence, Rhode Island 

Renner, Eric 

San Lorenzo, New Mexico 

Rodriguez, Geno 

New York, New York 

Schoore, L. Charles 

Houston, Texas 

Sennhauser, Robert, and Schnitzer, 

Klaus 

Chicago, Illinois 

Shore, Stephen

Berkeley, California 

Sternfeld, Joel 

New York, New York 

Stiegler, Robert 

Chicago, Illinois 

Sultan, Larry 

Greenbrae, Georgia 

The following photographers were awarded $3,000 each: 

Bach, Laurence 

Philadelphia, Pennsylvania 

Baz, Douglas 

Annandale, New York 

Berger, Eileen 

Wyndmoor, Pennsylvania 

Berkowitz, Steven 

Philadelphia, Pennsylvania 

Bloom, John 

Albuquerque, New Mexico 

Breeden, Thomas 

Breckenridge, Colorado 

Burns, Michael 

Seattle, Washington 

Carnell, John 

Jenkintown, Pennsylvania 

Collins, Stephen 

San Francisco, California 

Conner, Lois 

New York, New York 

Danko, Stephen 

Venice, California 

Danzinger, Avery 

Chapel, Hill, North Carolina 

Fisher, Hal 

San Francisco, California 

de Alfaro, Luciano Franchi

Chicago, Illinois 

George, Wallace 

Santa Rosa, California 

Gilden, Bruce

Brooklyn, New York 

Goldberg, Jim 

San Francisco, California 

Grazda, Edward 

New York, New York 

Hammerbeck, Wanda 

Berkeley, California 

Harper, Mark 

Philadelphia, Pennsylvania 

Haxton, J. David 

New York, New York 

Henrich, Kenneth 

Buffalo, New York 

Hereford, Susan

Portland, Oregon 

Hester, Paul 

Houston, Texas 

Hock, Rich 

Rochester, New York 

House, Suda 

Los Angeles, California 

Jahoda, Susan 

Berkeley Heights, New York 

Jamison, Alex 

Washington, D.C. 

Klett, Mark 

Sun Valley, Idaho 

Maclay, David 

San Francisco, California 

Madigan, Martha 

Grosse Pointe Park, Michigan 

Moskowitz, Sonia 

New York, New York 

Thomas, Lew 

San Francisco, California 

Toth, Carl

Bloomfield Hills, Michigan 

Widmar, Gwen 

Cedar Falls, Iowa 

Worth, Don 

Mill Valley, California 

Yavno, Max 

Los Angeles, California 

Peress, Gilles 

New York, New York 

Rankaitis, Susan 

Inglewood, California 

Raymo, James 

Grosse Pointe Park, Michigan 

Reep, Richard

Memphis, Tennessee 

Schoenfeld, Diana 

Eureka, California 

Schorr, Kenneth 

Urbana, Illinois 

Schrager, Victor 

New York, New York 

StaIler, Jan 

New York, New York 

Strawn, Martha 

Mewell, North Carolina 

Sweet, Andy 

Miami Beach, Florida 

Van Pelt, Richard 

Broomfield, Colorado 

Verdugo, Rene 

Tucson, Arizona 

Wallis, Robert 

San Francisco, California 

Widdecombe, Robert 

Albuquerque, Ne~v Mexico 

Witkin, Joel 

Albuquerque, Ne~v Mexico 

Wolz, Claudia 

Oakland, California 

Yates, Steven 

Albuquerque, New Mexico 
302 Visual Arts 

The following 1981 Photographers’ Fellowships were awarded with fiscal 1980 funds: 

Henle, Fritz $12,500 Polk, Prentice 12,500 

Christiansted, Virgin Islands Tuskegee Institute, Alabama 

Art Critics’ To enable art critics to set aside time to pursue a specific project

which is not feasible in their present circumstances. Smaller fello~v- Fellowships ships for travel also are made to critics to expand their knowledge of 

the current art scene outside their own regions. 

Program funds: $33,000 

Brown, Christopher, and Dunham, Judith $10,000 Frank, Peter 10,000 

Berkeley, California New York, New York 

Butterfield, 3,000 Jan 10,000 Stofflet, Mary 

San Francisco, California San Francisco, California 

Craftsmen’s To enable craftsmen to set aside time, purchase materials, and generally advance their careers as they see fit. Fellowships 

Program funds: $535,000 

The following craftsmen were awarded $10,000: 

Akers, Adela 

Berkeley, California 

Armijo, Frederico 

Albuquerque, New Mexico 

Autio, Rudy 

Missoula, Montana 

Bean, Bennett 

Blairstown, New Jersey 

Beeken, Bruce 

Burlington, Vermont 

Boussard, Dana 

Arlee, Montana 

Brooke, Anne 

Putney, Vermont 

Cain, Charlotte 

Fairfield, Iowa 

Cornelius, Phillip 

Pasadena, California 

Crow, Nancy 

Baltimore, Ohio 

Davis, Nelsie

White Salmon, Washington 

DeVore, Richard 

Fort Collins, Colorado 

Duckworth, Ruth 

Chicago, Illinois 

Elskus, Albinas 

New York, New York 

Ferguson, Ken 

Shawnee Mission, Kansas 

Golder, Stuart 

Stout, Ohio 

Hendry, Kenneth 

Fort Collins, Colorado 

Horsley, Patrick 

Portland, Oregon 

Houlberg, Klindt

Chicago, Illinois 

Jampel, Judith 

New York, New York 

Jervis, Margie and Krasnican, Susie 

Falls Church, Virginia 

Jimenez-Mizuno, Juanita 

Los Angeles, California 

Kodani, Mia 

Oakland, California 

Lacagnina, Thomas 

Alfred, New York 

Langlet, Ragnhild 

Sausalito, California 

LePage, Christine 

Belleville, Wisconsin 

Lewis, John 

Oakland, California 

Littlebird, Harold 

Santa Fe, New Mexico 

Makins, James 

New York, New York 

Marx, Vaea

Berkeley, California 

Moss, Charles

West Rockport, Maine 

Ohannesian, David 

Seattle, Washington 

Oppenheimer, Edmund 

Santa Fe, New Mexico 

Osgood, Jere 

Somerville, Massachusetts 

Ozereko, Frank 

Auburn, Alabama 

Pharis, Mark 

Houston, Texas 

Piepenburg, Robert

Dearborn, Michigan 

Poxson-Faxvkes, Judith 

Portland, Oregon 

Selvin, Nancy 

Berkeley, California 
Visual Arts 303 

Sharbaugh, Kathryn 

Holly, Michigan 

Steiner, Joan 

Greenville, New York 

Whitley, Robert 

Solebury, Pennsylvania 

Spear, Shigeko 

Lawrence, Kansas 

Takaezu, Toshiko

Quakertown, New Jersey 

Woodman, Elizabeth 

Boulder, Colorado 

Weinburg, Steven 

Huntington, New York 

The following craftsmen were awarded $3,000 each. 

Anderson, Janet 

Los Angeles, California 

Ben Tre, Howard 

Providence, Rhode Island 

Benzle, Curtis 

Hilton Head, South Carolina 

Boeder, Caryl 

East Glacier Park, Montana 

Bondi, Stephen 

San Anselmo, California 

Cox, Kris 

Laguna Beach, California 

Dear, David 

San Juan Pueblo, New Mexico 

Goldman, Harvey 

North Dartmouth, Massachusetts 

Crafts Projects 

Bertelson, Christine 

Madison, Wisconsin 

Bilan, Peter 

Albuquerque, New Mexico 

Bresnahan, Richard 

Collegeville, Minnesota 

Butler, Colin 

Layton, New Jerwey 

Conway, Peggy 

Fruitvale, Idaho 

Cook, Lia

Berkeley, California 

Dickey, Phillip 

~eattle, Washington 

Hall, Jon 

Barrington, Rhode Island 

Hammersley, Williams 

Richmond, Virginia 

Madsen, Kristina 

Northhampton, Massachusetts 

Mahlstedt,Susan 

Deerfield, Connecticut 

Mancini, Wesley 

Northford, Connecticut 

Meaker, Charles 

Bozeman, Montana 

Moonells, Judith 

East Norwich, New York 

Mufson, Phyllis 

San Francisco, California 

O’Hanrahan, Brigid 

Bloomington, Indiana 

Schnabel, Bruce 

New York, New York 

Silver, Ronna 

Philadelphia, Pennsylvania 

Spleth, Thomas 

Alfred Station, New York 

Thompson, Rena 

Saranac, New York 

Wallace, James

Memphis, Tennessee 

Ward, Cheryl 

Philadelphia, Pennsylvania 

Wujick, Len 

Lexington, Kentucky 

Yelda, Peter 

San Luis Obispo, California 

To enable craftsmen to carry out specific short-term projects, such as 

travel, research and experimentation, or other activities that advance their careers. 

Program funds: $58,115 

To produce a handmade edition of a children’s book printed in $2,771 

braille and large type, u,ith tactile illustrations. 

To explore the safe use of the anhydrous ammonia process of 2,900 

working with wood. 

To experiment uqth local clay and glazes to be fired in a 35-foot, 3,000 

fire-chamber woodburning kiln. 

To construct a matched set of acoustic six-string guitars, one of 3,000 

which is traditional and the other acoustically experimental. 

To purchase equipment for making full use of locally available 2, 955 

clays and glazes. 

To purchase a Jacquard Mechanic from Lyon, France, and to 3, 000 

travel to Lyon for instrztction in the technical aspects of this type 

of loom. 

To purchase an electronic bore-measuring device for obtaining 2,989 

extre~ely accurate internal dimensions of original musical 

instruments. 
304 Visual Arts 

Dougan, Peter 

Cerrillos, New Mexico 

Felde, Nathan 

Louisville, Kentucky 

Fox, Judith

Berkeley, California 

Frasier, Debra 

Hockessin, Delaware 

Freedman, Jacqueline 

Elmhurst, New York 

Goewey, Scott 

Middlesex, New York 

Hedman, Donn 

State University, Arkansas 

Kuo, Susanna

Portland, Oregon 

Minsky, Richard 

Kew Gardens, New York 

Rawcliffe, Susan 

Los Angeles, California 

Sherill, Diane 

Tallahassee, Florida 

Turner, Lynn

Berkeley, California 

Wu, Han-Lien 

Ann Arbor, Michigan 

Crafts Workshops 

and Master Classes 

Artist-Blacksmith Association of 

North America 

Gainesville, Florida 

Arts and Crafts Society of Portland 

Portland, Oregon 

California College of Arts and Crafts 

Oakland, California 

California College of Arts and Crafts 

Oakland, California 

Clayworks Studio 

New York, New York 

To locate and reserve native high-fire clay sonrces and glaze 3,000 

materials in the Cerrillos-Madrid area. 

For Mr. Felde, a typography designer, to apprentice with a 2,500 

papermaker and a bookbinder. 

To use the Tektronix-4051 Microcomputer in the development of 3,000 

experimental woven textiles. 

To explore the use of rations aspects of fabric to be used in ritnal- 3, 000 

istic pageants. 

To research primitive du’ellings and architecture and the uses of 3,000 

clay in buildings. 

To research and experiment with creating architectural wall 3,000 

reliefs and clay mnrals. 

To travel to East Africa, Mr. Hedman~ birthplace, to study the 3, 000 

objects of the Chaga and Masai tribes which have i~flnenced his 

on’n work. 

To study and document Katazome textiles and Katagami paper 2,000
 

stencils in public and private collections in Victori~ British
 

Columbia; Seattle, Washington; and San Francisco, California.
 

To construct ten works for a o,e-man exhibition in 1981. 3,000 

For a travel and research project to study the clay flutes and 3,000 

ocarinas in several musenms in Mexico, and to visit with craftspersons making flntes, ocarinas, and n’histles in clay. 

For a travel and research project to study the decorative arts, 3,000 

inclnding jea’elry, in Cairo, Egypt: Nairobi, Kenya; and Knmart, Ghana. 

For a travel project to research what methods of the ceramic in- 3,000 

dustrg can be adapted to the needs of a stndio potter. 

For a travel project to investigate the state of the fiber arts in the 3,000 

People’s Republic of China. 

To help organizations sponsor short-term workshops and master 

classes during which nationally recognized craftsmen meet with professionals and advanced students to experiment, collaborate, share 

ideas, or oroduce new works. 

Program funds: $86,465 

For the u,orkshop-demonstratio, segme~t of the annnal national $5,000 

conference of iron workers. 

For an exhibition in fibers and metals, the final phase of a series 10,000 

of regional exhibitio~s in all media at the Oregon School of Arts 

and Crafts. 

For a series of fire one-week workshops for u’orki~g professionals 3,500 

amt advanced students in the book arts. 

For a series of tu’o-u’eek master crafts u’orkshops i~ the metal arts 3,500 

for professionals and adl’a~wed stude~ts. 

For a series o f four master classes a t the New York Experimental 5,000 

Glass Workshop for professional glass artists and advanced 

students in the following areas: glass in architecture; design and 

commercial possibilities; artistic potentials; and the influence of 

the fine arts on glass work. 
Visual Arts 305 

Colorado Mountain Junior College 

Vail, Colorado 

Frog Hollow Craft Association 

Middlebury, Vermont 

Long Beach City College 

Long Beach, California 

Natural Heritage Trust/Artpark 

Lewiston, New York 

S heboygan Arts Foundation

Sheboygan, Wisconsin 

Sun Valley Center for the Arts and 

Humanities 

Sun Valley, Idaho 

Textile Workshops 

Santa Fe, New Mexico 

Visual Arts Center of Alaska 

Anchorage, Alaska 

Women’s Interart Center 

New York, New York 

Crafts 

Apprenticeships 

Individual Craftsmen 

Baldwin, Phillip 

Boston, Massachusetts 

Borg, Jennifer 

Richmond, Virginia 

Danko, Peter 

Alexandria, Virginia 

Duncan, MacDonald 

Alexandria, Virginia 

Fraterdeus, Peter 

Evanston, England 

Harper, William 

TaIlahassee, Florida 

Jaffe, Je anne 

New York, New York 

Johnson, Bradley 

Troutdale, Oregon 

Kainz, Daniel 

Breinigsville, Pennsylvania 

Karel, Mikolas 

Slatington, Pennsylvania 

For the 1980 Battle Mountain Glass Symposium, which will 7,500
 

assemble visiting glass artists to discuss and experiment with
 

new ideas, concepts, and techniques; and to provide those students
 

in attendance with the opportunity to work closely with the visiting artists in workshop situations.
 

For a series of six workshops for professional craftspeople in 3,000
 

weaving, dying textiles, hand-building and wheel-throwing clay,
 

photo-etching metal and jewelry.
 

For a ten-day workshop for ten nationally known metalsmith/ 8,965
 

educators to explore an industrial technique called "tungsten
 

inert gas welding"from an aesthetic point of view.
 

For residencies for craft artists at Artpark to develop major site 10,000
 

projects for the 1980 season.
 

For a four-month workshop for six artists in the Kohler Company 10,000
 

pottery and enamel shop.
 

For a two-week workshop inviting three master artists to work 4,000
 

together with advanced students on concepts of the mutual effects
 

between the environment and artists’ work.
 

For a series of workshops for professionals in the fiber arts. 5,000 

For four ten-day workshops in the areas of metal and fiber for 7,000 

professionals and advanced students. 

For a workshop devoted to the in-depth study of mural design and 4,000
 

construction in ceramic materials.
 

Includes two subcategories: Individual Craftsmen receive support to 

work as apprentices in the studios of master craftsmen, or master 

craftsmen receive funds to cover the cost of taking on an apprentice. 

Organizations are awarded grants to sponsor apprenticeship programs. 

Program funds: $80,000 

To apprentice with Ann Warff and Wilke Adolfsson in glass in $5,000 

Kosta, Sweden. 

To apprentice with Cate Fitt in wearable art in Richmond, Vir- 5,000 

ginia. 

To support furniture-making master training for an apprentice. 1,000 

To apprentice with Peter Danko in furniture-making in Alex- 5,000 

andria, Virginia. 

To apprentice with Ieuan Rees in calligraphy in Ammanford, 5,000 

England. 

To support enamelling master training for an apprentice. 1,000 

To apprentice with Mary Frank in ceramics in New York City. 5,000 

To apprentice with Timothy O’Neil in stained glass in Troutdale, 5,000 

Oregon, 

To apprentice with Karel Mikolas in glass in Slatington, Penn- 5,000 

sylvania. 

To support glass master training for an apprentice. 500 
306 Visual Arts 

Molinaro, Louise 

Elkins Park, Pennsylvania 

Simmons, Peggy 

Tallahassee, Florida 

Willard, Steven

Woodstown, New Jersey 

Organizations 

Center for Book Arts 

New York, New York 

Clayworks Studio Workshop 

New York, New York 

Building Arts 

Axel, Jan 

New York, New York 

Baden, Mowry

Fort Bragg, California 

Berolzheimer, Rae 

Long Island City, New York 

Callahan, David 

Athens, Ohio 

Carpenter, James 

New York, New York 

Emmons, Keith 

Sausalito, California 

Evans, Richard 

San Francisco, California 

Furnival, Laxvrence 

North Haven, Connecticut 

Hilton, Eric 

Odessa, New York 

Hopman, Fred 

Taos, New Mexico 

Hughes, Michael 

Des Moines, Iowa 

Martin, Eddie 

Buena Vista, California 

Peterson, John 

Clinton, Wisconsin 

To apprentice with Ron Klein in ceramics in Elkins Park, Penn- 5,000 

sylvania. 

To apprentice with IVilllam ttarper in enamelling in Talla­ 5.000 

hassee, Florida. 

To apprentice with Leeds Design Workshop in furniture-making 5,000 

in Easthampton, Massachusetts. 

$7,500 Fabric Workshop 

Philadelphia, Pennsylvania 

10,000 

5,000 Sun Valley Center for Arts and Humanities 

Sun Valley, Idaho 

5,000 

For craftsmen and artists to research and plan new designs and experiment with materials and techniques for building construction. 

Program funds: $106,800 

For a design project and research in pottery at the Kohler Com- $5,000 

pany dealing u’ith the fabrication of tiles, fixtnres, and room 

dividers made from cast ceramic modules. 

For a design project exploring an inexpensire, donble shell, pas- 5,000 

sive solar house. 

For research into building materials and methods nsed in the 5, O00 

construction of architectural forms. 

For design work invoh,ing the development of traditional ma- 4,800 

sonry techniques that conld accommodate modern design methods. 

To investigate and develop in~tovative designs and concepts in 5,000 

glass as they relate directly to architectare. 

To complete the design of the interior of a floating lieing space 5, O00 

n’hieh, a’ith restoration, modification, and the constrnetion of an 

additional structnre, incorporates as its main featu~v the last 

uvod railroad car. 

For research and fnrther development of the nse of silicone bond- 5,000 

ing of glass in three-dimensional forms. 

For the decelopment of a labor-sating bnilding system using a 5,000 

prefabricated modular grid which can be nsed in conjunction n’ith 

raneer stone or tiles that clip in place. 

To explore the potential of glass as a factor in eneironmental 5, 000 

design, its use in the dicision qf interior space, and.for exterior 

walls and other sn~faces. 

For the development of innoratice methods ~ming adobe by apply- 5,000 

ing modern materials and teclmiq~ws to upgrade its suitability as 

a building material. 

For a study of existing post and beant constrnction in the Mida’est 2, O00 

for the purpose of integrating historical methods with contemporary house design. 

To inrestigate and develop i~tnoratice temple design vsing circu- 5,000 

lar forms. 

For the design of a multi-purpose comple.r that icill infuse artistic 5,000 

p~qnciples into a modern agricult!~ral structure to be used for 

artists’ living quarters, gallery, and stndio space. 
Visual Arts 307 

Radich, Michael 

Auburn, California 

Siegel, Steven 

New York, New York 

Singer, Michael 

Wilmington, Vermont 

Smith, Alfred 

Washington, D.C. 

Spofforth, John 

Athens, Ohio 

Starbuck, Beth 

Champaign, Illinois 

Stephenson, James 

State College, Pennsylvania 

Stonorov, Derek 

Homer, Arkansas 

Willcox, Donald 

Fenland, North Carolina 

General Services 

to the Field 

American Crafts Council 

New York, New York 

Aminoff, Judith G. 

New York, New York 

and/or service

Seattle, Washington 

Archdiocesan Communications 

San Francisco, California 

Arizona Commission on the Arts 

Phoenix, Arizona 

Art Institute of Chicago

Chicago, Illinois 

Artemisia Fund 

Chicago, Illinois 

Artist-Blacksmith Association of 

North America 

Gainesville, Florida 

To research solar, wind, hydroponics, and computer technology to 5,000 

integrate advanced techniques into a living space suitable for 

purchase by limited-income families. 

To investigate fence design to determine the efficiency of the designs and materials for the intended function, and to evaluate its 

5,000 

visual impact on the landscape. 

For research on the building principles and techniques of bamboo. 5,000 

For research on color and the use of the grid concerning setting, 5,000 

time, rhythm, pattern, and texture in architectural spaces. 

For research and design projects involving the technology for 5,000 

producing hand-formed and designed brick and latex-based 

mortars. 

For the development of geometric design imageries to be developed 5,000 

and produced in modular systems of tiles. 

To design architecturally related ceramic walls for permanent 5,000 

exterior installation in collaboration with local tile and brick 

factories capable of producing the necessary modules. 

To plan and design a prefabricated natural log house. 5,000 

To explore "Surewall," a new building material, which can be 5,000 

used to achieve lightweight, waterproof forms over a variety of 

armatures. 

To assist organizations, artists’ groups, and individuals concerned 

with providing services to visual artists. 

Program funds: $1,013,240 

For a special major featnre in American Craft magazine, to re- $10,000 

cognize 46 craftsmen of merit who have received fellowships from 

the Endowment. 

For the publication of Cover magazine. 3,000 

For the operation and expansion of and/or’s "Resources in Con- 8,000 

temporary Arts," a library which serves visual arts, eonte~nporarg music, "film, video, and audio n,ork. 

For Video Free America’s video editing progra~ns, which allow 5,000 

artists to finish tapes using advanced editing equipment they 

normally could not afford to use. 

For Arizona Artist, a newsletter serving 2,800 Arizona artists 2,500 

that carries information on organizations, exhibitions, legal and 

econamic problems, and notices and reviews. 

For the Our A rt/Artists project of prodnetion and distribution of 9,000 

tapes on contemporary art by Video Data Bank. 

For honoraria for performance artists participating in this year’s 3,500 

symposium. 

For ten American blacksmiths to travel to England to participate 3,000 

in Britain’s ’Tnternational Conference and Workshop: Forging 

Iron." 

Artists Foundation For "Artwork Boston 1980," a one-week festival designed to pro- 5,000 

Boston, Massachusetts mote the work of Boston’s visnal artists. 
308 Visual Arts 

Artists in Residence 

New York, New York 

Arts Council of Windham County 

Brattleboro, Vermont 

Artspace 

Albuquerque, New Mexico 

Asylum Hill Artists’ Cooperative 

Hartford, Connecticut 

Atlanta Art Workers’ Coalition 

Atlanta, Georgia 

Atlanta Art Workers’ Coalition 

Atlanta, Georgia 

Atlanta, City of

Atlanta, Georgia 

Barrett, Clotilde 

Boulder, Colorado 

Bookspace 

Chicago, Illinois 

Boston Visual Arts Union 

Boston, Massachusetts 

Brockman Gallery Productions 

Los Angeles, California 

Brogan, Jack F. 

San Pedro, California 

Bruce, Roger*

Washington, D.C. 

Carroll, James F.

Kutztown, Pennsylvania 

Center for New Art Activities 

New York, New York 

Center for New Art Activities 

New York, New York 

Center for Ne~v Art Activities 

New York, New York 

Center for Occupational Hazards 

New York, New York 

Center for Occupational Hazards 

New York, New York 

Center for the Visual Arts 

Oakland, California 

Chicago New Art Association 

Chicago, Illinois 

For the "Mondag Night Program, "a forum for panel discussions 3,500 

on specific concepts of contemporary art. 

For the county council’s project of sercices to visual arti,sts. 2,000 

For honoraria for regional editorial coordinators and write~:~ in 4,500 

major cities in three states bordering New Mexico to contribute to 

Artspace: Southwestern Contemporary Arts Quarterly. 

For "Artists’ Cooperatices in the Northec~’t Region," a regional 3,500 

conference for New England states to plan cooperatice efforts and 

pooling of resources. 

To publish the Atlanta Art Workers’ Coalition Newspaper. 5,000 

For sercices procided bg the Coalition, including a slide registry, 3,500 

an archical and docu meriting sercice for artists’exhibitions at the 

Coalition. and for publicatiot~s. 

To increase the number of grants to cisual art ists gicen bgthe city k 5,000 

"Artist-Initiated" program. 

To research and publish a monograph on the technique of weacing 2,500 

Andean slings. 

For sercices offered by the resource center for artists’ books in 3,500 

Chicago. 

For programs including a Wednesday erening lecture series. 5,000 

For a slide-registrg archice to promote minority arlists. 4,000 

To aid artists and craftsmen in the fabrication and design of large- 7,500 

scale works by prociding engineering information on graphite 

epoxy, a new material. 

For a cooperative agreeme~t to research and compile all neces- 29,800 

sary material for a task force on photography to assess the needs 

of the field and to evaluate the effectireness of the Endowment~ 

Photography programs. Mr. Bruce will also organize and implement up to ten regional meetings with prominent individuals in 

the photography field. 

I~). ̄ the Art Series Program, a cisiting artist series at Kutztown 3,000 

State Gallery including honoraria to artists, documentation, and 

clerical support. 

For emergency support for production costs of Italy: Autonomia/ 4,000 

Post-Political Politics. 

b)n" indexing exlensice research on telecommunicatim~s pertinent 7,500 

to the cisual arts fiehl, to be made arailable through a toll-free line 

to a computer terminal at the Center. 

For the next there issues of Semiotext(e). 8,000 

the Center’s Art Hazards Projcct. a clcari,g ho,se fiw injbr- 6,000 

marion on the health hazards of arts and crafts matecials. 

For the cis,al arts portio, oj’thc Arts Hazards Project. on tfJbrt 4,000 

to ~vsearch and identi~I the hazards inherent in the materials and 

methods used by artists. 

To incorporate ~vcorded artist i.tcrcicws into the archice of art- 3,000 

ists’ slides. 

For contrib,ting writers to the periodical. New Art Examines. 7,500 
Visual Arts 309 

Citiart 

Providence, Rhode Island 

Clark (Daniel) Foundation

Goffstown, New Hampshire 

Clark, Garth 

Claremont, California 

Clayworks Studio Workshop 

New York, New York 

Coast Community College District 

Costa Mesa, California 

Cochise Fine Arts 

Bisbee, Arizona 

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

Cincinnati, Ohio 

Copley, Claire* 

New York, New York 

Cornish Institute 

Seattle, Washington 

Creative Artists Program Services 

New York, New York 

Creative Time 

New York, New York 

Davisson, Lacy*

Washington, D.C. 

D.C. Slide Registry of Women Artists 

Washington, D.C. 

deAk, Edit 

New York, New York 

Drawing Center 

New York, New York 

Depuy Art Performance Workshop 

New York, New York 

80 Langton Steet 

San Francisco, California 

Ellenbogen, Jon 

Penland, North Carolina 

For a flotd-vaiser/adcevtising salesperso~Fs salary, and for a’rit- 5,000 

ers’ and artists’fees for the pt~blication Citiartnews. 

For an extensive adcertising campaign designed to increase the 6,000 

circulation of Studio Potter magazine. 

For a corn prehe~sive program to be recorded on video-cassette that 4,000 

presents a history of the ceramic art movement in the West from 

1850 to the present. 

For new work, a magazine featuring experimental and environ- 2,000 

mental glass sculpture being done in metropolitan New York’s 

project of the Nea’. York Experimental Glass Workshop. 

For cideotaped interciews with six senior women photographers 10,000 

orev 70 gears of age. to pvo,’ide important information o~t the history of the fiehl. 

To establish a contemporary a~?s library to serce Bi.s’bee~ com- 4,000 

m.nity of 500 artists and the general p.blic. 

For the Independent E.rh ibitions Program, a’hich prorides grants 5,000 

and assistance and enco~wages groups of artists to organ ize shows 

Jbv pablic spaces. 

For the Emergency Materials Fand, wh ich prarides grants to a vt- 5,000 

ists prepaying ov completing work Jbv e.chibition. 

For Criss-Cross Art Communications, an artists’periodical serv- 5,000 

ing the Plains-Rocky Mountain Region by providing an exhibition format through which artists can gain national exposure in 

the visnal arts commnnity. 

I,~." three iss.es of Contemporary Art/Southeast, which serves as 4,000 

an i~@wnation e.cchange. 

For a symposium among leading artists and critics on the fiotc- 2,600 tions of art and the artist as affecting social change. 

To research and develop a directory to incl.de information on tit(" 4,000 

parpose, focas, pWU.lvaots, and famliny of artists" spaces. 

For a fiwilit!t Jbr slide prodaction which is open to the p.blie. 2,000 

For the Visual Arts Referral Service project, including an exten- 7,500 

sive slide registry of New York artists. 

To publish the documentation of all projects sponsored through 5,000 

Creative Time, and to develop a resource center for organizations 

interested in implementing similar projects and programs. 

To research and doc~ment the history and development of artists’ 7,862 

spaces. 

To update the Directory of Women’s Slide Registries and to p~tb- 1,500 

lish a manual on how to organize and maintain a slide regist~j. 

To restore and preserve a selected group of Super 8films known 2,500 

as "New Wave Cinema." 

For the Center’s symposia and workshops on conservation of 2,000 

drawings and for the slide registr~j of contemporary drawings. 

For the final stages of production and pnblication of an anthology 5,000 

on art activity during the seventies, emphasizing performance 

work and collective art shows. 

For an ann~ml catalog~te doc~onenting the past year’s ecents. 3,500 

For a research project on the development and construction of a 4,000 

simple heat exchange system to recycle the energy lost to flue gases 

u’hile usin9 fuel-fired kilns or furnaces. 
310 Visual Arts 

Ellis, Robert* 

Albuquerque, New Mexico 

Eyes and Ears Foundation 

San Francisco, California 

Foundation for Art Resources 

Los Angeles, California 

Foundation for the Community 

of Artists 

New York, New York 

Foundation for Today’s Art-Nexus

Philadelphia, Pennsylvania 

Franklin Furnace Archive 

New York, New York 

Friends of Puerto Rico 

New York, New York 

Gerakaris, Dimitri 

North Canaan, New Hampshire 

Gray, Andrea 

Carmel, California 

Hajicek, James 

Tempe, Arizona 

Haleakala 

New York, New York 

Hallwalls 

Buffalo, New York 

Handicapped Activities Unlimited 

Pacific Grove, California 

Hoffberg, Judith 

Glendale, California 

Hoffman, Carol Maree 

Denver, Colorado 

Holmes, Gregory, and Wolin, Martin 

Dannemora, New York 

Ibero-American Action League 

Rochester, New York 

Illinois Arts Council 

Chicago, Illinois 

Institute for Architecture 

and Urban Studies 

New York, New York 

Institute for Art and Urban Resources 

Long Island City, New York 

To amend a pnerions contract for increased pninti~g costs for the 3,000 

design and prodnction of artists-craftsmen information bulletins. 

To research and prepare a publication on the work of photogra­ 1,000

pher John Gutmann. 

For publication of the next four issues of High Performance, a 3,500 

quarterly magazine documenting current performance actirity. 

[~))r the Artworkers Ne~vs, a publication proriding information 7,500 

jobs, housing, and legislation affecting the professional artist. 

For Nexus to sponsor professional artists’ collaboration with stn- 4,000 

dent interns lo create and exhibit artists’ works, and for work.~’hops 

em’ering all aspects of book production. 

To continne cataloging and conserration of works in the Arch ire’s 10,000

collection of artists’ books. 

To support the Resource Center, which co,mists of a slide registry 10,000 

and resume file on Latin-American artists. 

For corerage of the "International Exhibition of Modern Wrought 5,354

Iromcork and Scnlpture,"held in Lindau, Germang, and for publication in Anvil’s Ring, a natio~ml publication for blacksmiths. 

To conduct research fi)n a one-hour documentary fihn on photo­ 10,000

grapher Ansel Adams. 

To condnct research on the Woodburq-tgpe process and for deeel- 8,975 

opment of faeilities at Arizona State Unieersitg. 

To provide small completion grants to media, performance, and 10,000

interdisciplinarg artists, and to document work presented at The 

Kitchen and other spaces around New York. 

For a contemporar!! arts library in western New York, acquisition 5,500 

of new books and art journals and magazines, and andio-eideotape for documentation. 

For a resource center and hamlieapped artists’ slide registrg. 5,000

For publication ofUmbrella,a n information newsletter distribut- 3,000 

ed nationwide thraugh the artists spaces and unirersitg libnaries. 

For editorial services for Craft Range magazine. 1,000 

For Portfolio magazine, which repnesents the photographic art of 5,000 

edncalom and college photographers. 

For the Puerto Rican Arts Cnltural Center to pnoride financial aid, 2,500

training, materials, equipment, information, and exhibition opportnnities to lhe Hispanic community. 

For the salar!! of a trained technician for Chicago Books who n,ill 3,000

assist in establishing a fast print serriee to serre non-profit art 

groups and indiridual artists. 

For October Magazine to commission a,niters, and for the cost of 10,000 

translations of articles to reach an international commnnitg. 

For the A~¢ists Surplus Materials Fnnds program and the Art and 5,000 

Urban Resources Studio ~Vorkshop program at P.S.I. 

International Center for PhotographyTo expand the librarg and resource center. 5,000 

New York, New York 

International Sculpture Center For transportation costs f!)r participants fit the elerenth Interna- 4,000 

Princeton, New Jersey tiona! ScMpture Confenenee. 
Visual Arts 311 

Just Above Midtoxvn 

New York, New York 

Just Above Midto~vn 

New York, New York 

Kaufman, Glen 

Athens, Georgia 

Kentucky, University of

Lexington, Kentucky 

Latent Images 

Palo Alto, California 

La~vson, Thomas 

New York, New York 

League of United Chicano Artists 

Austin, Texas 

Leland, Caryn R. 

New York, Ne~v York 

Line Association 

New York, Ne~v York 

Los Angeles Center for Photographic 

Studies 

Los Angeles, California 

Los Angeles Contemporary Exhibitions

Los Angeles, California 

Los Angeles Institute for

Contemporary Art
 

Los Angeles, California
 

Los Angeles Institute for 

Contemporary Art
 

Los Angeles, California
 

Lou, Nils

Willamina, Oregon 

Loxver Manhattan Cultural Council 

New York, New York 

Mangurian, Robert E.


Venice, California
 

Maryland Institute
 

Baltimore, Maryland
 

Maryland Institute


Baltimore, Maryland
 

Maryland State Arts Council 

Baltimore, Maryland 

Massachusetts Association for
 

the Crafts
 

Halifax, Massachusetts
 

McCrady, Ellen
 

New Carrollton, Maryland
 

Miami Design Preservation League 

Miami Beach, Florida 

To produce a catalogue to accompany the exhibition "Dialogues." 5,325

5,000 For "The Business of Being an Artist, "a program designed to enable ethnic artists to make the transition from the studio to public 

exhibitions. 

4,000 To support a docume~ttalion project on printed textiles prodnccd 

in the United States d~o’i~g the 20th century. 

To proride an ontstanding arts administrator with the opportu­ 55,837

nity to serre temporarily in the Endowment’s Vis~ml Arts Program under the Intergorernmental Personnel Act. 

2,500 To publish a robone of Latent Image on the directorial genre in 

photography. 

3,000 For Real Life Magazine, an arts qnarterly of essays, reviews, and 

articles. 

5,238 To pro’chase educatimtal materials on Chicano-Latino and Mexican risna! arts for a library resource center. 

To write, produce, and distribute a handbook for visual artists 5,000

that explains the esse~tials of art law pertine~tt to the negotiation 

of public and prirate commissions for works of art. 

3,500 For the "Line, "a sereice organization of artists that assists other 

artists with small grants for publication projects. 

9,250 For serrices to the photography community, inclnding a monthly
 

PhotoCalender, ~wn’sletters, lect~tres, a slide registry, a~td symposia.
 

6,650 To support the periodical library of contemporary art lmblicalions and the mini-grant project, which awards small grants to 

artists for dereloping projects at non-gallery sites. 

2,000 For the exhibition "Ritnal Erents," a sculptural installation by
 

Shiro Ikegawa.
 

For honoraria to guest editors and writers of the Journal/South- 6,000 

ern California Art Magazine. 

4,000 To compile information on kilns, a’heels, eqtdpment, tools, and 

other derices aeailable to potters. 

2,500 For a project that exposes a mass audience to media art thrm~gh
 

poster board displays o~t the New York subway system.
 

3,500 For symposia on collaboratire possibilities. 

3,000 To p~blish a new technical handbook.for artists containing information on copyright laws. taxes, career de~,elopme~t, grantsmanship, and legal help. 

For "Form i~tg Tomorrow Today, "a series of conferences preceding 2,500

the 1980 Washington Interuational Sculpture Conference. 

To hire a fldI-time administrator far the Maryland Crafts 4,000

Council. 

For the International Confere~we of Hand Papernmkers, to be held 7,870

in Boston, Massaclmsetts. 

1,000 For editorial serrices to produce the Abbey Newsletter, a publication for the professional bookbinding and restoration comm~tnity. 

5,000 For a cottage i~tdnstry project in the Art Deco district using the 

skills of retired garment workers. 
312 Visual Arts 

Midmarch Associates 

New York, New York 

Midrnarch Associates 

New York, New York 

Midmarch Associates 

New York, New York 

National Assembly of State Arts
 

Agencies*


Washington, D.C. 

National Conference of Artists
 

Washington, D.C.
 

Natural Heritage Trust/Artpark
 

Lewiston, New York
 

New Ground Presentations 

New York, New York 

New Hampshire Commission on
 

the Arts
 

New Museum 

New York, New York 

New Organization for the Visual Arts 

Cleveland, Ohio 

Nexv York Public Library

New York, New York 

Northwest Artists Workshop

Portland, Oregon 

Oberlin Dance Collective 

San Francisco, California 

Ohio Foundation on the Arts 

Columbus, Ohio 

Orange Coast College

Costa Mesa, California 

Oregon Artists Equity Association

Portland, Oregon 

Organization of Independent Artists 

New York, New York 

Pennsylvania, Trustees of the 

University of

Philadelphia, Pennsylvania 

Performing Arts Journal

New York, New York 

Photographic Resource Center

Boston, Massachusetts 

Print anti Dye Works 

Brookline. Massachusetts 

the seeo,d prMting qf Guide to Women’s Art Organizations. 2,800 

For A rtlsts Talk on Art. Inc., to .,.pop,sot the a~ tists" Im ~wl discus- 2,500 

Non series. 

For Women Artists News, a~ imtepemle~t ~w.’sletter serri~g 1,500 

Ameriem~ wome~ artists. 

For a cooperatiee agreement fi)r the Crafts Adrocac!! Project. a se- 175,000 

ries qf task-force meetings across the comdry to determine the 

,eeds of the field and hou’ existing state, fi’deral, and prirate resources might be used to meet those needs. 

For a cata logue of the N.C.A. ’s exh ihit "Ten Africa n-A merica~t 10,000 

Artists" at the Corcora~, Galler.q of A rt, a~M to assist with tranpo~¢atio~t eouts o.f the e,rhibitk participa~ts. 

For the ann,al gear-end documentation of all of A rtpark’s sum- 2,800 

met activities. 

For the si.rtecnth ammal Ara~tt-Garde Festiral of New York. 7,500 

which presents works in varioi¢s media, im’lmli,g photograp]~!h painting, aml sculpture. 

To +q>date. ma+mge, and promote a 2.200 sli<le file of New Hamp- 1,500 

shire’s pr@ssio,al artists and craftsmen. 

To travel, surcey, aml dorumvnt art at’tiNt!! iu communities 3,000 across the U~ited States in order to plan.future exhibits at the 

scum which ,’ill reflect a~ mcarem.ss qf the ,ational scem.. 

For "Nova News: Norart." a progra,! to assist in the marketi~g 3,500 

qf work bg local artists to corporations aml busim’sses: and.for 

NOVA Image Resource Center. a workshop prm’Ming presses 

and adcam.ed photo and eh,etroslatic equipment to artists. 

To surrey, inre~tory, and document the New York P, blic Libra- 17.800 

r!fs photograph!! collections. 

To e.rpa~ut the s,bscriptio, program at the IVort,’shops’ r@rence 3,500 

librar!t, a’hich prb~ts a monthly arts r@,re~we guide as a serrice 

lo the corn m u n il!l. 

To hi~v an editor.for New Performance, a.flmrmd that docume~,ts 3,500 

aml c.rplores pe~f!)rmam.e art m! the lVvst Coast. 

For Dialogue, Ohio’s bimonthl!t arts jourmd. 5,000 

To docume~d a s!lmposium on photographer Hen r!! Holmes Smith 649 

a~M seceral of his prominent st,de,ls. 

For the OEA News, a~ adrocacy m’.’sletter serving the Pacific 3,000 

North,’est with informatim~ o~ arts h.gislatioa. 

For the orgmdzatio~k" program of m,tual assistance in stagb~g 7,500 

group shows. 

To continue the Institute.for Couh’mpora rq A rt’s arch ire hohli~gs 3,000 of artists’ performance works. 

For Performance Art Magazine, a publication doc,mentMg the 3,500 art qf pe~formanc(,. 

For sercices aml a(’ti,ities for the photograph!! eomm 7,500 clndi,g a lectu~v series, photographg workshops, aml publication 

qf a eale~alar of ereuts i~t New Engla.d. 

To p rm’ide.fa c il it ies a n d eq u ip m e~t t to te, r t ih’ a rt ists a n d crafts m en 5,000 working with the application of (bles to fiber oral fabric, sm,h as 

serev, pri~tMg aml batik. 
Visual Arts 313 

Printed Matter 

New York, New York 

Private Arts Foundation of 

Washington 

Washington, D.C. 

Public Art Fund 

New York, New York 

Puerto Rican Workshop 

New York, New York 

Rice, Shelley 

New York, New York 

St. John’s University

Collegeville, Minnesota 

Samore, Samuel 

San Anselmo, California 

San Francisco Art Commission 

San Francisco, California 

Santa Barbara Contemporary 

Arts Forum 

Santa Barbara, California 

Schnabel, Bruce 

New York, New York 

Self Hell) Graphics

Los Angeles, California 

Slivka, Rose

New York, New York 

Society of North American Goldsmiths 

Clinton, Ohio 

Southeastern Center for
 

Contemporary Art
 

Winston-Salem, North Carolina
 

Southeastern Center for
 

Contemporary Art
 

Winston-Salem, North Carolina
 

Southeastern Center for
 

Contemporary Art
 

Winston-Salem, North Carolina
 

Summers (Elaine) Experimental
 

Intermedia Foundation
 

New York, New York 

Summers (Elaine) Experimental
 

Intermedia Foundation
 

New York, New York 

Sun Valley Center for the Arts
 

and Humanities
 

Sun Valley, Idaho 

10,000 For distrib~ttio~t of all artist~ books through mail order a~t! bookstoFe showcases. 

5,000 For the Washi~(.Iton Pr@ct f!)r the Arts’ bookstore, a~ o~¢tlet for 

alternatice-p.blishi~.q periodicals a~d artists’ books. 

5,000 To maintain a reso~¢rce center o~ p,blic art a~td to.facilitate the 

process’ of bri~gi~g art into public e~tviro,n~e~tts. 

3,000 For the Vis.al Research and Resource Center to prol’ide fl’ce 

ece~tts for the P, erto Rica~t Communit!I. 

To e.rpa~td a+t archive on co~ttcmporar!! tcome~t’.s" photograph!! to 2,500

be donated to the I+tternatio++al Center far Photo.qraph!! i++ New 

York Cit!~. 

5,000 To establish a potter!l fOr~ regional crafts.ten a~td schools, which is 

to become self-st~f.ficie~t i~ two ~lears bH relyi~tg on local clay, glaze, 

and f~tel sottrees. 

5,000 To produce a series of cideotapes o, Ba,! A tea photoffrapk!! to be

.s.cree~ted a~d catalog~’d b!l Cante, a.’ork Galler!!. 

3,500 For Nei.ahborhood Arts Program to proride photographic doe,­

met~tatio~ of 30 Bat! Area artists’ work. 

For an interdisciplinary s!lntposiu,t, to i~tclude historia,s, art- 2,000 

ists. phqsicists psqcholoflists and media experts, to discl~ss the 

adaptabilit!! a~td ,tltt,al i~(fl~¢e~tees of rariousdiscipl i~e.s" with 

gard to the f, ture of ot~r etdtto’e. 

For the Artists" Book Co~tsulti~tg Service a’hich e~abh’s arti.~t.~ 2,000

working i~t the book format the opporttoHt!! ta obtain tceh~tical i~tfor.tatiolt ~.,cessar!! to pFod~tce n~eehal~icall!! so~ot(t books as 

,corks of art. 

5,000 For publicatio~ of a bili~tg,al fi,e arts catalo.qtte based o~ 

planned Lati~-America~t e.rhibitions. 

10,000 Nor a s!tnt po.~iton o.f k~to,’ledgeable .~cholar.~" and practitio,ers.fi’a,t 

various discipli,es to i~cestigate and form,late ~te,’ criteria toward the develop,,~t qf a body of scholarship and critiei.s’m i~t the 

cra.fts. $5,000 .for this gra.t was tra~t.~:ferred .fi’o.~ the Natio.al 

E~do.’me.t ,for the Hama~tities. 

To e.rpa~d thc Sociel!lk" ~tatio,al p,blicatio,. Goldsmith Journal. 

To establish an an~ual national risual arts felloa’ship program. 2,500

For A wards in the Visual Arts. a program that recognizes sign ifi- 17,500 

cant artistic achievement in the risual arts. 

For the Southeastern Regio~al Artists Fellowship Program. 10,000

10,000 For Heresies Collective to publish Heresies: A Feminist Publication on Art and Politics. 

For an antholo.q!! of performance art to be produced for video re­ 7,500

cording a~td event~tal broadcast. 

For the eera mies depart,lent to explore newly constructed sites 1,500 

for possible installatio~t of sculptural and functional ceramics. 

8.000 
814 Visual Arts 

Sunseri, Donald 

West Glover, Vermont 

Surface Design Association 

St. Paul, Minnesota 

Tennessee Technological University 

Cookeville, Tennessee 

Texas Fine Arts Association 

Austin, Texas 

Tubis, Seymour 

Santa Fe, New Mexico 

University City Science Center

Philadelphia, Pennsylvania 

Utah Arts Council 

Salt Lake City, Utah 

Valentine, DeWain 

Venice, California 

Vision Publications 

Alva, Maine 

Visual Arts Center of Alaska 

Anchorage, Alaska 

Visual Studies Workshop 

Rochester, New York 

Visual Studies Workshop 

Rochester, New York 

Western States Arts Foundation 

Denver, Colorado 

Williams, Reese R.

New York, New York 

Women in the Arts Foundation 

New York, New York 

Women’s Caucus for Art 

San Francisco, California 

Wordworks 

San Jose, California 

Wright State University

Dayton, Ohio 

Wyoming State Archives, Museums,

and Historical Department

Cheyenne, Wyoming 

To discover and promote elderly artists in northeast Vermont. 5,000 

To improve the Surface Design Journal’s visual and professional 4,000 

image, and for editorial and production services for Surface Design Resources, a supplemental publication listing suppliers, galleries, and university programs. 

To supplement the salary of a director for the Joe L. Evins Appa- 15,000 

lachian Center for Crafts in order to hire a person of national reputation. 

For the Artists Credit Union which provides loans, insured sav- 5,000 

ings, financial counseling, and a group health insurance plan for 

artists. 

For a publication of the history and development of printmaking 5,000 

at the Institute of American Indian Arts. 

To rent a Xerox 6500 color copier to allow artists to explore new 2,500 

possibilities in printing. 

To hire a project coordinator to survey the needs of the artists liv- 2,000 

ing in Utah. 

To support participation of the Artists Advisory Council in the 7,500 planning and creation of a new contemporary and modern art 

museum in downtown Los Angeles. 

To hire an editor and business manager for Vision, a state-wide 4,000 

quarterly journal. 

For a new periodical library for the community and for educa- 2,000 

tional workshops in Anchorage. 

To publish, for Afterimage, three eight-page svpplements on the 5,000 

Endowment’s Photographers’ Fellowships; the report by the Endowment’s Task Force on Photography; and the responses generated by the task force report. 

For Afterimage, a national photography publication. 5,000 

To assist artists and craftsmen whose work is used in architecture 10,000 

by awarding fellowships, holding symposia, and publishing a catalogue for architects and building contractors. 

To publish Reading, a collection for artists’ideas on criticism, fic- 5,000 

tion, and other subjects, and Radio Novel by Mike Roddy and 

Thereas Cha. 

For service programs for women artists, including workshops, lec- 3,000 tures, and panel discussions. 

For a national newsletter for members of the Caucus. 2,000 

For Wordworks, a thrice-yearly publication which hires different 2,500 guest editors for each issue. 

For honoraria to artists participating in Wright State’s program 3,000 

of bringing contemporary art to the tri-state region of Ohio, Kentueky, and Indiana, and for temporary installations, performance 

works, or other ephemeral projects. 

For preparation of a publication on the J. E. Stimson Collection 3,000 of photographs, a collection dating from the first half of the 20th 

century. 

*contract; PG - Program Funds; TF - Treasury Funds 

.Policy and 

Planning 
Deputy Chairman’s 

Statement 

Challenge Grants 

Endowment Fellows 

Research 

Special Constituencies 
318 

Deputy Chairman’s
 

Statement
 

During the past few years the Arts Endowment 

has directed its efforts increasingly toward two 

principal goals. The first is to better support 

excellence in the arts’ many manifestations 

across the country. Through its programs, the 

Endowment has worked at its primary labor to 

identify and help support talent and quality in 

the arts. To that end, the peer review system was 

strengthened and the National Council on the 

Arts asked to participate in the affairs of the 

Endowment to a greater extent than at any time 

since its very first years. 

The second goal is to galvanize the collective 

wisdom of the National Council, the chairman 

and deputies, the program directors and panels 

into a coherent vision of the agency’s role in the 

future of arts support in this country. As the 

Endowment grows, so does the need and the 

responsibility to be clear about what it does so 

well on a day-to-day basis and, if possible, 

eloquent about what it sets out to do. This task is 

not an easy one. Nor should it be. The 15 years 

during which the Endowment matured were 

marked by an enormous and restless growth in 

the arts and by an even wider national 

recognition. That growth is part of a major, 

dynamic change in the basic social fabric of 

America whereby the quality of life and the 

richness of our culture have taken on an 

unexpected importance. 

In such circumstances, an agency of government charged by law to develop "a national 

policy in support of the arts" could easily find 

itself adrift in perilous waters unless it possessed 

a firm, well-grounded sense of its mission. 

Winston Churchill said, "Those who are possessed 

of a definite body of doctrine and of deeply 

rooted convictions upon it will be in a much 

better position to deal with the shifts and 

surprises of daily affairs." Fortunately, the 

Endowment began in 1966 with a statement of 

purpose in its basic governing statute which has 

been reaffirmed, as it has in 1980, each time the 

law has come before Congress for reauthorization. 

I don’t have space to quote the law’s complete 

Declaration of Purpose, but a portion will 

suffice: "that the world leadership which has 

come to the United States cannot rest solely upon 

superior power, wealth, and technology, but 

must be solidly founded upon worldwide respect 

and admiration for the nation’s high qualities as 

a leader in the realm of ideas and of the spirit." 

Those in public and private life who were the 

driving force behind the drafting of this law and 

the establishment of the Endowment shared a 

healthy concern about creating an agency that 

would assume a role not intended for it. Those 

men and women revered quality and competition, 

and the notion that the arts would develop 

organically from the whole of American life, not 

simply in response to the political exigencies of 

the moment. That is why they wisely called for 

the development of a "national policy in support 

of the arts," rather than a national arts policy. 

And that is why our current Chairman asked 

the National Council on the Arts and its 

Committee on Policy and Planning, which he 

created, to develop a long-range vision for 

Endowment support of the arts. The charge was 

first to draft a statement of mission against 

which future plans could be evaluated, keeping 

in mind the basic principles on which the 

Endowment was founded. In 1978 the Policy and 

Planning Committee drafted and the Council 

adopted a statement which says: "The goal of the 

Endowment is the fostering of professional 

excellence of the arts in America, to nurture and 

sustain them, and equally to help create a 

climate in which they may flourish so they may 

be experienced and enjoyed by the widest 

possible public." This statement also described 

five activities the Endowment should encourage 

through its support: individual creativity; institutional creativity; preservation of our living 

artistic heritage; making the arts available; and, 

finally, leadership and advocacy on behalf of the 

arts. 

As a government agency charged with supporting the arts without dominating them, the 

Endowment must assume a catalytic role. The 

federal, state, and local government agencies 

that assist the arts, plus many private organiza­
tions and individuals as well as businesses and 

corporations--these make up a lattice work of 

interrelationships upon which the arts must and 

should continue to depend. The balance, which I 

believe the Endowment must always seek to 

strike, is between support that makes a differenee and support that overwhelms. 

Of equal concern is the need to balance theory 

and practice. As ~ve develop our vision, we must 

preserve those time-tested practices, such as 

National Council and peer panel review, which 

make it possible to do as we say we do. Peer 

review is where theory and practice come 

together in creative decision-making. The willingness of the members of the National Council 

to assume wider responsibilities and take time to 

work ~vith the Endowment has provided guidance 

and insight where a bewildering array of forces 

might otherwise have confounded our best 

efforts to clarify our activities and foresee our 

future with confidence. 

As a result, during the past two-and-a-half 

years, improvements in our budget have meant 

not simply more grants, but better planning. As 

the National Council has become more active, its 

members help formulate long-range and shortrange planning, determine annual budget priorities, set policy with the state art agencies, and 

decide upon challenge grant awards. 

Government should never be an end in itself. It 

is, and must be, a means by which commonly 

agreed-upon goals are sought. And in working 

toward these ends, it must be responsive to the 

needs it is perceived to serve. 

As a nation, we are undergoing a broad-based 

reconsideration of government’s role--internal 

and external. This assessment extends to many 

important aspects of our national life: to our 

economy, to the resources necessary to maintain 

the strength and character of our society, and to a 

319
 

heightened interest in the quality of our cultural 

life. In like fashion, the Endowment, both 

internally and externally, is engaged upon an 

intense period of examination, wholly appropriate for an agency of government, but especially 

important for one which works to support the 

arts. Development, change, evolution are critical 

aspects of the creative impulse. 

I think that I reflect the opinion of the 

National Council and the staff when I say that 

we are optimistic for the arts, for America’s 

artists, and for our cultural organizations 

throughout the country. The Endowment is an 

unique enterprise, one joined by all of the 50 

states, seeking to fulfill the responsibilities set 

forth in its original mandate with a continuing 

sensitivity to excellence and with a clear 

recognition that it is just one organization among 

many dedicated to enhancing opportunity for the 

arts. 

John Ruskin said: "Great nations write their 

autobiography in three manuscripts: the book of 

their deeds, the book of their words, and the book 

of their art. Not one of these books can be 

understood unless we read the t~vo others, but of

the three the only trustworthy one is the last." 

My reason for confidence about the arts rests on 

the conviction that over the past two decades our 

country began that third manuscript and that 

the drafting has been feverish. The vitality and 

energy of our diverse land is opening a broad 

new channel for expression through the arts. 

Donald A. Moore 

Deputy Chairman for Policy and Planning 
320 Challenge Grauts 

CHARLES ELDRED: SCVLPTVRE & DRAWING  ̄ March 23-June I, 1980 a Roberson Center, Binghamton, NY 
321
 

Challenge Grants
 

As American cultural institutions reach out to 

new audiences and struggle with the effects of 

inflation, their income must increase and their 

management systems must become more sophisticated. In 1976 Congress authorized the Challene Grant Program as a long-term way of 

helping arts organizations cope with these new 

financial realities. 

The reasoning behind the Program recalls an 

ancient Chinese proverb that goes: "If you give a 

man a fish, you feed his family today, but if you 

teach him how to fish, you feed his family every 

day." Grants from the Endowment’s discipline 

Programs help arts groups stay alive from year 

to year, but are seldom large enough to lift the 

organization up to a new level of financial and 

artistic health. A challenge grant, however, 

means much more to the recipient than the grant 

money itself. By encouraging a quantum leap in 

private contributions and by focusing attention 

on administrative techniques, particularly longrange planning, the Challenge Grant Program 

helps build arts institutions for the years ahead. 

From 1977 to 1980, the Endowment awarded 

281 challenge grants to 335 institutions; these 

grantees have matched their total of $83,385,500 

grant campaign, and the artistic caliber of its 

program. 

Under this system in 1980, grants went to 120 

culturally and geographically diverse institutions. Notable results from our 1980 grantees so 

far include: 

 ̄ California Institute of the Arts in Valencia-­

Preparing the fund-raising files for the challenge 

campaign enabled the school, one of nine arts 

training institutions to receive a grant in this 

round, to change over to a computer system that 

will increase speed and accuracy in handling 

development data. 

 ̄ Chicago Educational Television Association/ 

WTTW--The increased funds raised in the 

campaign helped the station buy equipment to 

increase its arts programming. 

* Cleveland Consortium for the Performing 

Arts--A Cleveland Foundation study brought 

together seven arts groups, ranging from the 

Cleveland Ballet to Karamu House, in a joint 

fund-raising campaign; the study also resulted 

in improved management techniques and a fiveyear financial plan for each organization.

 ̄ Walters Art Gallery in Baltimore--A 

reorganized development staff and beefed-up 

in federal funding with nearly $500 million inexhibition schedule meant increases of 43 

private contributions. 

Whether an applicant organization receives a 

challenge grant depends upon evaluation of both 

its artistic and management quality. Since the 

Program’s initial year, challenge applications 

have been reviewed annually by panels convened 

by the Endowment’s discipline Programs; a 

management and consulting firm on contract to 

the Endowment; a special committee of the 

National Council on the Arts, composed in 1980 

of Willard Boyd, Norman Champ, J.C. Dickinson, 

Bernard Lopez, Franklin Schaffner, Dolores 

Wharton, Jessie Woods, and Rosalind Wyman; 

the full Council; and the Chairman of the Arts

Endowment, who approves the final grant 

awards. This multi-level review assesses the 

quality of each applicant’s administrative structure, its ability to match a grant, the potential 

long-range benefits of the three-year challenge 

percent in membership, 42 percent in attendance, 

and 23 percent in annual giving. 

 ̄ Yaddo in Saratoga Springs, New York-­

This artists’ colony, founded in 1926, launched 

the largest fund-raising campaign in its history. 

As these examples make clear, our primary 

concern is that the grant not only contribute to 

the financial stability of the institution but also 

help it develop and refine its administrative side. 

The written evaluations prepared by our management consulting firm are available to 

applicants; these often lead to further self-study 

and constructive changes in procedures, recordkeeping, and board structure. Many applicants 

tell us that the application process itself-­

especially the need to prepare a five-year plan-­

focuses attention on long-range financial planning 

as a continuous management tool. 

Realizing that not every arts organization can 
322 Challenge Grants 
Challenge Grants 323 

receive a challenge grant--or is ready for 

one--but believing that all cultural institutions 

might profit from an account of our grantees’ 

experiences, we published The Challenge Grant 

Experience: Planning, Development, and Fundraising last year. This book’s short case histories 

graphically illustrate some successful efforts, 

and problems, in the areas of long-range 

planning, development, public relations, boards 

of trustees, and fund-raising. Distributed free of 

charge, the book, we hope, will serve as a source 

of ideas for many nonprofit organizations, 

particularly arts institutions of all sizes in all 

artistic disciplines. In addition, we believe it will 

document for major contributors--especially 

foundations and corporations which have taken 

an active part in the Challenge Grant Program-­

the management and development techniques 

currently employed by arts institutions. 

To determine current attitudes about the 

possibility of awarding previous grantees a 

second challenge grant, we also conducted a 

survey of grantees, rejectees, and Endowment 

program directors. We plan to consider such 

issues as the effect of inflation and the economy 

on the grants, the continuing process necessary 

for an arts group to achieve long-term financial 

stability, the need for technical assistance, and 

the possibility of counting earned income toward 

the matching requirements. As we seek in the 

coming year to develop a program that answers 

the prevalent financial and administrative needs 

of our outstanding cultural institutions, this 

discussion of some form of second-time challenge 

grants will continue. 

Finally, we have recognized a gap in the 

Challenge Grant Program; the Endowment’s 

insistence on a high degree of managerial 

competence and fund-raising capability has 

screened out many organizations of high artistic 

quality that could benefit enormously from a 

challenge grant. As a result, we have begun a 

two-phase pilot Advancement Grant Program to 

serve these organizations. Since most are in an 

emerging stage of development where the 

excellence of their programs has outstripped 

their administrative capabilities, the first phase 

would provide grantees with special consultants 

in public relations, management, marketing, 

fund-raising, and similar fields. Upon successful 

completion of the first phase, they would be 

eligible to receive a special form of challenge 

grant requiring the usual three-to-one match, 

but allowing both contributed and earned 

income to count toward that match. 

As the final chapter of The Challenge Grant 

Experience states: "Like all new endeavors, the 

Challenge Grant Program has found that there 

is room for improvement." Our continual 

dialogue with applicants, grantees, corporations 

and foundations, and arts administrators helps 

us define the areas that need increased attention. 

In the coming year we hope the development of 

these new programs will answer some of the 

institutional needs of arts organizations. Additional publications in particular might help fill the 

need for management assistance. The important 

point is that the Endowment and arts institutions 

will continue to work together in identifying 

problem areas and sharing their successes and 

failures. 

Elizabeth Weil 

Director, Challenge Grant Program 
324 Challenge Grants 

Challenge Grants Program funds: $25,422,237

The Challenge Grant Program, established by Congress in 1976, 

encourages cultural organizations to broaden their base of 

contributed, private support and achieve financial stability. 

Affiliate Artists 

New York, New York 

Akron Art Institute 

Akron, Ohio 

Allentown Art Museum 

Allentown, Pennsylvania 

American Academy in Rome 

New York, New York 

American Crafts Council 

New York, New York 

American Dance Festival 

Durham, North Carolina 

American Shakespeare Festival 

Stratford, Connecticut 

Aperture 

Millertown, New York 

Arkansas Art Center 

Little Rock, Arkansas 

Arts Alaska 

Anchorage, Alaska 

Arts and Sciences Council of 

Charlotte-Mecklenburg 

Charlotte, North Carolina 

Berkeley Repertory Theater

Berkeley, California 

Berkeley Stage Company 

Berkeley, California 

Bloomingdale House of Music 

New York, New York 

Brooklyn Center for the 

Performing Arts 

Brooklyn, New York 

To meet increased costs of expanded programs, and to 

]~elp create a major cash reserve fund. 

To build a larger endowment fund, and to renovate the old 

post office building as a new musenm facility. 

To augment the endowment fund, and to eliminate a building 

expansion debt. 

To meet expanded program costs and, to augment the Academy’s 

endowment. 

To support increased expenses of the magazine American Crafts, 

traveling exhibitions and educational activities at the museum, 

a nationwide audio-~qsual service, and the American Crafts 

Council library. 

To elimante an accumulated deficit and to establish an 

an endowment. 

To initiate a cash reserve and help meet increased costs. 

To initiate a cash reserve fund to assist regular production 

schednles for publications. In addition, funds will be used for 

i~creased expenses associated with prodnction, promotion, and 

a dministra tion. 

To initiate a cash reserve, augment the endowment fl~nd, provide 

funds for the renovation of the Center for the Decorative Arts, and 

help meet increased expenses. 

To assist a f~nd-raising campaign designed to establish an 

endowment and cash reserve. 

On behalf of." Charlotte Nature Museum--to meet the increased costs of 

exhibitions and science and technology programs. 

Charlotte Opera Association--to establish a cash reserve and 

meet increased costs of expanded staff, programs, and 

productions. 

Charlotte Symphony Orchestra--to eliminate an acc~mulated 

deficit, augment a cash reserve, and meet increased costs of 

productions and general administration. 

Mint Museum of Art--to develop needed storage and n,orkshop 

spaces. Spirit Square Arts Center--to meet increased costs associated 

with all areas of programs and administration. 

United Arts Fund--to increase support for consortium 

members. 

To retire a construction loan, and to renovate a larger 

theater facility. 

To meet increased costs associated with an expanded season, and 

increased development and membership efforts. 

To eliminate an accumulated operating deficit and a building 

mortgage, to meet increased program and administrative costs, 

and to build a cash reserve. 

To meet increased costs, initiate a cash reserve, and eliminate 

deficit. 

$300,000 

150,000 

100,000 

200,000 

150,000 

175,000 

200,000 

80,000 

100,000 

45,000 

500,000 

120,000 

45,000 

40,000 

50,000 
Challenge Grants 325 

Brooklyn Philharmonia 

Brooklyn, New York 

Buffalo Fine Arts Academy 

Buffalo, New York 

Buffalo Philharmonic Orchestra 

Society 

Buffalo, New York 

California Academy of Sciences 

San Francisco, California 

California Institute of the Arts 

Valencia, California 

California, University of 

Berkeley, California 

California, University of

Los Angeles, California 

Center Stage

Baltimore, Maryland 

Central City Opera 

Denver, Colorado 

Chicago Educational Television/ 

WTTW 

Chicago, Illinois 

Cleveland Foundation 

Cleveland, Ohio 

Cleveland Institute of Music 

Cleveland, Ohio 

To eliminate accumulated deficits and to meet increased 

costs associated with concerts and new development efforts. 

To eliminate accumulated deficits, to augment an endowment, 

and to provide funds for an expanded development program for 

the Albright-Knox Art Gallery. 

To augment the endowment, and to meet increased costs. 

To augment the Academy’s endowment, with resulting income 

used to expand educational programs, enhance and modernize 

exhibits, prepare traveling exhibits, increase research efforts, and 

and complete the renovation on existing facilities. 

To increase the endowment, add to a cash reserve, fund an 

operating deficit, and meet the costs of increased faculty, 

enrollment, and programing. 

To establish an endowment, and to meet increased operating 

costs of the Univerity Art Museum. 

To pro~qde necessary renovation of Royce Hall, and to establish 

an endowment, income from which urill allow payment of 

increased artists’fees, a reduction in state and university support, 

and the ability to host experimental as well as popular events. 

To reestablish a cash reserve, and to develop the pilot program, 

"First Stage," which involves production of four ncw full-length 

plays. 

To eliminate an accumulated deficit, to augment an endowment, 

to add to a cash reserve, and to meet increasing production costs. 

To upgrade arts programming through the establishment of a 

renewable program development fund and the acquisition of 

broadcasting and production equipment. 

On behalf of." 

Cleveland Ballet--to eliminate accumulated deficits, initiate 

a cash reserve and an endowment, and meet increased 

costs associated uqth an expanded repertoire, increased 

touring, and a move to the State Theater in Playhouse Square. 

Cleveland Play House--to augment the endou~nent, provide 

capital improvements associated with renovation, and help 

meet increased costs associated with needed additional 

artistic and management staff. 

Great Lakes Shakespeare Festival--to meet increased costs 

associated with the growth of the company, expansion of the 

season, and added rehearsal time. In addition, funds will 

assist plans to increase earned income through audience 

development, add to a cash reserve, and aid in establisMng 

an endowment. 

Karamu House--to initiate a cash reserve, elimi~ate an 

accumulated deficit, and meet increased costs associated 

with new development efforts and the establishment of a 

professional theater program. 

New Cleveland Opera Company--to meet increased costs 

associated with a move to the renovated State Theater in 

Playhouse Square, and an expanded season, and to establish 

a cash reserve. 

Playhouse Square Fonndation--to assist in the reno~vtion of 

the State, Ohio, and Palace Theaters which will provide new 

homes and additional performing spaces for Cleveland’s 

performing arts groups, including the Cleveland Ballet aud 

the New Cleveland Opera Company. 

To augment an endowment. 

50,000 

200,000 

625,000 

400,000 

500,000 

250,000 

500,000 

157,500 

125,000 

475,000 

1,750,000 

200,000 

Community Music Center To initiate a cash reserve, and to meet the costs of an expanded 25,000 

San Francisco, California instructional program. 
326 Challenge Grants 

Community Television of 

Southern California/KCET

Los Angeles, California 

Concerto Soloists of Philadelphia

Philadelphia, Pennsylvania 

Connecticut Educational 

Telecommunications Corporation/ 

CETC 

Hartford, Connecticut 

Contemporary Theater 

Seattle, Washington 

Corcoran Gallery of Art

Washington, D.C. 

Corporation of Yaddo 

Saratoga Springs, New York 

Cricket Theater 

Minneapolis, Minnesota 

Cultural Council Foundation 

New York, New York 

Currier Gallery 

Manchester, New Hampshire 

Curtis Institute of Music 

Philadelphia, Pennsylvania 

Dallas Civic Opera Company 

Dallas, Texas 

Dance Concert Society 

St. Louis, Missouri 

Dayton Art Institute

Dayton, Ohio 

Dean Dance Foundation 

New York, New York 

Denver Museum of Natural History 

Denver, Colorado 

Ebony Talent 

Chicago, Illinois 

Fine Arts Work Center 

Provincetown, Massachusetts 

First All Children’s Theater 

New York, New York 

Folger Theater 

Washington, D.C. 

200,000 To improre and expand cultural and arts program development, 

production, acquisition, and availability to vieu,ers in southern 

California and the entire PBS audience. 

15,000 To reduce an accumulated deficit, and to meet the increased 

expenses of establishing a secondary concert series in other cities 

in the region. 

350,000 To retire a debt and stimulate community support for 

expanded programming, serrices, and facilities. The resulting radio and television netu’ork will allow production of 

local as well as national arts programming from throughout 

the state. 

75,000 To meet the increased costs incurred through expansion of 

the Mainstage season, to establish a Seattle performance 

residency, and to establish a cash reserve. 

250,000 To meet increased costs of exhibitions and operatio~, to 

augment an endowment, and to modernize and restore the museum facility, an historic building. 

60,000 For Yaddo’s first major public fund-raising campaign intended
 

to eliminate accumulated deficits.
 

50,000 To initiate a cash reserve, eliminate a current deficit,

purchase needed light and sound equipment, and meet increased 

expenses associated u’ith the theater’s move to the Hennepin 

Center for the Arts. 

32,500 To underwrite the developmeut of computer-based financial
 

services, and to strengthen and to add to the staff in all areas.
 

200,000 To augment an endou,ment. 

150,000 To provide the impetus for the b~stitute’s first m ajar development
 

program, iutended to augment the endowment.
 

To eliminate accumulated deficits and expaud marketing of 350,000 

subscriptions. 

64,500 To initiate a cash reserve, help eliminate accumulated deficits,
 

and meet increased costs associated with an expanded concert
 

season, an educational impact program, general administration,
 

and increased development efforts.
 

250,000 To augment an endowment, and renovate the facility. 

30,000 To extend the home season, increase touring activities, and 

develop a broadcast quality videotape. 

250,000 For the first public campaign to develop a broader base of 

support. Funds u,ill augment an endou’ment and support the costs 

of producing exhibits. 

70,000 To eliminate accnmulated deficits, and to meet increased costs 

resulting from the acquisition and operation of Ebony Talent 

Square, which will allow increased programming in a 

consolidated space. 

To augment an endou’ment fuud, to initiate a cash reserre, and to 30,000

support the Work Center’s programs for fellou,s and visitiug 

artists, as u’ell as gallery shou,, publication of Shankpainter 

Magazine, and various commnnity cultural semSces. 

40,000 To initiate a cash reserre, and to meet increased costs associated 

with administration and programming. 

To add to a cash reserce, help meet accumulated deficits, and meet 175,000

increased costs associated u,ith new fiscal management systems 

and development efforts. 
Challenge Grants 327 

Gallery Players of Oregon 

McMinnville, Oregon 

Galveston County Cultural Arts 

Council 

Galveston, Texas 

Garden State Ballet 

Newark, New Jersey 

Grand Rapids Symphony Society 

Grand Rapids, Michigan 

Hartford Ballet 

Hartford, Connecticut 

Hennepin Center for the Arts 

Minneapolis, Minnesota 

Hippodrome Theater Workshop 

Gainesville, Florida 

Historic Albany 

Albany, New York 

Houston Symphony Society 

Houston, Texas 

Indiana Repertory Theater

Indianapolis, Indiana 

Indiana State Symphony Indianapolis, Indiana 

INTAR (International Arts Relations)

New York, New York 

Island Center of St. Croix 

St. Croix, Virgin Islands 

Jenkintown Music School 

Jenkintown, Pennsylvania 

Just Above Midtown 

New York, New York 

Kansas City Philharmonic

Kansas City, Kansas 

Kitani Foundation 

Columbia, South Carolina 

Knoxville Heritage 

Knoxville, Tennessee 

Long Beach Symphony 

Long Beach, California 

Maryland Institute and 

College of Art

Baltimore, Maryland 

Massachusetts Institute of Technology 

Cambridge, Massachusetts 

To provide capital improvements, to expand programs and staff, 100,000

and to support the initiation of a Summer Festival of American 

Theater. 

To augment a cash reserve, to meet increased costs for the 200,000 

Council’s two arts facilities, and to provide capital improvements. 

To initiate a cash reserve, eliminate accumulated deficits, and 30,000

meet increased costs associated u~th expanded outreach 

programs. 

To eliminate a deficit, and to cover increased costs associated 45,000

with a move to the new Performing Arts Center. 

To develop tu’o major new productions, and to meet the costs of 125,000

moving to new quarters and expanding the touring schedule. 

To initiate a cash reserve and to protqde capital improvements 50,000 

for tl~e public theater space. 

To provide capital improvements for a new theater space in the 175,000 

historic old post office building. 

To establish an endowment and a cash reserve, eliminate a 80,000

deficit, and augment a revolving fund used to finance 

acquisitions and construction work. 

For increased costs, and to eliminate accnmulated deficits. 250,000 

To augment a cash reserve, provide capital improvements, and 250,000 

meet increased costs associated with a more. 

To augment the endou’ment. 850,000

To renovate a new space, to meet increased costs resulting from 16,726 

the new, larger space, to establish a cash reserve, and to hire 

a development officer. 

To retire current liabilities, expand the facility, increase a cash 50,000 

resem’e fund, and meet increased costs of expanded programs. 

To support a building relocation fl~ud drive, augment an 100,000 

endowment to eliminate deficits, and purchase instruments and 

equipment. 

To meet increased costs incurred from t~e expansion of programs, 30,000 

and to develop revanche items including books, catalogues, and 

workshop records. 

To augment an endowment, initiate a cash reserve, eliminate 150,000 

deficits, aud meet increased costs of administration and 

programming. 

To initiate a cash reserve, eliminate accumulated deficits, and 55,675

meet increased costs associated with program development. 

To eliminate mortgages and other debts, establish a cash reserve, 150,000 

and meet increased costs associated with growing staff and 

programs. 

To establish an endowment, initiate a cash reserre, help eliminate 125,000 

accumulated deficits, and meet increased operating costs 

resulting from a move to a new concert hall. 

To improve facilities, enhance the cu~riculum, and angment an 500,000 

endowment. 

To construct a cnltural facility for interdisciplinary arts 250,000 

programming. 
328 Challenge Grants 

Memphis Arts Council 

Memphis, Tennessee 

Minneapolis Society of Fine Arts 

Minneapolis, Minnesota 

Morgan County Foundation 

Madison, Georgia 

Museum of International Folk Arts 

Santa Fe, New Mexico 

Music Associates of Aspen 

Aspen, Colorado 

Music Hall Center for 

the Performing Arts 

Detroit, Michigan 

New England Conservatory of Music 

Boston, Massachusetts 

New Jersey Symphony

Newark, New Jersey 

New Orleans Opera 

New Orleans, Louisiana 

New Orleans Philharmonic Symphony 

Orchestra 

New Orleans, Louisiana 

New York City HispanicAmerican Dance Company 

New York, New York 

New York Zoological Society 

New York, New York 

Newport Harbor Art Museum 

Newport Beach, California 

North Carolina Symphony Orchestra 

Raleigh, North Carolina 

Oakland Museum Association 

Oakland, California 

Oakland Symphony 

Oakland, California 

On behalf of." 75,000 

Ballet Society of Memphis--to meet increased costs incurred in
 

presenting public service and in-school lectnre~demonstration programs.
 

Beethoven Club--to meet increased operating costs associated
 

with expanding and improving t~e Young Artists Competition.
 

Circuit Playhouse--to augment the e~dowment.
 

Memphis Academy of Arts--to meet increased operating costs.
 

Memphis Little T~eater--to meet i~wreased expenses.
 

Memphis Orchestral Society--to meet i~cre~ed costs associated
 

u’ith artistic personnel and administratio~.
 

Opera Memphis--to suppo~ an expanded subscriptio~ serif8.
 

Red Balloon Players--to meet 5~crcased costs associated with a~
 

expanded season.
 

Memphis Arts Council--to ~tise allocations to co~tsortium members, coordinate the Challe~ge Gra~t campaig~,
 

and meet increased operati~g costs associated with leasi~g
 

better office equipment.
 

To retire the debt for mnsenm reno~,ations, ~nd to develop the 400,000 

exhibition and education programs. 

To create two small endowments to procide income for the 50,000 

Madison Morgan Cultnral Center and to .support expanded 

programs and staff. 

To augment an endou,ment, and expand the museum to house 350,000 

the Girard Foundation Collection of over 100,000 folk objects. 

To help establish an endowment for the Aspen Music Festiral. 250,000 

To initiate a cash reserve, eliminate debts, and meet increased 75,000 

costs of in-house theatrical productions. 

To stimulate support for the Conservatory’s major e~dou,ment 150,000 

campaign 

To initiate a cash reseree, and meet increased programming and 150,000 

administration costs. 

To eliminate deficits and meet costs associated u’ith increasing 75,000 

the staff and expanded programming in the schools. 

To augment an endou,ment. 150,000 

To help eliminate accumulated deficits, meet increased admin- 30,000 

istrative costs, and to renocate tu’o buildings for expanding 

edncational, performing, and commn~ity services. 

To augme~t a cash reserve. 500,000 

To initiate a cash reserve and augment an endou,ment. 150,000 

To help eliminate accumulated deficits, to augment an 200,000 

ertdowment, and to meet increased costs associated u’ith 

performances, education programs, and derelopment. 

To angment a cash reserve and to meet increased operating costs 205,000 

associated with climate control, conservatio~ facilities, professional staff, and a strengthened education program. 

To augment an endou~nent and to meet i~wreased expenses 150,000 

associated u,ith ueu, and improred programs and serrices. 

Ocean State Performing Arts Center To retire the mortgage, and for theatrical equipment improve- 150,000 

Providence, Rhode Island ments, education-oriented prodnctio~s, and staff expenses. 
Challenge Grants 329 

Old Globe Theater 

San Diego, California 

Opera Company of Boston 

Boston, Massachusetts 

Opera Guild of Greater Miami 

Miami, Florida 

Organic Theater Company

Chicago, Illinois 

Orpheus Chamber Ensemble 

New York, New York 

Pacific Northwest Dance Company 

Seattle, Washington 

Painted Bride Art Center 

Philadelphia, Pennsylvania 

Paul Taylor Dance Foundation 

New York, New York 

Peabody Institute of John Hopkins 

University 

Baltimore, Maryland 

Penland School of Crafts 

Penland, North Carolina 

Performing Arts for Community 

and Education 

Miami, Florida 

Philadelphia Museum of Art 

Philadelphia, Pennsylvania 

Philadelphia Orchestra

Philadelphia, Pennsylvania 

Pittsburgh Ballet Theater 

Pittsburgh, Pennsylvania 

Pittsburgh Filmmakers 

Pittsburgh, Pennsylvania 

Pittsburgh Opera 

Pittsburgh, Pennsylvania 

Portland Opera

Portland, Oregon 

Rhode Island Philharmonic 

Providence, Rhode Island 

Roberson Center for the Arts 

and Sciences 

Binghamton, New York 

Rochester Museum and Sciences 

Center 

Rochester, New York 

To rebuild the Old Globe Theater as a modernized, flexible-use, thrust-stage facility. 

To eliminate accumulated deficits, augment an endowment, and 

meet increased operating costs associated with an expanded 

season. 

To augment an endouvnent and create a cash reserve. 

To retire the debts on the Buckingham Theater building, to be 

reno~nted as a 450-seat theater, and to meet increased costs 

associated with increased development efforts. 

To eliminate an accumulated deficit and establish an annual 

subscription series. 

To initiate a cash reserve and to increase performance 

expenses and artists’ compensation. 

To initiate a cash reserve and to meet increased administrative 

program costs. 

To establish an endowment, extend the home season, and establish

"second home" performing seasons nationwide. 

To aug~nent an endou,ment. 

To establish a cash reserve, purchase equipment, and meet 

increased costs associated with improved programming. 

To initiate a cash reserve and to transfer record-keeping 

procedures to a computer system. 

To augment an endowment and expand basic museum programs. 

To augment an endo~,ment and increase salaries. 

To eliminate the accumulated deficit, create a cash reserve, and 

meet expenses associated uSth increased artistic salaries, 

performance costs, and school operations. 

To eliminate an accnmulated deficit, purchase equipment, and 

meet increased costs associated u;ith publications, rentals, and 

administration. 

To establish an endowment. 

To establish an endowment. 

To meet increased expenses associated ~th new staff, the 

move to the Ocean State Performing Arts Center, and an 

increased publicity program. 

To augment an endowment. 

To augment an endounnent. 

800,000 

450,000 

450,000 

225,000 

40,000 

150,000 

20,000 

80,000 

350,000 

100,000 

100,000 

500,000 

1,000,000 

150,000 

30,000 

100,000 

300,000 

30,000 

250,000 

250,000 

St. Paul Chamber Orchestra To establish an endou~nent, create a cash reserve, and 400,000 

St. Paul, Minnesota eliminate deficits. 
330 Challenge Grants 

San Antonio Symphony 

San Antonio, Texas 

San Francisco Conservatory 

San Francisco, California 

School of American Ballet 

New York, New York 

Syracuse University Theater 

Corporation 

Syracuse, New York 

Tennessee, University of 

Nashville, Tennessee 

Theater by the Sea 

Portsmouth, New Hampshire 

Toledo Museum of Art 

Toledo, Ohio 

Upper Catskill Commission 

on the Arts 

0neonta, New York 

Vermont Symphony Orchestra

Burlington, Vermont 

Visual Studies Workshop 

New York, New York 

Wadsworth Atheneum 

Hartford, Connecticut 

Waiters Art Gallery 

Baltimore Maryland 

Washington Performing Arts Society 

Washington, D.C. 

Wolf Trap Foundation 

Vienna, Virginia 

Workshops for Careers in the Arts

Washington, D.C. 

Zoological Society of Buffalo 

Buffalo, New York 

To eliminate accumulated deficits, meet increased operating 150,000 

costs, and augment an endowment. 

To aHgment an endowment. 150,000 

To angment an endowment and to meet increased operating costs 250,000 

associated with a scholarship program, an instructional 

program, and administrative expenses. 

To support the renovation and development of the Regent Theater, 130,000 

allowing the theater to expand its audience and thus its 

earned income. 

To provide an outstanding arts administrator n,ith the 47,062 

opportunity to serve temporarily in the Endowment~ Challe~ge 

Grant Program under the [ntergorernmental Personnel Act. 

To renovate a larger theater facility, and to eliminate 50,000 

accumulated deficits. 

To renovate the centrally located auditorium into a major ne~t’ 400,000 

exhibition gallery, offices, storage, and public facilities, and 

and to augment an endowment. 

On behalf of." 35,500 

Catskill Conservatory--to expand scr~qces. 

Catskill Symphony Orchestra--to establish an endowment and 

a cash reserve, and to cover salary increases.
 

Community Chorale--to establish a cash reserve and improve
 

salaries for artistic and managerial staff.
 

Glimmerglass Opera Theater--to create a cash reserve and to
 

eliminate an accnmulated operati~g deficit.
 

Upper Catskill Community Council of the Arts--to expand
 

services.
 

To establish an endowment and eliminate debts. 10,000 

To renovate a building in an historic district to provide 70,000 

larger facilities for the workshop, and to establish au endowment. 

To establish an endowment. 107,774 

To augment an endowment. 500,000 

To establish a cash reserve amt to eliminate a deficit. 100,000 

To increase an endowment, initiate a cash reser~v, and expand 400,000 

p rogra ms. 

To establish an endowment, initiate a cash reserve, help meet 250,000 

increased operating costs, and establish a media program. 

To support, modernize, and redevelop the zoo. 150,000 

*contract; PG - Program Funds; TF - Treasury Funds 
331
 

Endowment Fellows
 

Fellowship Grants Program funds: $133,662

Allied Arts Foundation 

Seattle, Washington 

American University 

Washington, D.C. 

Art Research Center 

Kansas City, Missouri 

Artrium 

Santa Rosa, California 

Association of California 

Symphony Orchestras 

Pebble Beach, California 

Boston Symphony Orchestra 

Boston, Massachusetts 

Boston Symphony Orchestra 

Boston, Massachusetts 

Bowling Green State University Bowling Green, Ohio 

Bryn Mawr College 

Bryn Mawr, Pennsylvania 

California, University of 

Los Angeles, California 

California, University of 

Los Angeles, California 

California, University of

Los Angeles, California 

Center for Creative Studies 

Detroit, Michigan 

Chicago Choreographer’s Workshop 

Chicago, Illinois 

Cincinnati Museum Association 

Cincinnati. Ohio 

Concordium Hawaii 

Fayetteville, Arkansas 

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. 

To amend a previous grant to sponsor Rebecca Fox in the $115 

Endowment~ Fellowship Program. 

To sponsor Tim Brown in the Endou’ment’s Fellowship Program. 2,660 

To sponsor Elisabeth Kirsh in the Endowment’s Fellon’ship 2.970 

Program. 

To sponsor Craig Watson in the Endowment’s Fellowship 3,230 Program. 

To amend a previons grant to sponsor David Lichtenstein in the 122 

Endowment’s Fellon’ship Program. 

To sponsor Bernice Silcerstein in the Endo~nent’s Fellowship 2,830 

Program. 

To sponsor David Albert in the Endowment’s Fellowship 2,850 Program. 

To sponsor Adam Hammer in the Endowment’s Fellon’ship 5,090 Program. 

To sponsor Rebecca Rosenthal in the Endowment’s Fellowship 2,660 Program. 

To sponsor Butt Geller in the Endowment’s Fellowship 3,260 Program 

To sponsor Joan Michaelson in the Endowment’s Fellowship 3,320 Program. 

To amend a previous grant to sponsor Ernest Dillihay in the 2,250 Endowment’s Fellowship Program. 

To sponsor Ilsa Draznin in the Endowment’s Fellowship 2,840 Program. 

To sponsor Katherine de Shaw in the Endon’ment’s Fellowship 2,800 Program. 

To sponsor James Kamm in the Endon’ment~ Fellon’ship 2,860 Program. 

To sponsor Richard Arnest in the Endowment’s Fellowship 3,050 Program. 
332 Endowment Fellows 

Friends of Puerto Rico 

New York, New York 

George Washington University

Washington, D.C. 

Georgia, University of

Athens, Georgia 

Greater Birmingham Arts Alliance 

Birmingham, Alabama 

Harvard, President and Fellows of 

Cambridge, Massachusetts 

Illinois Arts Council 

Chicago, Illinois 

Intercultural Resources Development 

New York, New York 

Iowa State University 

Ames, Iowa 

Michigan, University of 

Flint, Michigan 

Minnesota, University of 

Minneapolis, Minnesota 

New Mexico State University,
 

Regents of
 

Las Cruces, New Mexico 

New Museum
 

New York, New York
 

New York, State University of
 

New York, New York
 

New York University 

New York, New York 

Ohio State University 

Athens, Ohio 

Opera da Camara 

Rio Piedras, Puerto Rico 

Pennsylvania State University 

University Park, Pennsylvania 

Philadelphia College of Performing 

Arts 

Philadelphia, Pennsylvania 

Religious Communities for the Arts 

New York, New York 

Rhode Island State Council on the
 

Arts
 

Providence, Rhode Island 

Rod Rodgers Dance Company 

New York, New York 

Santa Fe Council for the Arts 

Santa Fe, New Mexico 

Smith College 

Northampton, Massachusetts 

3,040 To sponsor Ramon Aboy in the Endowment~ Fellowship 

Program. 

2,660 To sponsor Marsha Magulre in the Endowment~ Fellowship 

Program. 

3,010 To sponsor Pamela Meister in the Endowment’s Fellowship 

Program. 

2,880 To sponsor Elizabeth Adams in tl~e Endowment~ Fellowship 

Program. 

2,880 To sponsor Andrea Kaliski in tI~e Endowment’s Fellowship 

Progra m. 

2,880 To sponsor Gwendolyn Osborne in the Endowment~ Fellowship 

Program. 

2,660 To sponsor Katherine Dealy in the Endowment’s Fellowship 

Program. 

2,965 To sponsor Gina Crandell in the Endowment’s Fellowship 

Program. 

2,825 To sponsor Sidney McQueen in the Endowment~ Fellowship 

Program. 

3,210 To sponsor William Metcalf in tt~e Endowment~ Fellowship
 

Program.
 

3,210 To sponsor Jeanne Francisco-Hernandez in the Endowment~
 

Fellowship Program.
 

2,790 To sponsor Edward Jones in the Endowment~ Felloa’ship
 

Program.
 

2,775 To sponsor Panl Fitzgerald in the Endowment’s Fellowship
 

Program.
 

2,757 To sponsor Lacy Davison in the ~ndowment’s Felloa,ship
 

Program.
 

2,800 To sponsor Rene Sandell in the Endou’ment’s Fellowship
 

Program.
 

3,040 To sponsor Luis Pereira in the Ettdowment’s Fellowship
 

Program.
 

To amend a previous grant to spoon, or h~a Goldman in the Endowment’s Fellowship Program. 

To sponsor Irana Pelnar-Zaiko in the Endowment~ Felloa,ship 2,755

Program. 

2,770 To sponsor Steven Keith in ttw Endowment’s Fellowship
 

Program.
 

2,870 To sponsor Lan~ffe Rhodes in the Endowment~ Fellowship
 

Program.
 

2,770 To sponsor Priscilla Norfleet in the Endowment~ Fellowship
 

Program.
 

3,190 To sponsor Malin Wilson in the Endowment’s Fellon’ship
 

Program.
 

2,770 To sponsor Heather Doughty in the Endon,ment’s Fellowship
 

Program.
 

28 
Endowment Fellows 333 

Southern California, University of

Los Angeles, California 

Temple University

Philadelphia, Pennsylvania 

Virginia Opera Association

Norfolk, Virginia 

West Virginia State College

Institute, West Virginia 

Whatcom Community College 

Bellingham, Washington 

Williams College 

WiIliamstown, Massachusetts 

Wyoming Council on the Arts 

Cheyenne, Wyoming 

Yale University

New Haven, Connecticut 

To sponsor Tamara Brown in the Endowment’s Fellowship 

Program. 

3,360 

To sponsor Ray Wdlbaum in the Endowment’s Fellowship 

Program. 2,760 

To sponsor William Gillespie in the Endowment’s Fellowship 

Program. 2,800 

To sponsor Charlotte Giles in the Endo~nent’s Fellowship 

Program. 

2,760 

To sponsor William Edes in the Endowment’s Fellowship 

Progra~n. 3,310 

To sponsor Maryann Dore in the Endowment’s Fellowship 

Program. 2,935 

To sponsor Laurie Kutchins in the Endou~nent’s Fellowship 

Program. 3,210 

To sponsor Susan Solt in the Endoumzent’s Fellowship Program. 2,815 

*contract; PG - Program Funds; TF - Treasury Funds 
334 

Research
 

Research Division Consultants
 

Robert Bednarzik 

Federal statistician 

W ashington, D.C. 

Mary Beebe 

Arts administrator 

Portland, Oregon 

Stephen Benedict 

Arts administration executive 

New York, New York 

Baynard L. Catron

Professor of public information 

Washington, D.C. 

Henry J. Cauthen

Broadcasting executive 

Columbia, South Carolina 

David Chinitz 

Federal agency executive 

Washington, D.C. 

O. Mervene Couch 

Educator 

Washington, D.C. 

Robert W. Crawford 

Arts consultant 

Mount Holly, Vermont 

Sandra Daughton 

Survey specialist
 

Rockville, Maryland
 

Virginia Duncan 

Media consultant
 

San Francisco, California
 

James Eiliott 

Museum administrator
 

Berkeley, California
 

Diane Ellis
 

Demography consultant
 

Lorettsville, Virginia
 

Sarah Fein 

Sociologist
 

Washington, D.C.
 

La~vrence P. Frailberg 

Media consultant
 

New York, New York
 

Lisa Gonzalez 

Arts administrator
 

Vienna, Virginia
 

Austin Henry 

Arts administrator 

Washington, D.C. 

Roland Johnson 

Broadcasting executive 

Bloomington, Indiana 

Arnita Jones 

Federal research specialist 

Washington, D.C. 

Karl Katz 

Museum administrator 

New York, New York 

Thomas Litkowski 

Federal executive
 

Washington, D.C.
 

Eunice Lockhart-Moss 

Management consultant
 

Milwaukee, Wisconsin
 

Nathan Lyons 

Arts administrator
 

Rochester, New York
 

Nora L. Mandel 

Arts administrator
 

New York, New York
 

Thomas Maytham 

Museum director
 

Denver, Colorado
 

Merle Paull Minda 

Arts administrator
 

Minneapolis, Minnesota
 

Deanna Nash 

Media consultant
 

Washington, D.C.
 

Ted Perry

College dean
 

Middlebury. Vermont
 

Mary G. Peters 

Accounting consultant
 

Washington, D.C.
 

Bruce Rhorbacher 

Local government executive

Washington, D.C. 

John Robinson 

Time-use research consultant 

Cleveland, Ohio 

Sam Schwarz 

Economist 

New York, New York 

Dan Skelly 

Federal statistician 

Washington, D.C. 

Bob Smith 

Art institute director
 

Los Angeles, California
 

Karl Stevenson 

Arts administrator
 

Washington, D.C.
 

William Storke 

Arts administrator
 

New York, New York
 

Evon Streetman 

Professor/photographer
 

Gainesville, Florida
 

Tim Sublette
 

Arts administrator
 

Columbus, Ohio
 

Seymour Sudman

Sociologist
 

Urbana, Illinois
 

Michael Useem 

Sociologist
 

Boston, Massachusetts
 

D avid Waterman 

Economist
 

Los Angeles, California
 

E. Leland Webber
 

Museum administrator
 

Chicago, Illinois
 

Ken Wirt
 

Media consultant
 

Washington, D.C.
 

Blue Wooldrige 

Professor of urban affairs 

Blacksburg, Virginia 

Jiri Zuzanek 

Leisure research consultant 

Ontario, Canada 
Research 335 

Research Grants Program funds: $883,756

American Council for tlie Arts 

New York, New York 

Commerce, Department of 

(Bureau of Census)

Washington, D.C. 

Commerce, Department of 

(Bureau of Census)

Washington, D.C. 

Emily, Catherine* 

Kansas City, Missouri 

Far West Laboratory for Educational 

Research and Development* 

San Francisco, California 

Informatics* 

Rockville, Maryland 

Market Facts* 

Washington, D.C 

Mathematica Policy Research* 

Princeton, New Jersey 

MITRE Corporation

McLean, Virginia 

National Association of Community 

Arts Agencies

Washington, D.C. 

North Carolina, University of 

Chapel Hill, North Carolina 

Publishing Center for 

New York, New York 

Skidmore, Owings, and Merrill*

Washington, D.C. 

Skuce, John E.* 

Washington, D.C. 

University Associates*

Washington, D.C. 

Washburn (Michael) and Associates* 

New York, New York 

Yale University* 

New Haven, Connecticut 

To assist the Endowment and the Council by developing new information on the needs and conditions of the arts field. The division consults 

with the Endowment programs, providing evaluations from research

and program analyses to assist in the development of policy and the 

improvement of guidelines for funding. The Research Division also 

aids local and national organizations, both public and private, by furnishing data conclusions and recommendations from research projects. The division continues to maintain communication with organizations engaged in arts-related research. 

To prodde an npdate and extension of the survey "Americans and $50,000 

the Arts." 

To prepare a special data tabulation from the 1977 Census of 14,400 

Service Industries, relating to arts organizations. 

To collect data for a national assessment of pnblic participation 25,000 

in the arts in the 1980s. 

To prepare the draft texts of brochnres of Research Dieision in for 6,000 

marion intended for the general public. 

For an analysis of media programmi~g in the arts. 69,670 

For a comparatire analysis of the growth and change of arts or- 98,650 

ganizations dnring the decade of the 1970s. 

To surrey expansion arts organizations. 99,069 

To conduct a survey of unaffiliated crafts-artists. 37,142 

To assemble and translate data on the e~ergy fl~ture of the United 13,990 

States to assist arts organizations in planning for the fnture. 

To prepare and disseminate a report e~titled "The Eco~wmic Im- 15,000 

pact of the Arts." 

To analyze the data on a study of consnmer demand for arts and 15.078 

cultural serrices in the South. 

For the continued decelopment of a pilot program for non-profit 47,252 

publications in the arts. 

To analyze the impact and effectieeness of Endowment felloa’ships 50,000 

to eisual artists. 

To assess the impact and effecticet~ess of the Expansion A rts Pro- 33,500 

gram’s "CitgArts" funding category. 

To reeiew and recommend suitable methods for the Endowment’s 6,165 

program analgsi.~ actieities. 

To analyze the impact and effecticeness of the Museum ProgranFs 75,000 "Special Exhibitions" category. 

To analyze the effectireness of the Endowment’s support of museam 17,500 coordinators. 
336 Research 

Yale University	 To survey arts administrators abo~tt changes in organizational 12,000 

New Haven, Connecticut structure and management strategies.

The following contracts have come from outside the Research Division, but are included in this division for 

accounting purposes. 

Canavier, Elena*

Washington, D.C. 

Lobanov, Oleg* 

Fairfax, Virginia 

Rogers, Forbes* 

Washington, D.C. 

Walker, Pamela* 

Washington, D.C. 

Washburn (Michael) and Associates*

New York, New York 

Washburn (Michael) and Associates* 

New York, New York 

For a study of corporate support for the visual arts. $45,608 

For a research study on corporate aud fottndation giving in the 

arts. 

33,113 

To evaluate education and training progra~ for arts administrators. 

44,078 

To develop a paper on second-ro~nd Challeuge Grants and to develop s~pplementarg materials for all challenge grantees. 

18,798 

To design an evaS~ation and advocacy program for the l~titutional Advancement Pilot Project. 

35,743 

To bnplement the evaluation aud technical assista~we phases of the 

Institutional Advancement Pilot Project. 

21,000 

*contract; PG - Program Funds; TF - Treasury Funds 

338 Special Constituencies 
339 

Special 

Constituencies 

Last year the Arts Endowment gave a $10,000 

demonstration grant to the Mark Taper Forum 

to help the Los Angeles theater make its 

productions more inviting to deaf people. As a 

result of that grant, the theater began presenting 

two performances of each play with sign 

language interpreters; hired a deaf staff member 

and offered classes in signing to the rest of the 

staff; and installed a special telephone device (a 

TTY machine) that enables the deaf to phone for 

reservations. Soon the Taper had 350 new 

subscribers. 

More important, according to Artistic Director 

Gordon Davidson, is that this consciousnessraising process made the artistic staff quite 

receptive to a new play by Mark Medoff entitled 

Children of a Lesser God--the story of a 

romantic relationship between a deaf woman 

and a hearing man, told in both signed and 

spoken dialogue. When the play was taken to 

Broadway, the Taper insisted that the commercial producers install a TTY machine and teach 

box-office personnel some sign language. The 

play received three Tony awards; Phyllis Frelich 

was named "Best Actress"--the first time a deaf 

performing artist has received this kind of 

recognition. 

This is a particularly fine model because of its 

extraordinary catalytic effect; it demonstrates 

how becoming involved with "special constituencies"--handicapped individuals, older persons, 

veterans, those institutionalized in hospitals or 

prisons--can expand our ideas of art. 

To make the arts more accessible to these 

groups, both as participants and audiences, the 

Endowment’s Office for Special Constituencies, 

established in 1976, works closely with the 

Endowment’s discipline Programs, their grantees, state and community arts agencies, and 

other federal agencies. Our advocacy efforts take 

myriad forms, some of them rather subtle. For 

example, we participated in the House of Representative~’ Subcommittee on Aging hearings held 

on February 7, 1980. The testimony delivered-­

on how arts programs can contribute to the mental 

and physical well-being of the aging and on the 

contributions older artists make to the arts--led 

the subcommittee to recommend that "arts and 

cultural services" be included in funding provisions for the Older Americans Act. This action 

would be a landmark, making it possible for state 

and local agencies for the aging to hire more 

professional artists. 

It’s important to remember that by December 

1981, when the planned White House Conference 

on Aging takes place, 24 million Americans will 

be over 65 years of age. At the previous White 

House Conference in 1971, such pressing issues 

as housing and health needs dominated the 

discussions. To make sure that cultural activities 

are on the agenda this time, we’ve signed a 

cooperative agreement with the Humanities 

Endowment, the Administration on Aging, and 

the White House Conference on Aging. In 

essence, the four agencies will cooperate in 

supporting a policy conference or symposium (to 

be held early in 1981) which will bring together 

experts on the arts, the humanities, and the 

aging. 

Two other interagency agreements have borne 

fruit in the last year. In 1976 we joined with the 

U. S. Bureau of Prisons to establish artist-inresidence programs. Thus far 17 prisons have 

brought in professional artists to tap their 

inmates’ creativity, and local sources have 

assumed the funding for 13 of these programs. 

Under a similar agreement with the Veterans’ 

Administration (VA) signed in September 1979, 

the Hines Medical Center in Illinois set up a 

comprehensive visual arts program for its 

patients. The VA has been so pleased with this 

first residency that it plans to hire the artist as 

part of its permanent staff. We have been 

helping the VA work out a civil service procedure 

under which the artists would be selected by a 

panel of local artists, arts administrators, and 

the hospital’s staff. 

As part of the same agreement, the VA also set 

aside one-half of one percent of its hospital 

construction costs for public artworks. To date, 

the Endowment’s Visual Arts Program has 

convened panels at 12 sites to select the artists, 

and 10 works have been commissioned. 

The largest part of our constituency, of course, 
340 Special Constituencies 
Special Constituencies 341 

is the 35 million Americans classified asare funded through the Endowment’s regular 

handicapped in some way. In May 1979 the Arts programs. In 1980 we supported 27 such projects 

Endo~vment became the third federal agency to totaling $300,000, a considerable increase over 

publish its regulations for implementing Sectionthe previous year’s budget of $200,000. Each of 

504 of the 1973 Rehabilitation Act, the law 

requiring federal grantees and contractors to 

make at least part of their programs accessible 

to handicapped individuals. One of the chief vehicles for encouraging voluntary compliance with 

these regulations is a contract with the National 

Access Center, formerly named the Arts and 

Special Constituencies Project. Working through 

the state arts agencies, this organization sensitizes arts administrators to the accessibility 

issue and offers technical assistance in the form 

of seminars, publications, and slide presentations. 

Largely as a result of these efforts, all but three 

states have now hired their own 504 coordinators. 

In addition, cultural institutions across the 

country have created advisory committees of 

handicapped people, to evaluate their programs 

and educate their staffs. For example, the 504 

coordinator at the Museum of Modern Art in 

New York City, after consulting with the 

advisory committee, used the Picasso exhibition 

as an opportunity to test ways of making the 

visual arts accessible to visually impaired 

visitors. The museum produced a large-type 

guide to the exhibition as well as a braille 

transcript for the blind, and incorporated this 

material into the standard audio tour. It also 

designed a tactile tour of its sculpture collection 

and a similar catalogue in braille and large type. 

I believe the heart of our program lies in the 

grants for model demonstration projects, which 

these grants offers ample material for an essay 

in itself, but just a few of the more interesting 

include: 

 ̄ The O’Neill Theater Center in Connecticut, 

which held a conference to train sign interpreters 

in the technique of interpreting theatrical 

presentations for deaf audiences. 

 ̄ The Yale School of Architecture, which is 

offering courses on how to design and adapt 

cultural facilities for handicapped persons. 

 ̄ The Kansas Arts Commission, which is 

touring a tactile arts exhibit, "Touch and See," in 

conjunction with workshops conducted by a 

visually impaired consultant for one month in 

each community. 

None of these projects is large or very 

expensive. Yet each one brings us closer to the 

goal first endorsed by the National Council on 

the Arts in 1973: "No citizen, regardless of 

physical and mental conditions and abilities, 

age, or living environment should be deprived of 

the beauty and insight into the human experience 

that only the arts can impart." 

Paula Terry 

Coordinator, Office for Special Constituencies 
342 Special Constituencies 

Special Constituencies Program funds: $413,929

Grants
 

Malvagni-Vaznaugh, Delpha* 

Washington, D.C. 

Molloy, Lawrence*

Washington, D.C. 

National Council on Aging*

Washington, D.C. 

Model Projects 

Arizona Commission on the Arts
 

Phoenix, Arizona
 

Arts Council of TampaHillsborough County 

Tampa, Florida 

Artists Foundation 

Boston, Massachusetts 

Buffalo Philharmonic Orchestra 

Buffalo, New York 

Council for the Arts in Westchester 

White Plains, New York 

Duke University 

Durham, North Carolina 

Grand Monadnock Arts Council
 

Keene, New Hampshire
 

Johnson City Community College
 

Overland Park, Kansas
 

Kansas Arts Commission 

Topeka, Kansas 

$20,000 To work with the White House Conference on Aging and the arts/ 

humanities steering committee to plan and coordinate the arts and 

humanities programming for the December 1981 White House 

Conference on Aging. 

325,929 To amend a previous contract to provide information and 

technical assistance for the Arts and Special Constituencies 

Project. This will consist of such activities as publishing 

booklets, creating slide presentations, and making presentations 

at conferences of arts service organization related to compliance 

with federal regulations concerning nondiscrimination of the 

handicapped. In addition, a transfer of $165,000 from the 

Department of Education’s Office for Civil Rights is for a 

cooperative agreement to convene a museum advisory task force 

to formulate policy concerning program accessibility for the 

handicapped among fine arts, historical, science, and children’s
 

museums.
 

60,000 For a policy conference on "The Arts, the Humanities, and Older 

Americans" in 1981, including the preparation of the conference 

report, the publication of a symposium volnme, and establishing 

an arts/humanities steering committee. $30,000 for this project 

was transferred from the National Endou~ment for the 

Humanities. 

The following model projects demonstrate ways to make the arts

accessible to handicapped, older Americans, and institutionalized 

populations both as audiences and as participants. Organizations are 

encouraged to make special constituencies part of their regular 

programming, rather than to develop separate programs that 

segregate them. A total of $253,386 in program funds supported the

model projects of which $245,386 was transferred from the Office of 

Special Constituencies to other Endowment programs as indicated. 

$10,150 Transferred to the Partnership Coordination Program under 

"Partnership Coordination Services." 

Transferred to the Partnership Coordination Program under 9,640
 

"Partnership Coordination Services."
 

8,000 To provide information to arts groups and handicapped people 

on cultural programs designed for special constituencies through 

the use of a computerized system. 

Transferred to the Music Program under "Orchestra." 10,000 

10,000 Transferred to the Partnership Coordination Program under 

"Partnership Coordination Services." 

Transferred to the Inter-Arts Program under "Special 10,000
 

Projects A."
 

7,440 Transferred to the Partnership Coordination Program under 

"Partnership Coordination Services." 

1,140 Transferred to the Partnership Coordination Program under 

"’Partnership Coordination Semgces." 

4,396 Transferred to the Partnership Coordination Program under 

"Partnership Coordination Services." 
Special Constituencies 343 

Kentucky Arts Commission 

Frankfort, Kentucky 

Massachusetts Council on the Arts 

and Humanities 

Boston, Massachusetts 

Middlesex County Arts Council

Edison, New Jersey 

Miles, Josephine

Berkeley, California 

Milwaukee Symphony Orchestra 

Milwaukee, Wisconsin 

Mississippi Arts Commission 

Jackson, Mississippi 

National Council on Aging 

Washington, D.C. 

New York Foundation for the Arts
 

New York, New York
 

Opera America 

Washington, D.C. 

Opportunity Resources for the Arts 

New York, New York 

Pinnellas County Arts Council 

Clearwater, Florida 

Pushkin Press 

Washington, D.C. 

Rhode Island State Council on the 

Arts 

Providence, Rhode Island 

San Fernando Arts Council 

Northridge, California 

South Carolina Arts Commission 

Columbia, South Carolina 

Special Audiences

Atlanta, Georgia 

Utah Arts Council 

Salt Lake City, Utah 

Wisconsin Arts Board 

Madison, Wisconsin 

*contract; PG - Program Funds; TF - Treasury Funds 

Transferred to the Portnership Coordination Program under 

"Partnership Coordination Services." 

Transferred to the Partnership Coordination Program under 

"Partnership Coordination Services." 

9,250 

6,000 

Transferred to the Partnership Coordination Program under 

"Partnership Coordination Services." 

Transferred to the Literature Program under "Services to the 

Field: Senior Fellowships." 

Transferred to the Music Program under "Orchestra." 

8,570 

15,000 

9,750 

Transferred to the Partnership Coordination Program under 

"Partnership Coordination Services." 

Transferred to the Inter-Arts Program under "Services to the 

Field." 

5,000 

32,500 

Transferred to the M~sic Program under "Services to the 

Art of Music." 3,000 

Transferred to the Opera-Musical Theater Program under 

"Services to the Art." 25,000 

Transferred to the Inter-Arts Program under "Ser~5ces to the 

Field." 

5,000 

Transferred to the Partnership Coordination Program under 

"Partnership Coordination Services." 

Transferred to the Expansion Arts Program under "Arts 

Exposure." 

Transferred to the Partnership Coordination Program under 

"Partnership Coordination Services." 

5,000 

5,000 

10,000 

Transferred to the Music Program under "Services to the 

Art of Music." 12,000 

Transferred to the Partnership Coordination Program under 

"Partnership Coordination Services." 

Transferred to the Inter-Arts Program under "Special 

Projects A." 

Transferred to the Partnership Coordination Program under 

"Partnership Coordination Services." 

Transferred to the Partnership Coordination Program under 

"Partnership Coordination Services." 

5,550 

10,000 

6,000 

10,000 
Office for 

Partnership
 
Artists in Education 

Partnership Coordination 

State Programs 

Henry E. Putsch 

Executive Director, Office for Partnership 
346 Artists in Education 
347 

Artists in Education
 

As Fiscal 1980 began, the Artists-in-Schools Program (hiS) stood on the threshold of change. Although the Program had proved itself in its ten 

years of existence as one of the Arts Endowment’s 

most successful and innovative projects, there 

was uncertainty about its future. A renewed, 

forward-looking policy was needed, and in 

August 1979 the National Council on the Arts 

approved a proposal to assess the impact and 

potential of the his experience and develop a 

plan for the future--a plan by which, in 

accordance with National Council policy, the 

Program would move "beyond its demonstration 

phase to a truly national program." 

In February 1980, the National Council 

approved a blueprint for this process that 

included appointing a 39-member national 

advisory committee, holding six regional and 

two national meetings, requesting oral and 

written testimony from a wide spectrum of 

individuals, and developing a plan based on the 

study. 

The advisory committee carefully examined 

the existing program, outlined an ideal program, 

analyzed impediments to that ideal, and raised 

the critical issues. The committee’s views were 

then examined, tested, reinforced, or altered by 

artists, educators, administrators, and citizens 

from every state at the six regional meetings 

held in Washington, D.C., Chicago, Denver, San 

Francisco, Atlanta, and Boston. Artists talked 

about how they had grown as artists through the 

program. Students and teachers spoke of the 

enrichment of their educational environment 

and their lives by the program. Community 

leaders emphasized how entire communities had 

benefited from artists’ residencies. Art administators believed that the successes of school 

residencies could equally enhance other educational settings. At the same time, certain 

concerns were consistently voiced: Simply put, 

an improved program required a broader 

funding base, more support services, flexibility 

in responding to needs, and better evaluation 

and documentation for program development 

and advocacy. 

We collected, in all, 60,000 pieces of written 

and oral data from over 1,200 individuals. Based 

on this data, the advisory committee and the hiS 

panel recommended a redefined program consisting of three parts: 

First, a system of grants to state arts 

agencies for residencies that would place 

practicing artists of professional excellence not 

only in schools, but in a wide range of 

educational programs in communities, cultural 

institutions, colleges and universities, and social 

organizations. 

 ̄ Second, a means for the Endowment to 

respond directly to special projects that serve as 

models in which the arts and artists strengthen a 

wide range of learning environments. 

 ̄ Third, technical services to assist in the 

growth and development of arts in education. 

Because of its broader scope, philosophy, 

processes, and purposes, the revised Program 

was entitled Artists in Education. 

Approved by the National Council in August 

1980, the Artists in Education Program not only 

reaffirms the Endowment’s long-standing recognition that the arts community has a valued and 

valuable role in education. It also reflects the 

Endowment’s awareness that arts education, 

audience development, artist training, and 

career development occur in a wide variety of 

learning environments for a significant portion 

of the American population. In addition, the 

Program provides for appropriate interaction 

among federal, state, and local government 

agencies and private organizations in their arts 

and education efforts. 

And so in fiscal 1980 the Artists-in-Schools 

Program evolved into the Artists in Education 

Program. The Program exits the year broadened 

in vision, renewed in vitality, heightened in 

value, and enriched by a sense of mutual trust 

and a commitment to cooperation on the part of 

agencies and individuals at every level. The 

planning process resulted in more than a new 

program. It established a climate for respect and 

advancement in the years ahead. 

Joe Prince 

Director, Artists in Education Program 
348 Artists in Education 

Artists in Education Advisory Panel
 

Donald Aldrich 

State arts agency chairman 

Providence, Rhode Island 

Ruth Draper 

State arts agency director 

Salt Lake City, Utah 

Ron Libertus 

Department of Natural Resources 

official 

St. Paul, Minnesota 

Juan M. Carrillo 

Artist-in-Schools Coordinator for state 

arts agency 

Sacramento, California 

Jimmy C. Driftwood 

Musician, teacher 

Timbo, Arkansas 

Raymond F. Sisneros 

Public schools program director 

Bernalillo, New Mexico 

Richard B. Holzman 

Shirley Trusty Corey 

School district arts administrator 

New Orleans, Louisiana 

School superintendent 

Teaneck, New Jersey 

Jack Stefany 

Architect 

Tampa, Florida 

Chuck Davis 

Gigi Ledkovski 

Artists-in-Schools Coordinator for state Richard Taylor 

Dance company director 

Bronx, New York 

arts agency

Augusta, Maine 

Artist-in-residence 

Frankfort, Kentucky 

Artists in Education Program funds: $5,306,125

Grants 

Artists-in-S chools For a national state-based program which places professional artists

in residencies in elementary and secondary schools and communities, 

and other activities related to Artists-in-Schools. 

Program funds: $4,452,610 

Alabama State Council on the Arts and 

Humanities 

Montgomery, Alabama 

Alaska State Council on the Arts 

Anchorage, Alaska 

$90,355 

108,960 

Fine Arts Council of Florida 

Tallahassee, Florida 

Georgia Council for the Arts and 

Humanities 

Atlanta, Georgia 

120,275 

65,805 

American Samoa Arts Council 

Pago Pago, American Samoa 

25,000 (Guam) Insular Arts Council 

Agana, Guam 

18,300 

Arizona Commission on the Arts and 

Humanities 

Phoenix, Arizona 

75,500 (Hawaii) State Foundation on Culture and

the Arts 

Honolulu, Hawaii 

67,860 

Arkansas Arts Council 

Little Rock, Arkansas 

100,000 Idaho Commission on the Arts 

Boise, Idaho 

50,000 

California Arts Council 

Sacramento, California 

132,420 Illinois Art Council 

Chicago, Illinois 

80,675 

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 

65,000 

74,410 

29,232 

47,200 

Indiana Arts Commission 

Indianapolis, Indiana 

Iowa State Arts Council 

Des Moines Iowa 

Kansas Arts Commission 

Topeka, Kansas 

Kentucky Arts Commission 

Frankfort, Kentucky 

93,325 

95,700 

55,000 

75,900 
Artists in Education 349 

(Louisiana) Department of Culture, 

Recreation and Tourism 

Baton Rouge, Louisiana 

Maine State Commission on the Arts and 

the Humanities 

Augusta, Maine 

Maryland State Arts Council 

Baltimore, Maryland 

Massachusetts Council on the Arts and 

Humanities 

Boston, Massachusetts 

Michigan Council for the Arts 

Detroit, Michigan 

Minnesota State Arts Board 

Minneapolis, Minnesota 

Mississippi Arts Commission 

Jackson, Mississippi 

Missouri State Council on the Arts 

St. Louis, Missouri 

Montana Arts Council 

Missoula, Montana 

Nebraska Arts Council 

Omaha, Nebraska 

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 

North Carolina Arts Council 

Raleigh, North Carolina 

North Dakota Council on the Arts 

Fargo, North Dakota 

Ohio Arts Council 

Columbus, Ohio 

90,700 

82,015 

50,000 

78,000 

84,290 

130,000 

50,000 

48,400 

55,000 

121,500 

50,100 

68,400 

75,765 

62,000 

177,300 

76,300 

48,340 

73,410 

Oklahoma. State Arts Council of 

Oklahoma City, Oklahoma 

66,600 

Oregon Arts Commission

Salem Oregon 

89,200 

Pennsylvania Council on the Arts 

Harrisburg, Pennsylvania 

81,050 

Puerto Rican Culture, Institute of 

San Juan, Puerto Rico 

20,000 

Rhode Island State Council on the Arts 

Providence, Rhode Island 

80,000 

South Carolina Arts Commission 

Columbia, South Carolina 

137,910 

South Dakota Arts Council 

Sioux Falls, South Dakota 

51,700 

Tennessee Arts Commission 

Nashville, Tennessee 

84,400 

Texas Commission on the Arts 

Austin, Texas 

133,500 

Utah Arts Council 

Salt Lake City, Utah 

68,795 

Vermont Council on the Arts 

Montplelier, Vermont 

53,000 

Virgin Islands Council on the Arts

Christiansted, St. Croix, Virgin Islands 

25,500 

Virginia Commission for the Arts

Richmond, Virginia 

60,000 

Washington State Arts Commission 

Olympia, Washington 

114,965 

(West Virginia) Department of Culture and 

History

Charleston, West Virginia 

78,200 

Wisconsin Arts Board 

Madison, Wisconsin 

55,755 

Wyoming Council on the Arts 

Cheyenne, Wyoming 

49,300 

The following projects benefit the Artists-in-Schools program. 

American Music Conference 

Wilmette, Illinois 

Great Lakes Arts Alliance* 

Columbus, Ohio 

National Assembly of Community 

Arts 

Washington, D.C. 

To facilitate involvement and interchange among all participants 

in the pilot jazz compouent of the Artists-in-Schools Programs. 

$50,000 

For the coordination of regional meetings for planning and 

developing the A rtits-in-Schools Program. 

4,999 

For the coordination of regional meetings for planning and 

developing the Artists-in-Schools Program. 

24,437 
350 Artists in Education 

Ne~v England Foundation for 

the Arts* 

Cambridge, Massachusetts 

Senahan, Inc.* 

New York, New York 

Southern Arts Federation* 

Atlanta, Georgia 

Utah Heritage Foundation 

Salt Lake City, Utah 

Western States Arts Foundation* 

Santa Fe, New Mexico 

Artists-inoS chools/

Coordination Costs 

Buki, Linda* 

Frenchtown, Ne~v Jersey 

Educational Futures, Inc.* 

Philadelphia, Pennsylvania 

Harris, Jack M.* 

New York, New York 

Lichtmann, Dean A.* 

Jackson, Nexv Jersey 

Reinhart (Charles) Management* 

New York, Nexv York 

Ridley, Larry*

Englishtoxvn, New Jersey 

Shema, Carol*

Washington, D.C. 

Learning 

Through the Arts 

Children’s Arts Carnival 

New York, New York 

Grooving Mind 

Bolinas, California 

For the coordination of regional meetings for planning and 3,212 

developing the Artists-in-Schools Program. 

To assist dance workshops and for fees and transportation for 193,098
 

dance movement specialists.
 

For the coordination of regional meetings for planning and 4,355
 

developing the Artists-in-Schools Program.
 

For Wind River Productions to produce a short animated 20,000 

film on the built environment for the Artists-in-Schools 

Architecture Component. 

For the coordination of regional meetings for planning and 10,197
 

developing the Artists-in-Schools Program.
 

National coordinators offer professional and technical assistance to 

specific components of the Artists-in-Schools Program. 

Program funds: $552,490 

For ~mtio~ml coordi~ation of the Folk Arts Compo~w~t of $48,567 

the Artists-in-Schools Program for the 1979-80 school year, and 

for a ~mtio~al suveeg of folk ~rtisls ~mt folk arts pvogvctms. 

For natio~tal coordinatim~ of the architecture compmw~t of the 243,386
 

Artists-in-Schools Program for the 1979-80 school !lear, bwludi,g
 

the costs for o~w ~ation~l ~d three vegio~l mectb~gs.
 

For natio~al coordinatitm of the f!lm/~qdeo compmw,t of 10,711 

Artists-b~-Schools Program for the 1979-80 school !lear. 

For natio~al coordi,(ttio~t of the risual arts/crafts eompo~w~t 44,732
 

of the Artists-bt-Schools Program for the 1979-80 school gectr.
 

For national coordination of the da~we compo~w~t of the 156,180 

Artists-i~-Sehools Program for the 1979-80 school gear, bwlud b~g 

costs for the admbds’tratio~ of mw ~mtiomd meetb~g, am! 

development and productim~ ~ the AIS Directovg of D(mce 

Companies a~d Da~we Mo~’eme~t St~ecialists. 

For ~mtio~ml coordba~tio~t of the music compo~w~t of the 33,190 

A rtists-i~-Schools Program for the l 979-80 school gea v, bwl ud i~g 

preparatory work o~ the pilot j(~zz program. 

To coordinate the t)la~ttti~g process a~d assist i~t the 15,724
 

implementatio~ of vvcomme~dt~tio~s made by the Natimml
 

Cmmcil o~ the Ants co,cevning the Artists-i,-Schools Program.
 

To involve people of all ages in arts activities beyond the traditional 

classroom. Generally, grants are a\varded to community cultural 

centers, experimental schools, "schools without walls," and other 

public and private organizations, including state arts agencies. 

Program funds: $105,000 

For workshops for young people thronghout the metropolitan New $22,500
 

York area to learn painting, printmakb~g, photography,
 

filmmaking, 3D construction, puppetry, a~d scnlpture.
 

For Full Circle’s Crafts Program for children with severe 20,000
 

perceptual and learning disabilities to develop new skills and
 

work habits.
 
Karamu House 

Cleveland, Ohio 

Learning About Learning Education 

Foundation 

San Antonio, Texas 

R~Vanda Lewis Afro-American 

Dance Company

Los Angeles, California 

SITE 

New York, New York 

General Services 

to the Field 

American Association of State Colleges 

and Universities 

Washington, D.C. 

Arts, Education, and Americans 

New York, New York 

Centrum Foundation 

Port Townsend, Washington 

Department of Defense Dependents 

Schools 

Seattle, Washington 

Henry Street Settlement 

New York, New York 

Knoxville School Corporation 

Knoxville, Tennessee 

Learning Guild 

Boston, Massachusetts 

Media Study/Buffalo 

Buffalo, New York 

Minnesota State Department of 

Corrections 

St. Paul, Minnesota 

North Dakota, University of 

Grand Forks, North Dakota 

Artists in Education 351 

For the Pre-School Arts Program which provides arts 

experiences in dance, visual arts, and music to children 

20,000 

and music to children ages two-and-one-half to five. 

For an experimental project involving artists from all arts 20,000 

disciplines to study children’s innate creative abilities. 

For an education program of workshops in dance and rhythm 7,500
 

movement for the deaf an d hearing impaired, mentally retarded,
 

autistic, deaf-blind, and emotionally handicapped.
 

For lectures and workshops on the environmental arts and 15,000
 

architecture, the national lecture series, and the in-studio
 

workshops for high school and university students and teachers.
 

For service organizations to provide assistance to the field and to 

fund projects not eligible for support through other grant categories. 

Program funds: $196,025 

To coordinate the "Gallery of the Arts Week" to celebrate $10,000 

the state college and university as a cultural resource to the 

community. 

For the "Advocacy for Action" program to increase public 70,000 

awareness of arts and education. 

For the "Experiences in Creativity" workshops at Fort Worden 10,000 

State Park. 

For an artist-in-residence (illustrator-poet/writer) to aid in the 16,025 

integration of art with academic subjects by showing teachers how 

to create their own illustrated writings. 

For an after-school drama and visual arts program for 15,000 

New York City. 

For Laurel School’s art program which includes in-school 5,000 

workshops, classes, extension programs conducted by local 

artists, and community art services. 

For the Intergenerational Arts Program ~vhich pairs groups of 30,000 

children with groups of senior citizens in workshops in the 

various arts. 

For the Summer School of the Arts in Film and Media, 15,000 

a six-week arts program, including workshops, seminars, and 

other arts events for New York State high-school students. 

For "Arts in Corrections," a project designed to make use of the 15,000 

arts as a rehabilitative resource. 

For the Northern Plains Art and Education Festival II, which 10,000 

brings together teachers and students with representatives of state 

and federal arts agencies, professional artists, and arts 

educators to participate in a series of arts events, symposia and 

workshops. 

*contract: 
352 Part~ership Coordination 

sponsored by the illinois arts council
 
353 

Partnership
 

Coordination
 

While pleading for a part in a show, one of the 

characters in A Chorus Line sings plaintively, 

"God, I’m a dancer. A dancer dances!" Would 

that it were that simple and straightforward to 

explain Partnership Coordination. 

In the spring of 1979, the Chairman authorized 

the reorganization of the Office of Federal-State 

Partnership; through that restructuring, the 

Partnership Coordination Program was born. 

Its charge was to "foster collaborative, mutually 

supportive working relationships between the 

Endowment and other federal arts support 

programs, state, regional and local public arts 

agencies, and professional arts organizations." 

The Program is challenged to find new ways in 

which federal, state, and local government 

agencies can work together more efficiently to 

serve their mutual constituencies. Implied is a 

new perspective on the traditional grantee/ 

grantor relationship of the Endowment to the 

state arts agencies and a recognition that each is 

an important collaborator in the other’s work: 

partners not just in name, but in practice in 

support of the arts. We are a connecting link 

among the various parts of the public arts 

support networks--a network made up of 

Endowment programs, state and local arts 

agencies, and regional consortia, a network 

which is still nascent and uncertain, but a 

network which is growing. 

As in any public enterprise, as state and 

federal arts agencies gain success in their 

efforts, they come under increasing public 

scrutiny. More and more people--artists and 

audiences alike--want not only more money but 

also greater access to decision-making. With 

stakes larger now than ever before in the 

relatively short history of public arts support, 

the staffs, panels, and board members responsible 

for weighing and integrating the sometimes 

conflicting needs of their various constituencies 

often find themselves breaking new ground 

without the benefit of models or mentors. In its 

initial year, Partnership Coordination tried to 

help shed light on this process, to document and 

disseminate what has been learned, and to 

encourage cooperation among the member 

groups of the arts support network. 

We inherited some activities which were in 

progress when our Program began; others 

reflected what the Program judged to be the 

needs of the field. Some work was theoretical; 

most was concrete and quantifiable. At times we 

addressed immediate demands; at others, we 

took the long view and hoped that our grandchildren would thank us for it. 

The Program’s panel was composed of representatives of state and regional agencies, Endowment Programs, and arts disciplines; together, 

they provided a wide range of opinion and 

perspective. As a rule, the Program did not 

award grants on a competitive basis. Rather, it 

solicited proposals from organizations and individuals to carry out activities that were based on 

ideas that the panel brought from the field. 

Partnership Coordination supported projects 

such as the National Information Systems 

Project which, in its second year, began to 

establish a uniform base of information through 

a nationally organized system within state arts 

agencies and the Endowment. The staff also 

implemented Partnership Consultations, a project in which artists and administrators from 

across the country spent time in four pilot states 

to talk with artists, audiences, managers, 

educators, politicians, community leaders, volunteers, grantees, non-grantees, and state arts 

agency staff and board members to assess the 

effect of public funding of the arts. The Program 

funded such services as the final year of the 

National Assembly of State Arts Agencies’ pilot 

planning project in selected states, and provided 

technical assistance to local arts agencies 

through the National Assembly of Community 

Arts Agencies. 

The Program also: 

 ̄ Asked a non-governmental organization to 

investigate and analyze the participation of 

racial minorities in public arts agencies so that it 

would have a basis for designing activities to 

strengthen that involvement and to encourage 

cultural pluralism. 
354 Partnership Coordination 

Hawaii Opero Theatre 

Season t98t LaBoi’-~me January16 o18 o 20 Luciad~Lammermoor Janua~y30-Februaryl-3 Carmen February 13-15, ~ 7 

 ̄ Commissioned a study by four individuals on 

the current and future status of government 

support of the arts at all levels for the National 

Partnership Meeting, a major convocation of 

leaders in the arts field held in June. 

 ̄ Awarded grants for exemplary projects to 

include the handicapped in state and local arts 

activities. 

 ̄ Joined our funds with those of the Crafts 

Division of the Visual Arts Program to support a 

series of hearings around the country to survey 

the needs of the American crafts community. 

Our many activities were undertaken in 

cooperation with other agencies or programs 

and all arose from an often-voiced need for more 

accurate and timely information and more 

comfortable and productive relationships between 

the Endowment and state arts agencies--in short, 

for greater coordination among the parts so that 

the arts support network, as a whole, would be 

viable and strong. 

William Terry 

Director, Partnership Coordination 
Partnership Coordination 355 

Partnership Coordination 

Advisory Panel 

Mildred E. Bautista 

Executive director of state arts 

agency 

Washington, D.C. 

Jessie L. Brown 

Chairman of state arts agency 

Richmond, Virginia 

Edward Corn 

Opera company manager 

Philadelphia, Pennsylvania 

Robert L. Huffman 

Chairman of state arts agency 

Jackson, Tennessee 

Bill Jamison 

President of regional arts agency 

Santa Fe, New Mexico 

Jon Jory Theater producing director 

Louisville, Kentucky 

Joyce Moffatt 

Ballet company manager 

New York, New York 

Esther Novak 

Director of Inter-Arts program 

National Endowment for the Arts 

Washington, D.C. 

John Reed 

Executive director of state arts 

agency 

Topeka, Kansas 

Lida Rogers

Executive director of state arts 

agency 

Jackson, Mississippi 

Partnership Coordination
 

A.B. Spellman 

Director of Expansion Arts Program 

National Endowment for the Arts 

Washington, D.C. 

Ana Steele 

Director of Program Coordination 

National Endowment for the Arts 

Washington, D.C. 

Edward Vega 

Visual artist 

Albuquerque, New Mexico 

David Wilk 

Director of Literature Program 

National Endoxvment for the Arts 

Washington, D.C. 

Philip Yasinski 

Vice-president of orchestra service

organization 

Vienna, Virginia 

Program funds: $872, 987 

Grants 

Partnership 

Coordination Service 

Center for Responsive Governance* 

Washington, D.C. 

Gelles, George* 

New York, New York 

Napier, Rodney*

Wyncote, Pennsylvania 

For projects to assure coordination of effort in planning, policy 

development, and programming in the arts among the Endowment, 

states, regions and communities. 

Program funds: $872,987 

For a study and the preparation of an analytic report $65,144 

recommending a future course of action for the Endowment 

concerning local public arts agencies. 

To research, write, and produce a report on issues concerning 11,028 public support for the arts. 

To evaluate the effectiveness of the Office for Partnership and to 15,500 

recommend a program plan for the Artists in Education 

Program. 

National Assembly of Community ArtsTo examine priorities for local arts agencies for the next 27,300 Washington, D.C. decade in relation to the public arts agency network. 

National Assembly of Community Arts To support NA CAA ’s costs for the headquarters office and staff, 85,000 Agencies 

Washington, D.C. 

National Assembly of State Arts

Agencies 

Washington, D.C. 

board meetings, and an annual meeting. 

For continued support of the NEA panel-initiated Pilot 175,000 

Planning Project to develop planning models and techniques for 

upgrading the skills and resources of state arts agencies. 
356 Partnership Coordination 

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. 

National Assembly of State Arts 

Agencies

Washington, D.C. 

National Assembly of State Arts 

Agencies

Washington, D.C. 

New England Foundation for the Arts 

Cambridge, Massachusetts 

Special Constituencies 

Technical Assistance 

Project 

Arizona Commission on the Arts 

Phoenix, Arizona 

Arts Council of Tampa-Hillsborough


County
 

Tampa, Florida 

Council for the Arts in Westchester 

White Plains, New York 

Grand Monadnock Arts Council 

Keene, New Hampshire 

Johnson County Community College 

Overland Park, Kansas 

Kansas Arts Commission 

Topeka, Kansas 

Kentucky Arts Commission

Frankfort, Kentucky 

Massachusetts Council on the Arts 

and Humaniiies 

Boston, Massachusetts 

Middlesex County Arts Council 

Edison, New Jersey 

186,115 For the second year snpport of the National Information Systems 

Project, a national effort to develop standard information 

systems for state and regional arts agencies. 

82,695 For third year support of the National Information Systems 

Project, which sem,es state and regional arts agencies. 

To examine public support for the arts at the state level and to 65,750 

prepare research materials concerning NASAA’s priorities 

for the next decade. 

11,500 For Partnership Consultations, a pilot project to assess the 

effect of public funding on the arts through state arts agencies. 

25,000 To hire staff to train members qf a Craft Task Force to organize 

14 task force meetings o~ the ~eeds of the nation~ craftsmen. 

4,570 To amend a previous grant to provide travel monies for the 

NASAA representatives on the NASAA/Endowment Committee 

on Touring/Presenting. 

10,000 To complete stndies of the economic impact of edncational institntions and audience development for inclnsion in a regional study 

of arts and the economy. 

The Special Constituencies Program has made available funds to 

enable state and local arts agencies to develop, implement, evaluate, 

and document ways of accommodating and integrating handicapped individuals and older adults into arts activities, both 

as audience members and as participants. 

$10,150 To organize a program, in cooperation with the Tuscan Public 

Library, of arts access for the physically and mentally 

handicapped. 

9,640 For a technical assistance program for arts organizations to 

make theater, dance, and visual arts accessible to visually 

impaired and deaf persons. 

To support the establishment of a pilot statewide network of 10,000
 

community "504 Facilitators," based in ten arts service
 

organizations around New York State.
 

7,440 To expand the program of performances and wort~shops for the 

handicapped and disadvantaged persons and to document it as a 

guide for other local arts agencies. 

1,140 To provide interpreted tours of art museums and sigved 

theater performances to deaf persons in the Kansas City area. 

For a tactile 4,395 "Touch to See" art exhibit on a statewide tour 

plus workshops at each site conducted by a visually impaired 

consultant. 

9,250 To help Kentucky arts organizations comply with section 504 of 

the 1973 Rehabilitation Act by bringing disabled advocates on the 

boards and advisory committees of nonprofit arts organizations. 

6,000 For a series of seminars training handicapped persons of the 

Boston area to become advocates for cultural activities within 

their own organizations and communities. 

For a program, in conjunction with the New Jersey Committee 8,570
 

Arts for the Handicapped, to help arts organizations comply with
 

section 504 and to help the handicapped participate in arts
 

activities despite architectural or program inaccessibility.
 
Partnership Coordi~ation 357 

Mississippi Arts Commission 

Jackson, Mississippi 

PineIlas County Arts Council 

Clearwater, Florida 

Rhode Island State Council on 

the Arts 

Providence, Rhode Island 

South Carolina Arts Commission 

Columbia, South Carolina 

Utah Arts Council 

Salt Lake City, Utah 

Wisconsin Arts Board 

Madison, Wisconsin 

To help handicapped persons take advantage of community arts 

activities upon their release from institutions. 

5,000 

For consultant services to five Florida areas to develop a model 

"arts for the aging" program. 5,000 

To help arts organizations in Rhode Island comply with Section 

504 of the 1973 Rehabilitation Act. 

10,000 

To help local arts organizations increase access for handicapped persons. 5,550 

For a project to make exhibits at the Utah Museum of Fine Arts 

more accessible to the elderly and to document the results. 

6,000 

To assist the development, implementation, and evaluation of two 

models of Section 504 implementation in Wausau. 

10,250 

*conlract; PG - Program Funds; TF - Treasury Funds 
358 State Programs 
359 

State Programs
 

The authors of the law that established the Arts 

Endowment knew that a single agency, based in 

Washington, could not address all the diverse 

cultural needs of the vast collection of states and 

territories that make up the United States. 

Therefore, they provided that no less than 20 

percent of the new agency’s annual program 

budget would go to the states for support of their 

own arts activities. 

In fiscal 1980, State Programs--the Endowment office that carries out this Congressional 

mandate-awarded grants totaling $19.3 million 

to 56 state and territorial arts agencies. While 

Endowment funding clearly plays a significant 

role, direct appropriations from state legislatures, 

which added up to $98.6 million in 1980, have 

become the backbone of state arts support. 

State Programs also awards grants to such 

regional groups of state arts agencies as the 

Southern Arts Federation, the Western States 

Arts Foundation, and the Mid-America Arts 

Alliance. These are private, nonprofit organizations created by the states to carry out programs, 

like touring, and provide services that work best 

on a multi-state basis. Last year the eight 

regional arts organizations received nearly $2.8 

million in Endowment funding as well as 

financial support from their member state 

agencies and, for some, funding from the private 

sector. 

Over the past 15 years state arts agencies and 

regional groups have supported more than 

50,000 arts projects and activities with the help of 

Endowment funds. Recently State Programs 

funding has been used for: Native American 

cultural festivals and workshops in Alaska; 

general operations of the Tyrone Guthrie 

Theater in Minneapolis; teaching residencies by 

Merce Cunningham’s dance company in Seattle 

and Tacoma; professional management assistance 

for the Wheeling (West Virginia) Symphony; 

general operations of the Cincinnati Art Museum; 

jazz festivals and workshops in Kansas; touring 

by the Negro Ensemble Company in the 

Southeast; ticket subsidies for older audiences in 

North Dakota; touring by the Alvin Alley 

Repertory Ensemble in the West; a state crafts 

center at Frog Hollow, Vermont; the commissioning of public sculptures in Indiana; a touring 

exhibition of 60 works by Georgia O’Keeffe in the 

Midwest; poetry residencies in rural libraries in 

Kentucky; professional crafts instruction for 

low-income residents of Macon County, North 

Carolina; and the Just Us Theater Company’s 

development of black audiences in Atlanta 

through presentation of works by black playwrights. 

The crucial point to remember about State 

Programs funds is that the state and regional 

agencies, not the Endowment, determine how 

they will be used. One state may opt for 

supporting arts institutions, while another 

agency might use the major part of its State 

Programs grant to support visual and performing arts touring. A third state may emphasize 

support for individual artists or community arts 

activities. In each case the Endowment funding 

goes to satisfy local needs. 

To ensure accountability for these federal 

dollars, however, the procedures by which state 

arts agencies and regional groups set priorities, 

make decisions, and carry out programs must 

address a set of criteria worked out by the State 

Programs Panel. Unlike the panels in most 

Endowment Programs, our panel judges a 

process, not an artistic product. Among the 

criteria each state plan must meet are: effective 

planning, involvement of minorities and special 

constituencies, fair decision-making, public access to programs, and adequate provisions for 

evaluation and reporting. Our panel and staff 

devote much time and energy to intensive review 

of the basic plans submitted by the state and 

regional agencies. The panel does not recommend 

approval of funding until a state sends in a plan 

that satisfactorily addresses the criteria. 

The years 1977, 1978, and 1979 were times of 

reassessment and transition for State Programs. 

During these years we made significant progress 

in developing a more efficient and responsive 

grant-making relationship with state arts agencies and regional groups. In 1980 we undertook 
360 State Programs 

Our 

Common
 

Wealth 

to consolidate these gains by clarifying and 

simplifying our goals, funding criteria, and 

program categories, and by improving the 

methods under which funds are apportioned 

among the states and regions. 

The law prescribes that 15 percent of the 

Endowment’s total program funds be divided 

equally among the states. Under policies adopted 

in 1980, an additional 5 percent of the agency’s 

program funds will be apportioned as follows: 

2.5 percent divided among the states chiefly on 

the basis of state population size, and the 

remaining 2.5 percent made available in equal 

amounts per state for support of regional group 

activities. The State Programs Panel recommended these policies after careful examination 

of the potential impact of a variety of suggested 

funding methods and after extensive consultation 

with the states and regions. 

State Programs has at last emerged from a 

The Arts in 

Massachusetts 

period of reassessment and transition with a 

clearer understanding of its role and with more 

efficient grant-making procedures. Although we 

anticipate no major changes in the near future, 

our staff and advisory panel will continue to 

review and evaluate our grant-making procedures. We also plan to seek ways to help state 

arts agencies and regional groups strengthen 

their programs and present more detailed 

reporting on the ways in which State Programs 

dollars foster the arts. 

Anthony Turney 

Director, State Programs 
State Programs 361 

State Programs Advisory Panel
 

Ann Farris Darling 

Arts Administrator 

Washington, D.C. 

Mary De Hahn 

Arts administrator 

St. Louis, Missouri 

Rick George 

Arts administrator 

Atlanta, Georgia 

AIfredo Gutierrez 

State senator 

Phoenix, Arizona 

Peter deC. Hero 

Arts administrator 

Salem, Oregon 

Lee Howard 

Arts administrator 

Huntington, New York 

Michael Lomax 

County commissioner

Atlanta, Georgia 

Robert A. Mayer Arts administrator 

New York, New York 

David E. Nelson 

Arts administrator 

Missoula. Montana 

Marvin Oliver 

Visual artist, educator 

Bainbridge Island, Washington 

State Programs Grants
 

Dorothy Olson 

Potter, arts administrator 

Brattleboro, Vermont 

Wallace A. Richardson 

Arts administrator, attorney 

Lincoln, Nebraska 

E. Ray Scott 

Arts administrator 

Detroit, Michigan 

Thomas Wolf 

Arts administrator 

Cambridge, Massachusetts 

Yen Lu Wong 

Choreographer, educator 

Los Angeles, California 

Program Funds: $22,121,305 

Basic State To provide basic support to state arts agencies.

Operating Grants Program funds: $15,125,000 

State and National For support of arts projects identified as priorities by state arts

agencies. Priorities Grants 

Program funds: 

Alabama State Council on the Arts and Humanities 

Montgomery. Alabama 

Alaska State Council on the Arts 

Anchorage, Alaska
 

American Samoa Arts Council
 

Pago Pago. American Samoa
 

Arizona Commission on the Arts and Humanities,


Phoenix, Arizona
 

Arkansas State Arts and Humanities, Office of 

Little Rock. Arkansas 

California Arts Council 

Sacramento, California 

Colorado Council on the Arts and Humanities 

Denver, Colorado 

$4,199,715 

Basic State 

State and 

Operating National 

G rants Priorities 

$275.000 $53,590 

275.000 182.250 

275,000 20.000 

275,000 34.625 

275.000 74.790 

275,000 238,910 

275,000 49.680 

Connecticut Commission on the Arts 275.000 

tlartford. Connecticut 

71.590 
362 State Programs 

D.C. Commission on the Arts and Humanities 

Washingu)n, D.C. 

Delaware State Arts Council 

Wilmington, Delaware 

Fine Arts Council of Florida 

Taltahassee, Flor,da 

Georgia Council for the Arts and Humanities 

Atlanta, Georgia 

(Guam) Insular Arts Council

Agana, Guam 

(Hawaii) State Foundation on Culture and the Arts

ttonolulu, Hawaii 

hlaho Commission on the Arts 

Boise, Idaho 

Illinois Arts Council 

Chicago. Illinms 

Indiana Arts Conunission 

indmnapolis, Indiana 

Iowa Arts Council 

De~ Molnes, Iowa 

Kausas Arts Commission 

Topeka, Kansas 

Kentucky Arts Cmnmission 

Frankfort. Kentucky 

(Louisiana~ Department of Culture, Recreation, 

and Tourism; Division of Arts 

Baton Rouge. Louisiana 

Maine State Commission on the Arts and the Humanities 

Augu>ta, Mmne 

Maryland State Arts Council 

Baltimore, Maryland 

Massachusetts Council on the Arts and Humanities 

Boston, Massachusetts 

Michigan Council for the Arts

Detroit, Michigan 

Minnesota State Arts Board 

M mneat)olis, Minnesota 

Mississil)pi Arts Commission 

,lackson, M~ss~ss~l)t)~ 

Missouri State Council on the Arts 

St. Louis. Missouri 

Montana Arts Council 

Missoula, Montana 

Nebraska Arts Council 

Omaha, Nebraska 

Nevada State Council on the Arts 

Reno, Nevada 

New Hampshire Commission on the Arts 

Concord, New ttampshire 

275,000 

275,000 

275,000
 

275,000 

275,000 

275,00O 

275,000 

275.0OO
 

275,000 

275,000 

275,000
 

275,000 

275,000 

275,000 

275,000
 

275,OO0 

275,O0O 

275,000 

275,000 

275,000 

275,000 

275,000 

275,000 

275.000 

27.670 

29,895 

100,990 

69,450 

20,000 

119,55/) 

20,850 

124,655 

78,085 

39.865 

34.020 

64,320 

64,590 

38,370 

72,060 

100,285 

154.210 

110,320 

41,020 

122,265 

22,811) 

45,575 

23,990 

27,090 
Nexv 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 

North Carolina Arts Council 

Raleigh, North Carolina 

North Dakota Council on the Arts 

Fargo, North Dakota 

Ohio Arts Council 

Columbus, Ohio 

Oklahoma, State Arts Council of 

Oklahoma City, Oklahoma 

Oregon Arts Commission

Salem, Oregon 

Pennsylvania Council on the Arts, Commonwealth of

Harrisburg, Pennsylvania 

Puerto Rican Culture, Institute of 

San Juan, Puerto Rico 

Rhode Island State Council on the Arts 

Providence. Rhode Island 

South Carolina Arts Commission 

Providence, Rhode Island 

South Carolina Arts Commission 

Columbia, South Carolina 

South Dakota Arts Council 

Sioux Falls, South Dakota 

Tennessee Arts Commission 

Nashville, Tennessee 

Texas Commission on the Arts 

Austin, Texas 

Utah Arts Council 

Salt Lake City, Utah 

Vermont Council on the Arts 

Montpelier, Vermont 

Virgin Islands Council on the Arts 

Christiansted, St. Croix, Virgin Islands 

Virginia Commission for the Arts 

Richmond, Virginia 

Washington State Arts Commission 

Olympia, Washington 

West Virginia Department of Culture and History; 

Arts and Humanities Division 

Charleston, West Virginia 

Wisconsin Arts Board 

Madison, Wisconsin 

Wyoming Council on the Arts

Cheyenne, Wyoming 

275,000 

275,000 

275,000 

275,000 

275,000 

275,000 

275,000 

275,000 

275,000 

275,000 

275,000 

275.000 

275,000 

275,000 

275,000 

275,000 

275.000 

275,000 

275,000 

275,000 

275,000 

275,000 

275,000 

275,000 

State Programs363 

103,390 

34,100 

394,950 

84.080 

24,160 

149,330 

47,000 

38,815 

135,765 

19,000 

60.520 

60,520 

76,415 

35,500 

57,680 

131.320 

139,715 

36.505 

20,000 

76,060 

52,550 

123,780 

61,190 

20,520 
364 State Programs 

Regional Arts	 For regional groups of two or more state arts agencies to support arts 

programs planned and implemented on a multi-state basis. Programming Grants 

Affiliated State Arts Agencies of the 

Upper Midwest 

Minneapolis, Minnesota 

Arts Alaska 

Anchorage, Alaska 

Great Lakes Arts Alliance 

Cleveland, Ohio 

Mid-America Arts Alliance 

Kansas City, Missouri 

Mid-America Arts Alliance 

Kansas City, Missouri 

Mid-Atlantic States Arts Consortium 

Baltimore, Maryland 

New England Foundation for 

the Arts 

Cambridge, Massachusetts 

Southern Arts Federation 

Atlanta, Georgia 

Texas Commission on the Arts 

Austin, Texas 

Western States Arts Foundation 

Denver, Colorado 

State Support 

Services 

National Assembly of State Arts 

Agencies

Washington, D.C. 

National Assembly of State Arts 

Agencies

Washington, D.C. 

New England Foundation for 

the Arts 

Cambridge, Massachusetts 

Program funds: $2,766,890 

For regionally coordinated touri~tg programs and s~pport $312,790 

sercices in Iowa, Minnesota, North Dakota, South Dakota a~td 

Wisco~tsin. 

For the Consortium fi>r Pacific A rts a++d Cultures’ regio+ml arts 210,000

programmin.qfor Alaska. America~ Samoa, Califor~tia, Guam, 

Hawaii, and the Northev~t Maria~ms. 

For regionally coordinated arts programs and support services 160,000

in Illinois, Indiana, Michigan, and Ohio. 

For regionally coordinated arts programs and support services in 422,080

Arkansas, Kansas, Missouri, Nebraska, and Oklahoma. 

For planning and preparation costs for Arkansas to participate
 17,000

in programs of the Mid-America Arts Alliance.
 

For regionally coordinated programs, research, and support 240,000
 

services in Delaware, Maryland, New Jersey, New York,
 

Pennsylvania, and West Virginia.
 

For regionally coordinated arts programs and support ser- 314,820
 

vices in Connecticut, Maine, Massachusetts, New Hampshire,
 

Rhode Island, and Vermont.
 

For regionally coordinated arts programs and support services 493,840

in Alabama, Florida, Georgia, Kentucky, Louisiana, Mississippi, North Carolina, South Carolina, Tennessee, and Virginia. 

For cooperation with the Mid-American Arts Alliance, Southern
 12,500

Arts Federation, and Western States Arts Foundation to
 

explore alternates for Texas to participate in regional arts
 

activities.
 

For regionally coordinated programs and support services in 583,860
 

Arizona, Colorado, Idaho, Montana, Nevada, New Mexico,
 

Oregon, Utah, Washington, and Wyoming.
 

To support costs of services provided on a national basis to state 

arts agencies and regional groups. 

Program funds: $29,700 

For partial support of general operations.	 $13,000 

For supplementary administrative and travel expenses connected 8,000

with the 1980 NASAA Annual Meeting. 

To research alternative funding formulas for state and regional 8,700
 

arts agencies.
 

*contract; PG - Program Funds; TF - Treasury Funds 
365 

Financial Summary
 

Summary of Funds Available 

Appropriation, Regular Program Funds
 

Appropriation, Treasury Funds (to match nonfederal gifts)
 

Appropriations, Challenge Grant Funds (to match nonfederal gifts)
 

Total, Federal Appropriations
 

Nonfederal Gifts (of which $42,901,625 was to release federal appropriation) 

Transferred from Other Agencies 

Recovery of Prior Year Obligations 

Unobligated Balance, Prior Year 

Total Funds Available 

~Not less than 20 percent for support of state arts agencies and regional groups. 

Fiscal 

Year 

1980 

Funds Obligated 

Artists in Education $ 5,306,125

Dance 7,993,768

Design Arts 3,669,906 

Expansion Arts 8,155,914

Folk Arts 2,270,000

4,193,836 Inter-Arts 

International/Fellows 483,793 

Literature 4,727,750 

Media Arts 8,446,200

Museum 11,234,167

Music 13,572,300

Opera-Musical Theater 5,597,000 

Partnership Coordination 872,987 

Research 883,756

Special Constituencies 413,929 

State Programs 22,121,305 

Theater 8,417,593 

Visual Arts	 7,252,229 

Total Funds Obligated	 $115,612,558 

qncludes $25.375,175 in nonfederal matching gifts and donations x~hich released $25,375.I75 m mdefimte Challenge Grant funds. 

Fiscal 

Year 1980 

$	 97,000,0001 

18,500,000 

26,900,000 

$142,400,000 

$ 42,996,489 

314,000 

1,210,674 

1,217,815 

$188,138,978 

1980 

Challenge 

Grant 

$ 90,000 

2,049,000 

1,424,802 

2,090,000 

9,445,000 

2,110,000 

11,125,548 

11,880,000 

3,700,000 

71,000 

4,905,000 

1,860,000 

$50,750,3506 
 

 

366 

History of 

Authorizations and 

Appropriations 

Fiscal 1966 

Program Funds 

Treasury Funds** 

Total Funds for Programming 

Fiscal 1967 

Program Funds
 

State Arts Agencies (block)
 

(Subtotal--Program Funds)
 

Treasury Funds**
 

Total Funds for Programming
 

Fiscal 1968 

Program Funds
 

State Arts Agencies (block)
 

(Subtotal--Program Funds)
 

Treasury Funds**
 

Total Funds for Programming
 

Fiscal 1969 

Program Funds
 

State Arts Agencies (block)
 

(Subtotal--Program Funds)
 

Treasury Funds**
 

Total Funds for Programming
 

Fiscal 1970
 

Program Funds
 

State Arts Agencies (block)
 

(Subtotal--Program Funds)
 

Treasury Funds**
 

Total Funds for Programming
 

Fiscal 1971
 

Program Funds
 

State Arts Agencies (block)
 

(Subtotal--Program Funds)
 

Treasury Funds**
 

Total Funds for Programming
 

Fiscal 1972 

Program Funds
 

State Arts Agencies (block)
 

(Subtotal--Program Funds)
 

Treasury Funds**
 

Total Funds for Programming
 

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 

$ 2,500,000 

34,308 

$ 2,534,308 

$ 4,000,000 

2,000,000 

(6,000,000) 

1,965,692 

$ 7,965,692 

$ 4,500,000 

2,000,000 

(6,500,000) 

674,291 

$ 7,174,291 

$ 3,700,000 

1,700,000 

(5,400,000) 

2,356,875 

$ 7,756,875 

$ 4,250,000 

2,000,000 

(6,250,000) 

2,000,000 

$ 8,250,000 

$ 8,465,000 

4,125,000 

(12,590,000) 

2,500,000 

$ 15,090,000 

$ 20,750,000 

5,500,000 

(26,250,000) 

3,500,000 

$ 29,750,000 

Administrative
 

Funds
 

$ 727,000* 

$ 1,019,500" 

$ 1,200,000" 

$ 1,400,000" 

$ 1,610,000" 

$ 2,660,000* 

$ 3,460,000*
 
History of Authorizations and Appropriations 367 

Fiscal 1973 

Program Funds
 

State Arts Agencies (block)
 

(Subtotal--Program Funds)
 

Treasury Funds**
 

Total Funds for Programming
 

Fiscal 1974 

Program Funds
 

State Arts Agencies (block)
 

(Subtotal--Program Funds)
 

Treasury Funds**
 

Total Funds for Programming
 

Fiscal 1975
 

Program Funds***
 

Treasury Funds** 10,000,000
 

Total Funds for Programming
 

Fiscal 1976 

Program Funds*** 

Treasury Funds** 12,500,000 

Total Funds for Programming 

Transition Quarter 

July 1, 1976-September 30, 1976 

Program Funds*** 

Treasury Funds** 

Total Funds for Programming 

Fiscal 1977 

Program Funds*** 

Treasury Funds** 10,000,000 

Challenge Grants** 

Photo/Film Projects 

Total Funds for Programming 

Fiscal 1978 

Program Funds*** 

Treasury Funds** 

Challenge Grants** 18,000,000 

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 

$ 54,000,0O0 

11,000,000 

(65,000,000) 

7,500,000 

$ 72,500,000 

$ 90,000,000 

7,500,000 

$100,000,000 

$113,500,000 

7,500,000 

$126,000,000 

$ 93,500,000 

7,500,000 

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 Administrative 

Appropriation Funds 

$ 27,825,000 $ 5,314,000" 

6,875,000
 

(34,700,000)
 

3,500,000
 

$ 38,200,000 

$ 46,025,000 $ 6,500,000* 

8,250,000
 

(54,275,000)
 

6,500,000
 

$ 60,775,000 

67,250,000 $10,783,000" 

74,750,000 

$ 74,500,000 $10,910,000" 

$ 82,000,000 

$ 33,437,000 $ 2,727,000" 

500,000 

$ 33,937,000 

$ 77,500,000 $11,743,000" 

9,000,000 

$ 94,000,000 

$ 89,100,000
 

7,500,000
 

$114,600,000 

8,900,000 $ 8,200,000" 

$102,160,000
 

7,500,000
 

30,000,000
 

9,925,000
 

$149,585,000
 

$ 97,000,000
 

$ 18,500,000
 

$ 26,900,000
 

$ 12,210,000
 

$154,610,000
 
368 History of Authorizations and Appropriations 

Arts Arts Administrative 

Authorization Appropriation Funds 

Fiscal 1981 

Program Funds*** $115,500,000 $113,960,000 

Treasury Funds** 18,500,000 19,250,000 

Challenge Grants** 27,000,000 13,450,000 

Administrative 14,000,000 11,900,000 

Total Funds for Programming $175,000,000 $158,560,000 

* The~e funds were jointly provided to the National Endowment for the Arts and the National Endowment for the tlumanities until the t~vo agencies were administratively separated in 1978. 

** Federal funds appropriated by Congress to match nonfederal donations to the Endowment. 

*** Not less than 2t) percent of Prograrn Funds are required to go to state arts agencies and regional arts groups. 
Published by the Division of Publications 

National Endowment for the Arts 

2401 E St., N.W., Washington, D.C. 20506 

Director: Marcia Sartwell 

Editor: Joan Bowersox 

Designer: Kathy Jungjohann 

"~" U,S. GOVERNMENT PRINTING OFFICE: 1981- 341-641/104