News from ArtsJournal.com
Another Rough Night: Sotheby’s Underperforming Sale of Alfred Taubman’s American Art
With a total of $13.04 million (including the buyer’s premium), the auction at Sotheby’s tonight of 31 works from A. Alfred Taubman’s American art collection (eight of which failed to sell) will be of little help in reducing the formidable $95-million gap … read more
AJBlog: CultureGrrl Published 2015-11-18
Lookback: the death of a president
From 2003: I was a small-town second-grader on November 22, 1963. My teacher, Jackie Grant, told the class that the president had been shot and killed, and then we all went home. For me, home was a block away from the classroom door, but my mother still drove to the school to pick me up, … read more
AJBlog: About Last Night Published 2015-11-17
Snapshot: Martha Argerich plays Liszt
Martha Argerich plays Liszt’s Sixth Hungarian Rhapsody on TV in 1966. … read more
AJBlog: About Last Night Published 2015-11-18
CERF+, the artists’ safety-net, seeks a dynamic director of programs who has the experience and skills to strengthen the impact of CERF+’s work as an “artist responder” and artist advocate, and to expand the visibility of CERF+’s services and, thereby, increase the population of artists CERF+ serves. The position involves directing a team of CERF+ staff, board, and consultants, and collaborative work with other artist-focused organizations, arts agencies and relief providers, both in non-emergency and emergency periods to deliver high caliber programs.
CERF+’s Director of Programs will be responsible for delivering and promoting high quality programs to artists and the organizations that serve them. Responsibilities of this position include: planning, implementation, monitoring and evaluation of all of CERF+’s career protection, emergency readiness and relief programs and related outreach and communications. The Director of Programs will lead a team of staff, consultants, board and volunteers to fulfill the program goals and objectives outlined in CERF+’s strategic plan. The Program Director will work in partnership with other CERF+ senior leadership staff and report directly to the Executive Director.
Essential Duties & Responsibilities:
- Lead the planning and development of programs (including program related budgets) that are responsive to the needs of working artists and that advance CERF+’s mission
- Oversee development of outreach and communications strategies to promote the visibility of CERF+’s programs
- Cultivate strategic partnerships and engage in collaborative planning through the National Coalition for the Arts Preparedness and Emergency Response, National Voluntary Agencies Active in Disaster (NVOAD) and other affinity groups and stakeholders
- Conduct and oversee research related to CERF+’s program development and modifying CERF+’s existing programs
- Actively participate in staff and board planning
- Provide strategic coordination of CERF+’s readiness and relief programs
- Provide technical assistance and present educational workshops about readiness, career protection, and disaster recovery to artists at all career levels and to businesses, organizations and institutions that serve them
- Provide counseling/mentorship to arts organizations managing local disaster relief/recovery programs to artists
- Perform various outreach functions about CERF+’s programs at a variety of venues such as workshops and conferences
- Oversee and further guide the development of CERF+’s readiness resources, such as the Studio Protector 2.0 and the Business Insurance Guidebook
- Lead and/or collaborate on advocacy initiatives to increase artists’ access to career support and emergency relief services
- Oversee and contribute to CERF+’s various communications outlets (print, web and social media) on program related reporting and/or for program outreach.
Program Monitoring & Evaluation
- Strengthen CERF+’s processes for evaluating programs to determine adequate usage and effectiveness of resources and services
- Establish performance goals for program staff to assure that program objectives are met
- Ensure that program related records are properly administered
- Monitor program budgets and provide needed information for financial reporting
- Prepare information for foundation grants, interim and final reports.
- Make presentations for the CERF+ Board and other key stakeholders about CERF+’s programs
- Assist in various program-related fundraising functions, such as grant proposal development and reporting as well as presentations to donors/donor prospects, and foundations
- Participate, as requested by the Executive Director, with annual fund and special gift solicitations.
The successful candidate must demonstrate an ability to manage the programs and services of CERF+ and position the organization as a leader in the emerging field of arts emergency management within and outside the arts sector.
Qualities that need to be demonstrated in order to succeed in this position are:
- An ability to work with staff, board and consultants to effectively design, manage and monitor impactful programs that serve professional artists
- An ability to be a strong and results oriented educator about readiness, response, and recovery to artists and the organizations that serve them
- An ability to be a thought leader in writing, editorials, presentations and other outlets on supporting and strengthening artists’ careers
- An ability to lead in times of crisis
- An ability to work effectively with a variety of individuals and organizations to connect them to CERF+’s work
- An ability to understand how cultural policy is made and executed and how organizations such as CERF+ can intervene to influence such policy.
- A minimum of 10 years professional experience working in the field of artists’ support services, with at least 5 years at the executive/program manager level
- MA or similar business experience and/or advanced degree desired.
This position requires a fair amount of travel to attend conferences, present workshops and educational forums, attend CERF+ board meetings and to advance CERF+’s policy and advocacy priorities.
Currently direct supervision will be for two positions: Program Manager and Outreach and Communications Coordinator
The above statements describe the general nature and level of work being performed. This is not intended to be an exhaustive list of all responsibilities and duties required of this position.
Questions about this search and clarification regarding the qualities sought can be directed to: email@example.com
How to Apply
To apply for this position, applicants should send a cover letter that details how they meet all or most of the items listed in the “qualities sought” section of the position announcement. In the cover letter, applicants also should address any significant strengths they would bring to enacting CERF+’s mission. Also, please send a writing sample and a detailed, current professional resume. These materials should be sent via email. No paper applications will be accepted. Please send application materials to: firstname.lastname@example.org
“Many curators of American museums say they’re moving away from traditional definitions: In the past, the label has been more actively used to decide who does and doesn’t belong in the country’s cultural history. But art reflects identity, and the U.S. national identity has only grown more pluralized in recent decades, thanks to immigration and globalization.”
“Last week, Clarion University in Pennsylvania was forced to cancel its planned production of Lloyd Suh’s Jesus in India. The reason: casting. Three of the characters were written as Indians, and the predominantly white school had cast two white actors and one mixed-race actor in the roles. Earlier the same week, Katori Hall objected passionately in The Root to a Kent State University production in Ohio of her two-hander The Mountaintop, in which the role of Martin Luther King Jr. was played by a white actor.” Diep Tran looks at why the issue isn’t as simple as let-the-best-actor-get-the-role.
“Ultimately we go on with no mention of this obscene parallel reality abroad. But our pre-curtain announcement, ‘Turn off cellphones as a courtesy to your fellow audience members,’ seems poignant to me as I think about courtesy, as I think about gatherings, and as I realize that performance cannot take place without the right to assemble.”
The Couple Who Paid $170 Million For A Modigliani Want To Build China’s Answer To The Guggenheim and MoMA
Liu Yiqian and Wang Wei own the Long Museum in Shanghai and plan to make it one of the world’s great art institutions. “And nothing, Mr. Liu said, says world class quite like a Modigliani nude. … He added, ‘The message to the West is clear: We have bought their buildings, we have bought their companies, and now we are going to buy their art.'”
Building A Full-Fledged Hollywood-Style Studio (Complete With Theme Park And Hollywood Sign), From Scratch, In China
When Wanda Studios Qingdao opens in the spring of 2017, “it will be one of the largest and most technologically advanced feature-film-production facilities in the world, encompassing 30 soundstages; an enormous temperature-controlled underwater stage; a green-screen-equipped outdoor stage that’s still larger, at 56,000 square feet; a permanent facsimile of a New York City street; and much more.” (Not to mention the theme park, resort hotel, yacht marina, and hospital.)
Dana Stevens: “If by ‘we’ you mean ‘I,’ then yes, probably. … When we mourn the early death of a writer who was just beginning to find his or her true voice, we’re also mourning, by implication, every work that author never finished, or never started.”
Benjamin Moser: “A dead young writer is, above all, a dead human being. … And the fine line that separates romance from treacle is the same that divides mourning from kitsch; to cross it is to glorify a heart-rending death instead of remembering the achievements of a life.”