#National Emerging Museum Professionals Network

[the-garbanzo-annex-jr]

Reports that some police officers don’t want to be deployed to protect Jewish institutions over moral objections to the violence in Gaza and Lebanon have caused outrage in the Netherlands. The police said it makes space for officers’ moral objections and switches shifts to accommodate for that where possible, but if there is an emergency or urgent situation, police officers respond regardless of their personal feelings. Justice Minister David van Weel and several parliamentarians are very critical.

“During the preparations that were made for the security of the Holocaust Museum, there were colleagues who did not want to be deployed there,” Michiel Theeboom, part of the Jewish Police Network within the national police, told the Telegraaf. “They talk about ‘moral dilemmas,’ and I see a tendency to give in to that.” He called that very concerning and “the beginning of the end.”

Mireille Beentjes, a spokesperson for the police force management, confirmed that there are police officers who object to certain assignments. “There is no strict policy for this. The line is that police officers are allowed to have moral objections,” she told the Telegraaf. “We take moral objections into account when drawing up schedules. But if there is an urgent response, you are simply deployed. Whether you object or not. You have to behave professionally. Others should not notice anything.”

Beentjes said that objections aren’t isolated to Jewish institutions. Officers also have moral objections to being deployed to farmers' protests, climate protests, and the Koran burning by Pegida. “It hurts them when the Koran is burned, but at the same time, they have to protect the people who do it,” she said.

[fluralbannach]

Benefits of Membership of Art Organisations and Professional Bodies

Introduction

Scotland's creative landscape is supported by various organizations like Creative Scotland, VACMA, Creative Scotland Open Fund, Jerwood Live Work Fund, William Syson Foundation Funding, Balavoulin Art Group Grants, and Tasgadh Small Grants for Traditional Arts Fund. These funding programs help artists, organizations, and museums realize creative concepts, offering networking and professional development opportunities.

 A-N Membership Benefits

A-N: With operations in Newcastle Upon Tyne and London, The Artists Information Company is the most well-known artists' membership organisation in the UK, with over 29,000 members. A-N provides a range of services and supports specifically designed to meet the needs of visual arts professionals and artists for an annual fee of £308. This essay examines the many advantages of A-N membership, the function of professional associations in different fields, and the value of art associations in promoting professional and community development.

A-N offers artists invaluable resources and opportunities, including access to information for applying for art bursaries ranging from £500 to £1500 and comprehensive guides on Degree Shows. The organisation provides research on creative industries and education, ensuring artists stay competitive and knowledgeable. A-N's extensive network connects artists to potential collaborators, mentors, and patrons, fostering a sense of community and reducing isolation. The job and opportunities board lists residencies, administrative roles, and initiatives like cultural reforesting projects, providing financial stability and new avenues for artistic expression and professional development. Participating in A-N helps artists feel connected to the larger community, which lessens the isolation that sometimes accompanies solitary artistic endeavours.

 Professional Bodies for Artists

In the art world, professional associations for artists provide vital support networks essential for both emerging and established creators. The Visual Artists Association (VAA) offers a comprehensive suite of resources, including business management guidance, personal brand development strategies, and tools for sales generation, all designed to assist artists in building profitable art enterprises. Additionally, VAA members gain access to various events, extensive online resources, personalised business advisory services, and specialised training programs, all within a supportive and friendly community. Similarly, the Royal Society of British Artists (RBA) fosters excellence in painting, sculpture, and printmaking. It achieves this by organising prestigious exhibitions and events that provide artists with critical exposure and networking opportunities. Membership in these organisations is often tiered, with categories such as Associate, Member, and Fellow, each with specific requirements and benefits. This structured approach ensures that artists receive the tailored support and recognition appropriate for their career stage, facilitating professional growth and artistic development.

Historical and Regional Art Institutions

The Royal Academy of Arts and the Society of Artists of Great Britain are the country's most famous historical art institutions. Nine eminent art societies with various media specialisations make up the Federation of British Artists. These societies are common throughout the United Kingdom, ranging from Edinburgh to St. Ives, and they offer artists networks of support. To preserve quality and encourage a wide range of artistic expression, they employ strict selection procedures and welcome submissions from all backgrounds.

 The Value of Art Associations

The Society of Artists of Great Britain and the Royal Academy of Arts are the nation’s most well-known historical art organisations. The Federation of British Artists comprises nine distinguished art societies specialising in various media. These societies, from Edinburgh to St. Ives, are widespread in the UK and provide support networks for artists. They still use stringent selection processes and accept submissions from artists of all backgrounds to maintain quality and promote a broad spectrum of artistic expression.

Community and Professional Development

Being an artist can be a lonely endeavour, but joining an art association helps by bringing artists together in lively groups. These forums provide priceless chances to exchange ideas, get inspiration, and learn from peers. Because collaborators encourage one another to achieve greatness, collaborative environments can greatly enhance artistic practices.

Getting together with other artists can be inspiring in smaller or bigger groups. Knowing that people will view and value their work inspires artists to push themselves, finish projects, and improve their work. A community of artists also encourages open and sincere dialogue, which expands one's contacts and opens doors to new prospects.

Conclusion

In conclusion, becoming a member of a professional organisation such as A-N: The Artists Information Company has several advantages beyond receiving financial assistance. Membership offers invaluable networking opportunities, access to critical information, and a caring community that can lessen the sense of isolation often felt in the creative industry. Art associations and professional organisations from various sectors play an essential role in cultivating talent, fostering professional growth, and maintaining ties to illustrious artistic traditions. For instance, these organisations frequently offer workshops, seminars, and exhibitions that provide artists with the latest industry insights and trends, thereby enhancing their skills and knowledge base. Additionally, Joining a professional community can boost an artist's confidence and motivation, allowing for the exchange of ideas and constructive feedback. This can lead to collaborations, new avenues for artistic expression, and career advancement. These communities often advocate for artists' rights and interests, providing a collective voice that can influence policy and public opinion. This advocacy ensures that artists' challenges and needs are addressed at higher levels, contributing to a more supportive environment for the arts. Thus, joining a professional organization like A-N improves an artist's professional and personal fulfilment and contributes to the creative sector's broader health and vibrancy.

REFERENCES

a-n The Artists Information Company

The Benefits of Membership to Art Organisations and Professional Bodies | by Gemma Murray | Medium

The Benefits of Joining Professional Bodies in 2024 | Crucial Services

Joining a Professional Body or Art Society

About - Visual Artists Association

Art Associations and its benefits - Aartzy

[acsforuwashington]

Local Travel Contract Healthcare Providers in Washington, D.C.

In the bustling heart of the nation’s capital, healthcare providers are playing an increasingly vital role in meeting the dynamic needs of patients and facilities. Among these professionals, local travel contract healthcare providers in Washington, DC are proving to be indispensable, offering flexibility and expertise in an ever-changing healthcare landscape. Whether you’re a healthcare worker considering local contracts or a facility seeking temporary staff, here’s what you need to know about local travel healthcare in Washington, D.C.

What Are Local Travel Healthcare Providers?

Local travel healthcare providers are professionals who work on short-term contracts within a specific region, in this case, Washington, D.C., and its surrounding areas. Unlike traditional travel healthcare workers who relocate for assignments, local travelers typically reside within commuting distance of their assignments.

These professionals include registered nurses (RNs), licensed practical nurses (LPNs), allied health specialists, and even non-clinical staff. They are hired to fill temporary staffing gaps caused by:

· Seasonal patient surges

· Staff vacations or leaves of absence

· New facility openings or expansions

· Unplanned emergencies

Why Washington, D.C.?

Washington, D.C. is an exceptional location for local travel healthcare providers. With its numerous world-class hospitals, specialized clinics, and government healthcare facilities, the city is a hub of medical innovation and opportunity. Here’s why the region stands out:

1. Diverse Work Environments

Local travelers can work in a variety of settings, from renowned institutions like MedStar Georgetown University Hospital and Children’s National Hospital to smaller community clinics. Each offers unique challenges and learning opportunities.

2. Attractive Pay and Benefits

Local contracts often come with competitive hourly wages and perks such as mileage reimbursements, sign-on bonuses, and flexible schedules, all while allowing workers to stay close to home.

3. Cultural and Professional Growth

Washington, D.C. is a vibrant city with a rich cultural scene, offering healthcare providers a chance to balance demanding jobs with engaging activities. Museums, historical landmarks, and world-class dining options provide an excellent way to unwind after a shift.

Benefits for Healthcare Providers

For healthcare workers, local travel contracts offer several advantages:

· Flexibility: Choose contracts that fit your lifestyle, whether you prefer weekdays, weekends, or night shifts.

· Experience: Broaden your clinical skills by working in different healthcare environments without the need to relocate.

· Networking: Build professional relationships across various facilities in the area.

Benefits for Healthcare Facilities

Facilities in Washington, D.C., benefit from hiring local travel healthcare providers by:

· Quick Staffing Solutions: Fill urgent vacancies without the lengthy onboarding process of permanent hires.

· Cost Efficiency: Avoid expenses like relocation reimbursements while maintaining high-quality patient care.

· Adaptability: Scale staffing levels up or down based on patient demand.

Challenges and Considerations

While local travel contracts are advantageous, both providers and facilities should be mindful of potential challenges:

· Short Notice: Contracts may start with little lead time, requiring flexibility from providers.

· Consistency: Frequent changes in staff might disrupt team dynamics, although experienced providers adapt quickly.

· Credentialing: Ensure that all necessary certifications and licenses are up-to-date to avoid delays in starting assignments.

How to Get Started in Washington, D.C.

For Healthcare Providers:

1. Partner with a Reputable Agency: Many staffing agencies specialize in connecting local travelers with assignments tailored to their skills and preferences.

2. Maintain Credentials: Stay current with certifications required for your specialty, including BLS, ACLS, or other relevant qualifications.

3. Be Open to Opportunities: Embrace new environments and roles to expand your expertise and network.

For Facilities:

1. Work with Reliable Staffing Partners: Collaborate with agencies that understand your needs and can provide qualified professionals promptly.

2. Offer Competitive Incentives: Attract top-tier talent with appealing compensation packages and supportive work environments.

3. Plan Ahead: Anticipate staffing needs based on historical trends and upcoming events.

Conclusion

In Washington, D.C., local travel healthcare providers bridge critical gaps in the healthcare system while enjoying unique professional and personal benefits. For facilities, they represent a practical and efficient staffing solution. As the demand for skilled, adaptable healthcare professionals continues to grow, local travel contracts are becoming an integral part of the healthcare ecosystem in the capital.

Whether you’re a healthcare provider seeking flexibility or a facility aiming to maintain top-tier patient care, local travel contract healthcare providers in Washington, D.C. could be the perfect solution.

[archaditya12]

The Best Architecture College in Mumbai: Aditya College of Architecture

Mumbai, a bustling metropolis renowned for its architectural diversity, is a prime destination for aspiring architects. The city’s skyline is a blend of historical charm and modern innovation, offering a rich landscape for architectural exploration. Among the many esteemed institutions in Mumbai, Aditya College of Architecture has emerged as a leading choice for students pursuing a career in architecture. Let’s explore what makes the best architecture college in Mumbai.

Why Choose Mumbai for Architecture Studies?

Mumbai provides a unique setting for architectural education:

Diverse Architectural Styles: From colonial-era buildings to contemporary skyscrapers, Mumbai is a living museum of architectural evolution.

Vibrant Industry: As one of India’s major economic hubs, Mumbai offers abundant opportunities for practical experience through internships and projects.

Cultural and Educational Hub: The city’s rich cultural heritage and thriving educational ecosystem provide a stimulating environment for students.

What Sets Aditya College of Architecture Apart?

Aditya College of Architecture has made a significant impact in the field of architectural education in Mumbai. Here’s why it stands out:

Innovative Curriculum: offers a curriculum designed to blend theoretical knowledge with practical skills. The program includes courses in design, urban planning, sustainability, and advanced construction technologies, preparing students for the diverse challenges of the architectural profession.

Experienced Faculty: The college boasts a faculty of experienced professionals and academicians who bring real-world insights into the classroom. Their guidance helps students develop a comprehensive understanding of architectural principles and practices.

State-of-the-Art Facilities: Is equipped with modern facilities, including well-designed studios, workshops, computer labs, and a library stocked with extensive resources. These facilities support a hands-on learning approach, allowing students to experiment and innovate.

Focus on Sustainable Design: In an era where sustainability is crucial, places a strong emphasis on sustainable and eco-friendly architectural practices. The college encourages students to think critically about environmental impacts and integrate sustainable solutions into their designs.

Industry Collaboration and Exposure: Has strong ties with the architecture and construction industries, providing students with opportunities for internships, workshops, and industry visits. This exposure helps students understand the practical aspects of the profession and build valuable networks.

Extracurricular Activities and Competitions: The college actively encourages participation in extracurricular activities and competitions, fostering creativity and teamwork. Students have the chance to showcase their talents in various national and international competitions, enhancing their portfolios and gaining recognition.

Success Stories and Alumni Network

Aditya College Of Architecture commitment to excellence is reflected in the achievements of its students and alumni. Many ACA graduates have made notable contributions to the field of architecture, both in India and internationally. The college’s strong alumni network provides current students with mentorship opportunities and insights into the industry.

Conclusion

Aditya College of Architecture stands out as one of the best architecture colleges in Mumbai, offering a holistic educational experience that combines rigorous academics with practical exposure. The college’s focus on sustainable design, experienced faculty, and state-of-the-art facilities provide students with the skills and knowledge needed to excel in the ever-evolving field of architecture.

For aspiring architects looking to make a mark in the industry, offers a nurturing environment that encourages creativity, innovation, and professional growth. Whether you’re drawn to the traditional architectural styles or modern design innovations, Aditya College of Architecture provides the perfect platform to launch your career and contribute to the dynamic architectural landscape of Mumbai and beyond.

Explore the possibilities at Aditya College of Architecture and embark on a journey of learning and discovery in one of the most vibrant cities in the world.

[a-modernmajorgeneral]

After the war, Breker’s status as image maker for the Nazis, one might have thought, would have made him persona non grata in the new German republic. On the contrary, he benefited from an old boys’ network of Nazis: his Pallas Athene in Wuppertal was made possible by the intercession of fellow “divinely gifted” architect Friedrich Hetzelt.

Despite being fired as professor of visual arts in Berlin after being named as a Nazi fellow traveller in 1948, Breker went on to thrive professionally, designing sculptures for Dusseldorf’s city hall. He also made busts of political leaders including Konrad Adenauer, the Federal Republic’s first chancellor. True, when the Pompidou Centre in Paris in 1981 staged a Breker retrospective there were protests from anti-Nazi activists. Four years later though, his posthumous reputation was boosted when the Schloss Nörvenich was given over to an Arno Breker Museum that can still be visited today.

Breker was not an unusual case. The Deutsches Historiches Museum exhibition includes more than 300 works of art – tapestries, murals, sculptures – made by Nazi artists or fellow travellers after 1945. Among them is work by Hermann Kaspar whom Speer commissioned to design mosaics, frescoes, floors, friezes and wood inlays for the New Reich Chancellery. Hitler was most taken with the inlay of the oversized desk in the Führer’s study that, Speer recalled in his memoirs, depicted the mask of Mars, god of war, behind which a sword was crossed with a lance. “Well, well,” Hitler reportedly told Speer. “When the diplomats sitting in front of me at this table see it, they will learn to be afraid.”

After the war, Kaspar received numerous state commissions, including the national coat of arms tapestry in the Senate Hall of the Bavarian state parliament. Most strikingly, though, Kaspar finished work he had started under the Third Reich. He began his monumental wall mosaic for the Congress Hall of Munich’s German Museum in 1935, finally completing it in 1955.

Kaspar’s postwar success bears out a remark made by the great German Jewish philosopher Max Horkheimer when he returned from American exile to the University of Frankfurt in the late 1940s. “I attended a faculty meeting yesterday and found it too friendly by half and enough to make you throw up,” he wrote. “All these people sit there as they did before the Third Reich. Just as if nothing had happened … they are acting out a Ghost Sonata that leaves Strindberg standing.”

Brauneis agrees with this assessment: “In West Germany and Austria, if not East Germany, many of the most successful artists were Nazis.” The ghost sonata carried on as if the Holocaust had not happened. Brauneis’s exhibition is aimed at bringing a neglected chapter in German history to light.

The official version, after all, is that West Germany was no haven for Nazis and that after 1945 a radical new aesthetic emerged. Indeed, a parallel exhibition at the museum tells the history of Documenta, the contemporary art show that takes place in Kassel every five years. When federal president Theodor Heuss opened the first Documenta in 1955, artists who had flourished in the Nazi era were not allowed to exhibit there since they were deemed unsuited to the modernist, anti-Nazi self-image of the young republic.

Brauneis argues that the hidden history he unveils undermines that flattering image. “The truth is that these ‘divinely gifted’ artists had close ties with the cultural-political programme of the Federal Republic.”

Consider Willy Meller. He had created sculptures for Berlin’s Olympic stadium, and others for the Nazis’ Prora holiday resort. After the war, Meller thrived professionally, making sculptures for the German postal service, a federal eagle for the Palais Schaumburg in Bonn, then the official residence of the Federal Chancellor. Meller even sculpted a work called The Mourning Woman for the Oberhausen Memorial Hall for the victims of National Socialism, which opened in 1962. “When The Mourning Woman was unveiled,” says Brauneis, “nobody seemed to notice that a ‘divinely gifted’ artist had been commissioned to make a sculpture for a centre devoted to recording Nazi crimes.”

Indeed, Brauneis points out that when there were objections in the press or among art critics to publicly commissioned art in West Germany, their complaints rarely had anything to do with the artists’ Nazi credentials. Rather, what united critics, press and public alike was hostility to modern art in the public sphere.

It is as if the dismal dialectic set up by Goebbels in Munich in 1937 – on the one hand heroic, neoclassical German art sanctioned by the Nazis, and on the other modern art made by Jews and “degenerate” foreigners that often ended up being burned by Nazi functionaries – was still playing out in the first decades of West Germany’s existence.

Dissenting voices finally emerged. But what’s especially striking is how much of the postwar work of these Nazi artists survives, barely noticed, in public spaces in Germany. Raphael Gross, the Deutsches Historisches Museum’s president, recalls that when he lived in Frankfurt he would pass by a sculpture every day on his way to work at the city’s Rothschild Park. “Until recently, I didn’t know it had been commissioned during the Third Reich and installed after the war.”

The park, named after the Rothschild family who had bought the property in 1837, was appropriated by the Nazis and its palace destroyed in a 1944 RAF bombing raid. Today, the park includes a statue called Der Ring der Statuen depicting seven nude allegorical figures by Georg Kolbe, commissioned in 1941 but only erected in 1954.

How odd that a park that only after the war reverted to the Jewish name the Nazis had erased could today display a sculpture by one of Hitler’s favourite artists. In 1939, Kolbe created a portrait bust of the Spanish dictator Francisco Franco, which was given to Hitler as a birthday present. Kolbe, to be fair, was one of the few Third Reich artists to have work shown in both Munich’s Degenerate Art show and the Nazi-sanctioned Große Deutsche Kunstausstellung across town.

What should be the fate of these sculptures, tapestries and murals made by Nazis and fellow travellers? Should they be destroyed, retired from public view or just contextualised with helpful labels? The first option, I suggest to Gross and Brauneis, should not be ruled out. After all, there is a rich history of destruction of public art. In 2003, a weightlifter took a sledgehammer to the giant statue of Saddam Hussein in Baghdad. During the so-called Leninfall in 2014, some of the 5,500 statues of Lenin were pulled down in Ukraine. When last year the statue of slave trader Edward Colston was thrown into Bristol’s dock, historian David Olusoga wrote in the Guardian: “[T]his was not an attack on history. This is history. It is one of those rare historic moments whose arrival means things can never go back to how they were.”

Gross and Brauneis think the issue is less clear cut in the German case. “We must go case by case,” says Gross. “There can’t be a general rule.” Brauneis argues that in some cases explanatory notes are enough. “Sometimes rather than destroying the past we have to learn about it and then live with it even if that is uncomfortable.”

[teeeech1]

qamari new capital

In the heart of Egypt's ambitions for urban development lies a visionary project: Qamari New Capital. As the nation seeks to redefine its landscape and provide sustainable living solutions for its citizens, Al Kayan Real Estate emerges as a pivotal player in this transformative journey. With a commitment to innovation and excellence, Al Kayan is spearheading the development of Qamari New Capital, a beacon of modernity and progress.

In this article, we delve into the intricacies of Qamari New Capital, exploring its significance, design philosophy, and the transformative impact it promises. From its architectural marvels to its sustainable initiatives, Qamari New Capital represents a paradigm shift in urban planning and development.

Body

Qamari New Capital: A Vision for Tomorrow

Qamari New Capital embodies Egypt's aspirations for the future. Situated strategically to the east of Cairo, this ambitious project aims to alleviate the strain on the capital while fostering a vibrant hub of economic activity and cultural richness. At its core, Qamari New Capital seeks to redefine urban living by integrating advanced technologies, sustainable practices, and world-class amenities.

Architectural Marvels

Central to Qamari New Capital's allure is its architectural landscape, characterized by striking designs that blend functionality with aesthetic appeal. From towering skyscrapers to sprawling residential complexes, every structure is a testament to innovation and creativity. The skyline of Qamari New Capital is destined to become iconic, symbolizing Egypt's forward-thinking approach to urban development.

One of the standout features of Qamari New Capital's architecture is its emphasis on sustainability. Green spaces, solar panels, and energy-efficient designs are woven seamlessly into the fabric of the city, minimizing its ecological footprint while maximizing quality of life for residents. The integration of smart technologies further enhances efficiency, ensuring that Qamari New Capital remains at the forefront of sustainable urban living.

Community-centric Design

At the heart of Qamari New Capital lies a commitment to fostering vibrant, inclusive communities. Residential neighborhoods are thoughtfully planned to promote social interaction and well-being, with parks, recreational facilities, and communal spaces scattered throughout the city. From young professionals to growing families, Qamari New Capital offers a diverse range of housing options to cater to every lifestyle.

Moreover, Qamari New Capital prioritizes accessibility and connectivity, with efficient transportation networks linking different districts and neighborhoods. Whether by public transit, bicycle lanes, or pedestrian-friendly walkways, residents can navigate the city with ease, fostering a sense of belonging and cohesion.

Economic Hub

Beyond its residential appeal, Qamari New Capital serves as a dynamic economic hub, attracting businesses, investors, and entrepreneurs from around the globe. State-of-the-art office complexes, commercial centers, and innovation hubs provide fertile ground for growth and prosperity. The business-friendly environment coupled with strategic incentives positions Qamari New Capital as a magnet for innovation and enterprise, driving Egypt's economic development forward.

Furthermore, Qamari New Capital embraces cultural diversity, celebrating Egypt's rich heritage while embracing global influences. Museums, galleries, and performance venues showcase the nation's artistic prowess, fostering cross-cultural exchange and dialogue. Through its vibrant cultural scene, Qamari New Capital emerges as a melting pot of creativity and expression, enriching the lives of residents and visitors alike.

Sustainability Initiatives

Central to Al Kayan Real Estate's vision for Qamari New Capital is a steadfast commitment to sustainability. The city is designed with environmental conservation in mind, employing renewable energy sources, water conservation measures, and waste management systems to minimize its ecological impact. Green spaces abound, providing sanctuaries for biodiversity and enhancing the city's aesthetic appeal.

Furthermore, Qamari New Capital serves as a testbed for innovative sustainability solutions, with research institutions, startups, and industry leaders collaborating to address pressing environmental challenges. Through initiatives such as green building certifications, carbon offset programs, and sustainable transportation options, Qamari New Capital sets a precedent for responsible urban development, inspiring cities worldwide to follow suit.

Conclusion

In conclusion, Qamari New Capital represents a bold vision for Egypt's future, encapsulating the nation's aspirations for progress, sustainability, and inclusivity. Led by Al Kayan Real Estate, this transformative project promises to redefine urban living, setting new standards for innovation, design, and community engagement. From its architectural marvels to its economic vitality, Qamari New Capital stands as a testament to Egypt's unwavering commitment to building a better tomorrow. As the city continues to take shape, it serves as a beacon of hope and inspiration, illuminating the path towards a more prosperous and sustainable future for generations to come. qamari new capital

[arisawati]

Improving the quality of cultural diplomacy: What makes Denny Ja's ideas using 1% APBN a professional solution in a new era?

In a new era that continues to develop, cultural diplomacy has become increasingly important in strengthening relations between nations in the world. Indonesia, as a country with a diversity of rich cultural, has great potential to utilize cultural diplomacy as an effective tool to promote identity and positive image in the eyes of the world. One of the figures that has emerged with an innovative solution is Denny JA, with the idea of using 1% APBN to improve the quality of Indonesian cultural diplomacy. Denny JA, known as a social intellectual and activist, has long realized the importance of cultural diplomacy and the role he plays in strengthening relations between countries. Through his broad experience and in -depth understanding of the challenges and opportunities that exist, Denny JA proposed the use of 1% of the APBN to support and advance Indonesian cultural diplomacy. This idea, which was originally controversial and unconventional, has received a lot of attention and support from various parties. The concept of allocating 1% APBN for cultural diplomacy aims to improve the quality and number of cultural programs carried out by Indonesia at the international level. One of the reasons why this idea is considered as a professional solution in a new era is due to increasing global influence and paradigm changes in international diplomacy. In an era where information technology and social media have allowed easier access to information and culture from all over the world, countries need to face new challenges in promoting their positive images and building harmonious relations with other countries. Cultural diplomacy is one effective way to bridge cultural gaps and strengthen understanding between cultures. Through activities such as cultural festivals, art exhibitions, artist exchanges, and other cultural cooperation, countries can get to know each other, build networks, and deepen understanding of each culture. By using 1% APBN, Indonesia can increase the number and quality of cultural programs held abroad. This fund can be used to support the exchange of artists, cultural training, and promotion of Indonesian arts and culture that can inspire and attract the interest of international communities. In addition, this fund can also be used to build better cultural infrastructure, such as the performing halls, museums, and art spaces, which will increase the presence of Indonesian culture in the world. In implementing this idea, of course good cooperation and coordination is needed between the government, cultural institutions, and civil society. The use of 1% APBN for cultural diplomacy must be managed properly and transparently, by taking into account the long -term benefits and expected impacts. In addition, it is also important to involve experts and practitioners in the field of culture, both from within and outside the country, to provide advice and guidance on the best way to implement effective cultural programs. Through cross -sectoral cooperation and synergy between the government, cultural institutions, and the community, Indonesia can strengthen its cultural diplomacy and get long -term benefits in international relations. The use of 1% APBN for cultural diplomacy is not only about financial investment, but also about investment in networks, expertise, and cultural exchange.

Check more: Improve the quality of cultural diplomacy: What makes Denny Ja's ideas using 1% APBN a professional solution in a new era?

[ear-worthy]

Recapping The Black Effect Podcast Network’s "Thrill of Possibility" Summit

One of the many attributes I admire about podcasting is that the medium offers a louder and more vibrant voice for communities that are not white men. I'm talking African-American, Hispanic, Indigenous, LGBTQ+, women, and neurodivergent, as well as other groups too numerous to record here. 

Television has made some inroads but in fits and starts, such as Reservation Dogs, Black-ish, and even Apple TV's Foundation with its diverse cast. For those White Lives Matters folks, I don't think that having BET (Black Entertainment Television) suffices for representation on TV shows.

Podcasting had a rough start with representation, but it has shown the ability to serve audiences that may be smaller in number but stronger in cultural homogeneity.

For example, The Black Effect Podcast Network is "the first podcast network specifically built for Black listeners, bringing together the most talented and trusted voices in Black culture for critical conversations on social justice, pop culture, and more." Its mission includes: "We’ve curated influential Black voices and tastemakers and will continue to do so as we expand to include not only voices you know but voices you should."

The network is a partnership between Charlamagne and iHeartRadio, created from a vision to amplify, elevate, and empower emerging and established talent. Their stated goal is to "shift the narrative from Black creators signing transactional deals, to instead forming legacy partnerships that build generational wealth while allowing each creative to have an equitable stake in their future."

  Here's a quick recap of The Black Effect Podcast Network’s Thrill of Possibility Summit presented by Nissan(BE) that took place last weekend at the National Museum of African American Music in Nashville, TN. At the event, The Black Effect Podcast Network, iHeartRadio and Nissan welcomed 50 HBCU students from across the country to participate in a STEAM (Science, Tech, Engineering and Math) industry mentorship event featuring professional development and personal success panels, 1:1 career mentorship sessions, informative iHeartMedia and Nissan internship discussions, and networking opportunities with industry leaders and notable HBCU alumni.

VIP attendees included:

Conal Byrne, CEO, iHeartMedia Digital Audio Group Charlamagne Tha God, Founder, The Black Effect Podcast Network Dollie S. Bishop, President, The Black Effect Podcast Network Daymond John, American Entrepreneur and Star of ABC Network’s “Shark Tank” John Hope Bryant, CEO, Operation HOPE and Board Member, The Black Effect Podcast Network, Thea Mitchem, Executive Vice President, Programming, iHeartMedia Chandra Vasser, Vice President and Chief Diversity, Equity and Inclusion Officer, Nissan Marisstella Marinkovic, Vice President and Chief Marketing Officer, Nissan Jennifer McMillan, Senior Manager, Quality Strategy Management, Nissan Lanae Williamson, Senior Manager, Multicultural Marketing Strategy, Nissan Danielle Austen, Managing Partner, fluent360 Devi Brown, Host, “Dropping Gems,” The Black Effect Podcast Network, Ellen Wagner, Creative Designer, fluent360 Tiara Simms, HBCU Student and Returning Scholar 

Highlights included:

The “Changing the Game & Elevating” panel discussed strategies for breaking through barriers to progress in the workplace and all areas of life. The panel included Dollie S. Bishop, John Hope Bryant, Daymond John, Danielle Austen and Jennifer McMillan.  

“The Importance of Career Preparation” panel discussed the importance of groundwork, inner self work and career readiness. Moderated by Lanae Williamson, the panel featured Charlamagne Tha God, Devi Brown, Tiara Simms and Ellen Wagner.

Daymond John hosted a surprise live podcast taping of "That Moment with Daymond John" featuring Lanae Williamson, with participation from the HBCU scholars.

National recording artist OWENN gave a special musical performance at the closing party.  You can check the Black Podcast Directory for a more complete list of all Black podcasts. Also, check out TheGrio Black Podcast Network.

[clevelandstate]

CSU’s museum studies grads bring the past back to life

Sarah Nemeth has a passion for history and for passing her love of the past on to others. She saw Cleveland State University’s Museum Studies Program as a perfect educational pathway to a career focused on preserving the past for future generations.

But at CSU the second-year graduate student hasn’t just learned about museums, she has gotten the opportunity to test her skills and learn on the job, providing valuable experience and connections that will give her a leg up when entering the field following graduation.

While attending CSU, Nemeth interned for Shaker Heights Historical Society and Museum, a small community institution in Shaker Heights, Ohio. There she conducted a site evaluation designed to improve user experience and enhance the institution’s use of technology, which ultimately led to the development of the website ShakerHistory.org.

“The museum field is a very tight-knit community and can be hard to break into as a new graduate,” Nemeth says. “Through the program at CSU I have been able to work on substantive projects for a leading local museum, gain invaluable experience while still in school, and make significant contributions that will improve the community’s understanding of the fascinating history of Northeast Ohio.”

The Museum Studies Program is offered as a specialization within the Master’s in History degree at Cleveland State and is unique in its focus on experiential learning. All students are required to complete at least one internship at a museum as part of their program, and classes also regularly include tours of local institutions and guest lectures by working professionals in the field. The program is also enhanced by CSU’s numerous community partnerships with area arts organizations, as well as the presence on campus of a nationally recognized history research lab, the Center for Public History and Digital Humanities, and a working art gallery, The Galleries at CSU.

“Students really have access to incredible experiential resources and mentors,” notes Robert Thurmer, director of the Galleries at CSU, who also teaches in the Museum Studies Program. “They can assist in curating shows for prominent artists right here on campus, and then gain further experience through work at the internationally-known museums that call Northeast Ohio home, from the Rock & Roll Hall of Fame and Pro Football Hall of Fame to the Cleveland Museum of Art and Cleveland Museum of Natural History.”

The success of the program’s innovative mission can be seen through the accomplishments of its increasingly prominent alumni, which include Matt Seaman, collections and traveling exhibits manager at the Rock & Roll of Fame; Sule Holder, assistant librarian at the Rock Hall; Olivia Garl, curator of Nebraska’s Legacy of the Plains Museum; and Michelle Epps, president of the National Emerging Museum Professionals Network.

“I have always loved music and history, and being able to combine both through my work at the Rock Hall is truly a dream come true,” says Holder, who originally obtained an internship at the Hall of Fame after learning about the opportunity when Seaman gave a guest lecture in one of his classes.

“Given the importance of networking and prior experience in the museum industry, internships are central to a successful career in the field,” Seaman adds. “CSU’s Museum Studies program gives student’s the flexibility to actively engage with the wider museum community.”

In an effort to help current students like Nemeth enhance their networks and gain a better foothold earlier on in the industry, Seaman and Epps cofounded the Cleveland Chapter of the National Emerging Museum Professionals Network. The organization seeks to bring together younger professionals in the field to enhance communication and connections, while also providing job search support, information on various industry professional societies and a sounding board for what to do next.

“CSU provided me with significant assistance in gaining the expertise and support network necessary to be a successful museum professional, and I want to provide that same support to the next generation,” says Epps, who became national president of NEMPN last year. She also serves as the community engagement manager for Cleveland’s SPACES Gallery after previously serving as director of education for the International Women’s Air and Space Museum.

“Working in museums, you literally get to be a caretaker for our nation’s history,” Epps adds. “I am so proud to be able to help provide that opportunity to others who are just as passionate about this field as I am.”

[brooklynmuseum]

Stronger Together

Hi Brooklyn. We hope you and your loved ones are safe and healthy. The times are difficult and it is valid if you may not feel your best. It is okay to feel your feelings, and take your time to heal during these moments. As you navigate these difficult times, remember that you are a part of the community that is here to support you. The Brooklyn, and New York community at large, is one of the most vibrant and resilient there is!

If you have questions, or have more you wish to see or to spotlight, reach out. We want to hear from you. Please email stay.connected@brooklynmuseum.org. 

Also, text 'COVID' to 692-692 to get important COVID-19 related updates sent straight to your phone. You can text 'COVIDESP' to get updates in Spanish.

Local Business Highlights of the Week: 

Oxalis is temporarily closed for service, but will offer pick up and delivery on Friday, Saturday and Sundays from 4pm-8pm of fresh and prepared foods, cocktails and wine. Place your order, or pre order at www.boxalis.com , by phone at (347) 627-8298 or by email at hello@boxalis.com

No-frills Korean flavors are still being served at the famed Kimchi Taco. Take out and no-contact delivery available from 12-10pm daily. 

Census

A reminder to complete the 2020 Census today at my2020census.gov. 

In this webinar, you will learn about the guiding principles the Census Bureau is implementing for the use of administrative records and research findings for the housing and demographic questions on the survey.

On May 12th, United Way is launching United We Count, United We Vote – a civic engagement campaign to mobilize people in civic participation and collective action during this time of uncertainty and social distancing. Register for the event here.

For literature on the 2020 Census and how it may affect your community, check out the reading below:

How Changes to the 2020 Census Timeline Will Impact Redistricting

Census in a Time of COVID-19: What can we do as individuals?

Resources for children and families

COVID-19 has dramatically changed our lives. All New Yorkers deserve to celebrate, honor, and memorialize their loved ones. Get funeral & burial guidance from the City of New York.

If your work schedule was reduced as a result of the coronavirus and you are unable to pay your rent, you can apply for a Cash Assistance special grant request to get benefits for emergencies.

The City of New York's COVID-19 Hotel Program provides free hotel stays to eligible New Yorkers who cannot isolate where they live and frontline workers in the healthcare industry who wish to reduce the risk of transmission at home. This will help New York City stop the spread of COVID-19.

Scholastic Learn At Home allows open access to daily learning journeys divided into four grade spans—Pre-K–K, Grades 1–2, Grades 3–5, and Grades 6–9+, covering ELA, STEM, Science, Social Studies, and Social-Emotional Learning. 

CORE: CHILDREN OF RESTAURANT EMPLOYEES is dedicated to serving food and beverage service employees with children, who are faced with a health crisis or a natural disaster and are in need of support and in need of our help. If you have been diagnosed with COVID-19, you can apply here. 

Resources for artists, freelancers, and gig workers

Rauschenberg Emergency Grant Program provides one-time grants to artists of up to $5,000 for unexpected medical emergencies.

Max’s Emergency Relief & Resource Fund is a one-time grant award of between $500-$1000 ($1,000 when funds are available) to assist artists in all art disciplines who have a steady work history, but who are experiencing a temporary financial set back.  Visit their application here. 

In light of the impact of the COVID-19 pandemic on the artist community, on March 18 Foundation for Contemporary Arts launched the FCA Emergency Grants COVID-19 Fund. To find out your eligibility, click here.  

Science Fiction and Fantasy Writers of American have developed an Emergency Fund to help genre writers pay medical expenses not otherwise covered by insurance. Visit their website for more information.

Employment Resources

New York State is waiving the 7-day waiting period for Unemployment Insurance benefits for people who are out of work due to Coronavirus (COVID-19) closures or quarantines. Visit the New York State Department of Labor (DOL)  website for more information.

The New York State Worker Adjustment and Retraining Notification (WARN) Act requires businesses to give early warning of closing and layoffs. More information for business is available from the New York State Department of Labor. 

Find Employment through Virtual Workforce Career Center online. The Virtual Workforce1 Career Center system connects New Yorkers, via web or phone, to one-on-one help from professionals who can help.

NY Job Listings during Quarantine organized by Davide Chen. 

PTFB is offering assistance in finding employment at Northwell Health for FOH/BOH foodservice and housekeeping positions. Find out how to apply here.

Resources for the Undocumented Community

List of Resources for Undocumented People in NYC may be located here. Document is translated in three languages, English, Spanish and Portuguese. 

For more information regarding DACA, check out Informed Immigrants.

CUNY Citizenship will be live, May 13th at 12:00PM on Facebook with Shawn Rahman, Managing Attorney for Training and Capacity Building with the latest immigration updates.

Contact Jesus Perez if you are an undocumented student at Brooklyn College who needs support via email: jperez@brooklyn.edu or phone: 718.951.5023

Funding Opportunities

The Carroll and Milton Petrie Student Emergency Grant Fund was created to provide eligible students facing short-term, nonrecurring emergencies with a one-time grant to alleviate the situation.  To find if you are eligible, visit the Brooklyn College’s Website. 

Volunteer or Participation Resources

The NYC Network of Worker Cooperatives has joined the national #ShareMyCheck campaign to encourage those in a relatively stable position to donate all or a portion of their check to people who are not eligible for these checks - those that are historically and contemporarily most impacted by economic and health crises. 

LGBTQ+ Resources

Ohher Publishing angels is offering $50 relief funds for trans/non-binary/two spirt people of color who are in need of community support right now. To learn more, visit Leste Magazine. 

Trans Lifeline is a trans-led organization that connects trans people to the community, support, and resources they need to survive and thrive. If you are in need of mental health assistance, visit their website here. 

 Upcoming Webinars

Tuesday, May 12: 2:00PM-3:30 PM: Brookings’ Reopening the Coronavirus-Closed Economy

Wednesday, May 13, 6:00PM-7:00PM: Make The Road New York will host a Seminario Web De Estudio Comunitario (community study webinar) on Facebook live.

Thursday, May 14, 2020 4:00pm-7:00pm: New York City Network of Worker Cooperatives is hosting a COVID-19 Health Awareness Training. The goal of this program is to Increase health and safety awareness for workers in industries with potential exposure to COVID-19.  

Remember to Follow Our Elected Officials For Up To Date News:  

Stay up to date with information provided by Governor Cuomo. Follow our New York State governor on Twitter, Facebook and Instagram for up to date information regarding new health guidelines closures, and executive orders. 

The Mayor has a new Daily Message available on Twitter, Facebook, Instagram and YouTube every morning. If your constituents have questions, comments or concerns, they want him to respond to, they can send them using the hashtag #AskMyMayor 

The Office of the Brooklyn Borough President provides the most up-to-date information and resources to Brooklynites. Follow these pages regularly and follow Brooklyn Borough President Eric Adams on social media for real-time updates.

Congresswoman for the 9th District, Yvette D. Clark is working hard in Congress to support our local communities. Follow the Congresswoman on her Twitter to receive updates on what is going on in Washington DC and resources available in your ‘hood!

Follow updates and news from Council Member Laurie A. Cumbo on Facebook and Twitter. Cumbo serves as the Council Majority leader for Brooklyn’s 35th District- Fort Greene, Clinton Hill, Crown Heights, Prospect Heights and Bed-Stuy.

Follow New York City Council Member Robert E. Cornegy, representing Brooklyn 36th District- Bedford Stuyvesant and Northern Crown Heights on Twitter , Facebook, and Instagram for important updates regarding COVID-19 updates. 

Check out New York City Council Member Brad Lander’s resource page aimed to help NYC-based freelancers and artists navigate these uncertain times. Have your voice heard, fill out the survey and explore what benefits might be available to you. Follow him on Twitter for important updates.

Follow updates from the NYC City Immigrant Affairs office on Twitter interested in renewing your DACA application form. Call ActionNYC at 1-800-354-0365. 

Roxanne Swentzell (Kah'p'oo Owinge (Santa Clara Pueblo), born 1962). Making Babies for Indian Market, 2004. Clay, pigment. Brooklyn Museum, Gift in memory of Helen Thomas Kennedy, 2004.80. © artist or artist's estate

[culper-spymaster]

If you’re looking to get into the museum business, maybe as an interpreter or curator, I’d thought I’d post some links with jobs boards and information.

Michigan Museums Association- This site is mostly Michigan based, with jobs at local Michigan museums. But they also have links to other Museum job boards and Career centers, and Job resources. So a good source for junior/senior undergrads, or grad students.

Museums. Jobs- This is just a general Museum Job board. But its nice to have all jobs in one place.

American Alliance of Museums- This is a really wonderful site. There’s a job board, but then also whole sections on career management with career resources. Excellent resources for undergrads and grad students.

Small Museum Association- This is a lesser known organization. Its an all volunteer organization that focuses on small museums in the mid-Atlantic. They have a nice job board and conference. Real nice little website. 

Western Museums Association- Real nice website. Has a job board, professional development and educational resources, an annual conference. Just a nice website, great for students.

New England Museum Association- Nice website. Very thorough. There’s a job board, publications, resources, conferences. Lots of stuff. Very nice websites for students.

National Emerging Museum Professionals Network- Okay so this isn’t a museum, but its wonderful for students. Its a network to connect future Museum professionals. There’s a job board, a list of museum studies programs, a journal that accepts submission. An excellent source for students.

Association of Academic Museums and Galleries- if academia is more your route, then this is for you. There’s a job board, student resources, professional resources, conferences. Wonderful source.

Association of Children’s Museums- If you like kids, this one is for you. There’s a job board, publications, conference. Real nice little site.

Southeastern Museum Conference- Real nice site. Professional information, a mentor program, job board, networking, conference. Wonderful site.

Ohio Museums Association- This is for Ohio, but it has professional resources, job boards, conference and sponsorship. Good lil site.

[carnegiemuseumnaturalhistory]

Picture Perfect Nature

You may not know it, but you have probably used a tool that is very helpful to scientists – a camera! Capturing images from the world around us is a vital part of the learning process and provides a reference when discoveries are made. Cameras are everywhere, so let’s put them to good use. No matter if you are using a phone, point-and-shoot, film, professional-grade or mirrorless camera, there are universal techniques that can help you get the shot.

What you’ll need

A camera.

That’s all you need! It doesn’t matter what you use to document your discoveries. You can use a tablet or a phone or whatever you have available. You may even find your calling and, as your passion grows, so will your gear. More advanced set-ups include a camera “body” and separate lenses, depending on how close you need to get to your subject or the style you are going for. There are even underwater cameras to explore what lies beneath the water’s surface. There’s no limit to where your imagination can take you. Just be sure to bring your camera.

Compose yourself

Have you ever seen a person form a rectangle with their hands and look through it, as if to frame a photo? That’s a very simple way of understanding composition. Think of it as the “big picture.” For example, if you were taking a photograph of a waterfall, would you want to see only the stream of flowing water (below right)? Or would you want the full scene, including the splash below and the clouds above (below left)?

Macro…and say cheese

Macro photography is when images are taken extremely close up. While not quite as powerful as using a microscope, macro images can be incredibly helpful, especially when combined with wider angles. Take a look at the images below. If you were trying to identify the fungus, the first image offers a couple of clues…we can see that the tree is dead and also near a stream. Now, when we take a macro image, even more clues come to light. We can really see the texture, shape, color, and pattern of the fungus to study it close-up.

Get up close and personal

You have probably noticed, or even laughed at, how animals can have a personality. We all know Grumpy Cat, right? Even wild animals in nature have their own unique traits. These are all moments waiting to be captured! Snapping a picture helps us feel connected to the natural world and can reveal animal traits and characteristics. Don’t be afraid to get a tight shot. When it comes to profiling a subject, zooming in is good, especially for camera-shy animals like this curious frog emerging from cover at Schenley Park!

Ready to share?

When it comes to sharing your photos online, there are seemingly endless options. For a scientific experience, www.inaturalist.org and its companion app, Seek, are fantastic resources. This global online network allows users to post their images and communicate with one another. Not sure what the name of that fungi is? There’s most likely someone out there who can answer the question. You can also help answer questions. iNaturalist is a great place to see what others have snapped and to get inspired. Remember to check with your parents before using a new online resource. For even more inspiration, Carnegie Museum of Natural History is currently hosting National Geographic: 50 Greatest Wildlife Photographs through May 25, 2019.

Maybe the best part of photography is that it is always in season. No matter the time of year, there is something happening in nature. Below is a checklist of seasonal themes. Snap a collection of each!

●            Winter snow and ice

●            Spring in bloom

●            Summer flowing water

●            Fall changing colors

Fun Fact

Funny animal pics are not an invention of the internet. They have been around for 150 years! Since the dawn of photography, we humans have been unable to resist putting felines in humorous situations. British photographer Harry Pointer posed his cats for photographs as far back as the 1870s.

Learn more in Nature Lab!

[nyfacurrent]

Register Now | Online Course: Build and Develop Your Fundraising Strategies

A deep dive into proposal writing, developing your networks, and individual giving this September and October via Zoom.

Interested in upping your fundraising game this fall? Join New York Foundation for the Arts (NYFA) and Asylum Arts as we offer an online course on developing and building fundraising strategies for your career and art practice. The course, which will provide deep-dives into proposal writing, developing your networks, and individual giving, is designed for artists of all disciplines and will be accessible anywhere you have internet access through Zoom. It will be taught by Rebecca Guber, Founder and Director of Asylum Arts.

The September and October course will focus on two topics: “Proposal Writing: How to Work Smarter, Not Harder, On Getting What You Want” and “Developing Your Networks and Individual Fundraising.” Each topic is comprised of a webinar and an interactive workshop, and artists can register for one or both depending on their individual needs. In order to provide personalized feedback, interactive workshops will be capped at 25 participants; those registering for an interactive workshop must first take the webinar on that topic. 

Cost:

$25 for one webinar

$75 for one webinar and the corresponding interactive workshop

$125 for the full course of two webinars and two interactive workshops

Guber, who brings 20 years of expertise in the art world to the course, has been called a “kind, knowledgeable presenter” and her previous proposal writing workshop was reviewed as a “lively, informative overview” by participant Laura Maria Censabella. "Even after being in the 'business’ for a while, I learned some things I can be doing better," said Censabella.

Read on for more details on each and how to register.

Proposal Writing: How to Work Smarter, Not Harder, On Getting What You Want

Webinar: Wednesday, September 23, 2020, 1:00 PM - 2:30 PM EDT Interactive Workshop: Wednesday, September 30, 2020, 1:00 PM - 2:30 PM EDT

Many opportunities for artists require written proposals, which can seem like a skill far away from your artistic process. This topic is geared towards individual artists seeking grant or residency program opportunities or who are looking to pitch projects via written materials.

The September 23 webinar will cover: 

How to present your best self and work in written proposals.

Different types of proposals that artists may encounter.

Common elements of a proposal and best practices.

How to be most efficient with your research and proposal writing.

What happens during the review process.

The September 30 interactive workshop will provide:

In-depth explanation of the different types of project budgets.

How to use budgets to tell the story of your project.

Pitfalls and challenges of budgets.

Key aspects of strong artist statements.

Feedback on your artist statement.

For more detailed information and to register for “Proposal Writing: How to Work Smarter, Not Harder, On Getting What You Want,” click here.

Developing Your Networks and Individual Fundraising

Webinar: Wednesday, October 21, 1:00 PM - 2:30 PM EDT Interactive Workshop: Wednesday, October 28, 2020, 1:00 PM - 2:30 PM EDT

This topic is for individual artists and those who run companies/organizations who would like to incorporate individual giving into their fundraising model, and better activate and cultivate their existing networks. 

The October 21 webinar will cover:

Fundamentals of individual giving.

Why people give.

Cultivation and relationship-building techniques.

How to ask for money.

How artists can leverage their networks to increase support for their work.

The October 28 interactive workshop will provide:

An in-depth look into the topics covered in the October 21 webinar.

Ways to identify your existing network and opportunities for growth.

Tips for speaking compellingly about your creative projects as a way to gain support.

Role-play and practice asking for funding

For more detailed information and to register for "Developing Your Networks and Individual Fundraising,” click here.

Interested in taking the full course? 

For more detailed information and to register for “Proposal Writing: How to Work Smarter, Not Harder, On Getting What You Want” and “Developing Your Networks and Individual Fundraising,” click here.

Presenter’s Bio: Rebecca Guber is the Director and Founder of Asylum Arts, a global network of over 600 emerging Jewish artists. She was previously the founder and Director of the Six Points Fellowship. Guber has built a community of artists exploring Jewish ideas and identity through fellowship commissions for new work, grants, international retreats, and professional development. Over the last 12 years, her projects have been the largest direct funder of emerging Jewish artists, distributing over 1.5 million dollars for new projects. Artists supported through her efforts have produced readings, workshops, and performances and have been featured in hundreds of articles and blog posts, including major press, radio, and national TV. Guber has also worked at the Lower Manhattan Cultural Council, the Museum of Jewish Heritage, and founded the Shpatzirin Festival. She has reviewed many thousands of proposals over her 20 years in the art world and has facilitated many review panels. Guber hates jargon, and loves proposals that are unusual, interesting, and paint a clear picture. 

Questions? Email learning@nyfa.org. 

This program is presented by NYFA Learning. Sign up here to receive NYFA News, a bi-weekly organizational email for upcoming awards, resources, and professional development. NYFA Learning also offers the monthly Immigrant Artist Program (IAP) Newsletter if you are interested in opportunities, professional development, events, and tips and advice specific to immigrant artists.

Image: NYFA Online Learning: Proposal Writing: How to Work Smarter, Not Harder, on Getting What You Want!, September 2019, Courtesy NYFA

[architectuul]

Future Online Rooms

The challenges the entire world has faced recently have also become challenges for designers, architects and urbanists. Calls for new models that would transform decades of self-complacency into practices dealing with the politics of relations, neighbourhood, energy flows, and ever changing urban dynamics have merged with calls for political commitments that demand care, empathy and awareness of the other.

The current state of affairs has also brought changes into the functioning of numerous institutions in the field of architecture. Among them is the Future Architecture Platform, and its twenty-seven architecture museums, festivals, publishing houses and other organizations were forced to find other ways to reach out to their audiences. 

The era of video conferencing has exposed our private rooms online. These days, we glimpse each other’s decorated walls or books on shelves in call after call. The fragments of these rooms become part of our own spaces, blurring the boundaries of public and private spheres, of what is tangible inside and what is immaterial elsewhere. The opportunity to peek into these unfamiliar spaces of the others — and have our own projected outwards — is at once entertaining and unsettling. Such was the mindset of twenty-seven leading European architectural institutions when they opened their doors virtually through the Future Architecture Rooms platform. 

The last package of the rooms opening include MAO Museum of Architecture and Design Ljubljana, also the coordinator of the Future Architecture platform since 2015. MAO preserves and archives work from prominent architects and designers of the 20th and 21st centuries, constituting a rich history of creative ideas, vision and production. Since 1972, the museum has organized the Biennial of Design (BIO), the oldest European design biennial, which enjoys a tradition spanning a full 50 years, with a strong international presence.

Theatrum Mundi is an independent research centre that links urbanism and the performing arts to expand how the public lives of cities are understood and designed. Established at NYU by Richard Sennett in 2012, Theatrum Mundi now operates through non-profit structures in the UK and France. 

Amidst a global pandemic, Theatrum Mundi organisation is presenting itself to the public. Focusing on a longterm research interest of theirs, Choreographing The City, which explores the potential of choreographic thinking and movement practices to offer essential new approaches to critical contemporary issues in city-making based on the notion of care.

Days of Architecture Sarajevo was born in 2008 from the enthusiasm of architecture students, eager to discover more than their faculty was allowing them to do. Since then DA has blossomed to host more than 150 lecturers from 35 countries, growing into one of the most important architectural events in the Balkan region. Its twelve past editions show a track record of discussions, workshops, pilot projects, exhibitions, screenings. The event managed to activate and be a reference for the local design community, as well as in the countries of Ex-Yugoslavia. 

The landscape of care is Sarajevo. Each spot shown in the video is one piece of them, one piece of place where they all met, grew up and where they decided to challenge set paradigms. It is not just them who grew, these places also developed and changed with them. 

Driving the Human Berlin is led by four German partner institutions: Acatech – National Academy of Science and Engineering, Forecast, the Karlsruhe University of Arts, and Design and ZKM | Center for Art and Media. The initiative relies on the expert knowledge and skills of their combined networks, and together, these partners will work to enrich the various developments and outcomes of the initiative.

From 2020 to 2023, the scientific and artistic collaboration Driving the Human develops and produces seven tangible prototypes responding to complex contemporary scenarios. Over the course of three years, Driving the Human becomes a catalyst for experimentation, shaping sustainable and collective futures that combine science, technology, and the arts in a transdisciplinary and collaborative approach.

Royal Academy of Arts London was founded over 250 years ago as an autonomous, politically independent, self-funded place to create, debate and exhibit the visual arts and architecture. 

As the pandemic keeps the dedicated staff away from the beautiful buildings of the Royal Academy, they introduce their activities and ethos that are inter-disciplinary and inter-generational; generous and inclusive. You will get a virtual tour through the Academy’s buildings including an interview with David Chipperfield who completed a recent refurbishment of the extensive site located in Central London, see an installation in the Architecture Studio called Invisible Landscapes: Act III that looked at how virtual-reality technologies are transforming how we design, look at, and interact with the world around them.

The Museum of Architecture in Wrocław gathers, scientifically documents and makes available a collection of architectural drawings and documents (16th-21st century), photographs, stone samples and sculptures, graphics, stained glass, ceramics. The museum presents over 20 different exhibitions every year and realizes various programmes and events addressed to professional architects, historians the general public.

So far, more than 130.000 people have visited the rooms where the members of the Future Architecture platform, led by Anastassia Smirnova, concept curator, have constructed a context for exchange, knowledge transfer, discussion, education, and presentation. A space that can respond to the effects of the pandemic, without being disrupted by them. In the rooms the curators and producers, directors and managers as well as their collaborating architects, critics and publics are free to communicate as they wish. Every room features a short video allowing us to peek behind the scenes of some of the most interesting critical projects in Europe, joined under the common theme Landscapes of Care.

The identification of new potentials is also the theme of the platform's upcoming annual open call. Where emerging designers and architects with their ideas can help to shape the most groundbreaking architectural happenings and events that form the core of the European Architecture Program. Titled Landscapes of Care, this year's open call will provide a broader space for reflection, debates and proposals about the future of architecture. Applications will be open from November this year.

---

Future Architecture Rooms: Landscapes of Care: 2021 Call for Ideas

a project by Museum of Architecture and Design in Ljubljana / Director: Matevž Čelik; Creators: Anastassia Smirnova (SVESMI) (concept curator), Milan Dinevski (MAO) (executive curator), Anna Kulachek (graphic designer), Maksim Karalevich (digital designer), with the participation of James Taylor-Foster (ArkDes), Bika Rebek (Some Place) and Ana Dana Beroš (DAISAI).

[jewishmuseummd]

Museums As Agents of Change

Wednesday, September 16, 2020 at 7:00 pm EST

Register for this Streaming Virtual Event Here

The place of museums in society is rapidly evolving. As active participants in the important conversations of the present, today museums have a role to play in helping understand and interpret complex issues in our society.

In the words of Lonnie Bunch III, secretary of the Smithsonian, “Museums are not community centers, but they can be centers of their communities.” Among our most trusted sources of information, museums have a unique platform to share stories that have been marginalized, ask hard questions, and host the difficult conversations that can lead to real change.

The Capital Jewish Museum and the Jewish Museum of Maryland come together for a conversation about how our museum communities and the Jewish community can work together in the fight for racial equity within our country. We will explore the work that needs to be done, how museums are rethinking their role and actively approaching the task, and offer some practical steps that we can all take to move forward together.

About Our Speakers

Damika Baker-Wilson is the Director of Engagement and Strategic Initiatives at the Reginald F. Lewis Museum. Prior to joining the staff of the Lewis Museum, Damika spent almost five years as the Director of Development for the Academy Art Museum where she managed an $8M capital campaign and the museum’s development office operations. Damika began her career in the cultural sector as the Visitor Services and Membership Coordinator for Adkins Arboretum, where she now serves on the Board of Trustees. With over a decade of experience in cultural institutions, Damika has experience in a variety of areas, including fundraising, program development and evaluation, marketing, visitor series, and outreach. In 2018, Damika was selected as one of 36 professionals from around the world to participate in the Getty Leadership Institute’s NextGen executive education program, a blended-learning experience for the museum field’s emerging top talent. The program is designed for professionals who are in the first 3-5 years of a new mid-level management position, and who have demonstrated extraordinary leadership potential. Damika holds an undergraduate degree in Afro-American Studies from the University of Maryland-College Park and has completed graduate coursework in Nonprofit Management from the University of Maryland University College. She serves on the board of Adkins Arboretum and the Maryland Lynching Truth and Reconciliation Commission.

Yolanda Savage-Narva has twenty year’s experience working with public agencies and non-profit organizations to promote equitable access to public health, eldercare and pedestrian safety. She is a Centers for Disease Control (CDC)-trained public health specialist who has led community-based efforts in community health assessments for Indian Health Service, public education for the Alzheimer’s Association, pedestrian safety and advocacy for America Walks, and health equity for the National Association of State and Territorial Health Officials. Yolanda currently holds the position of Executive Director with Operation Understanding DC, a non-profit organization dedicated to promoting understanding, cooperation, and respect while fighting to eradicate racism, anti-Semitism and all forms of discrimination. She is also a member of the JewVNation cohort, a fellowship sponsored by the Union for Reform Judaism, a 2019 Schusterman Fellow, a vicechair of the Religious Action Center’s (RAC) Commission on Social Action, a co-chair of the Racial Justice equity committee for the RAC, a member of Temple Micah in Washington, D.C. and a member of Delta Sigma Theta Sorority; an international Black sorority dedicated to community service and education. Yolanda is a graduate of Tougaloo College (Sociology) and has a master’s degree in education from Jackson State University. In her spare time Yolanda loves being outdoors, reading, birdwatching, playing sports and traveling with her family.

Marsha Semmel is an independent consultant working with cultural and educational organizations on leadership development, strategic planning, and partnerships. Her book, Partnership Power: Essential Museum Strategies for Today’s Networked World, was published by the American Alliance of Museums and Rowman & Littlefield in 2019. Recent positions include Special Initiatives Advisor in the Office of the Chairman, National Endowment for the Humanities; Senior Adviser to the National Center for Science and Civic Engagement; and Adjunct Faculty at the Bank Street College Graduate School of Education’s Leadership in Museum Education Program. Semmel was Senior Advisor, Noyce Leadership Institute, from 2013-2015. She was the Director for Strategic Partnerships, Deputy for Museum Services, and Acting Director at the Institute of Museum and Library Services (IMLS) from 2003-13. From 1984-1996, she served in the Division of Public Programs (Division Director, 1993-1996) at the National Endowment for the Humanities. She also served as President and CEO of Conner Prairie, a history museum near Indianapolis, and President and CEO of the Women of the West Museum in Denver. Recently concluding her stint as Chairman, Arlington Commission for the Arts, Ms. Semmel currently serves on the boards of the Council of American Jewish Museums, the Institute for Learning Innovation, and Planet Word, a new museum in DC devoted to language.

Eric S. Yellin is Associate Professor of History and American Studies at the University of Richmond and Senior Curatorial Consultant for the Capital Jewish Museum in Washington, DC. He is the author of Racism in the Nation’s Service: Government Workers and the Color Line in Woodrow Wilson’s America and the co-editor of the forthcoming We the People: Public Workers in Service of America. Yellin earned his BA from Columbia University and his PhD in American History from Princeton University. His public history writing has been featured in the Washington Post, USA Today, The Conversation, and elsewhere.

Moderator: Tracie Guy-Decker is the deputy director at the Jewish Museum of Maryland. She started at the museum in April 2015, the same time Baltimore got national attention because of Freddie Gray’s murder and the Uprising that followed. That timing resulted in Guy-Decker pushing herself and the JMM to learn, unlearn, and grow in antiracism and anti-oppression. In her five years at the Museum, she has overseen project and process management in every aspect of operations, from finance to exhibits, facilities to fundraising. Before joining JMM, Tracie spent fifteen years helping non-profits, colleges, and universities expand their impact and their visibility through well-crafted and strategic marketing and fundraising. She has a masters degree in religious studies from the Divinity School of the University of Chicago.

[theculturedmarxist]

The Freedom Quilting Bee is a quilting cooperative established in 1966 by a group of African American women in the community of Rehoboth, 46 miles from Selma, in Wilcox County. The groups arose during the civil rights movement and is heralded for having spawned a renaissance in the popularity of quilting in American interior décor in the 1960s. The Freedom Quilting Bee has in recent years been confused with the nationally known Gee's Bend Quilters Collective, a group of quilters who reside in the nearby community of Boykin (formerly Gee's Bend). Some quilters in the Freedom Quilting Bee have belonged to both groups.  

The Freedom Quilting Bee was born in the civil rights movement as a way for poor black craftswomen in the Alabama Black Belt to earn money for their families. Most of the members rallied for voting rights in the Selma-to-Montgomery March, or in Camden, the Wilcox County seat. Despite the passage of civil rights legislation in 1964 and 1965, a direct outcome of the Selma march, the region remained in turmoil.

An Episcopal priest, Father Francis X. Walter, a Mobile native, had come home to Alabama from a church in New Jersey to head the Selma Inter-religious Project (SIP), a coalition of 10 nationwide religious denominations serving as a spiritual presence in Selma in the aftermath of the march. While lost driving around near the remote community of Possum Bend in Wilcox County, he spied a clothesline with three quilts in bold, primary colors, unlike any he had seen before. As he approached the home to inquire about the quilts, a black woman who saw him coming fled to the back woods. Such were race relations in the Black Belt, even after passage of the Voting Rights Act. Soon after that backwoods encounter with Ora McDaniels, he stopped by the home of another local African American quilter to discuss the works. At the time, the Op Art movement, which focused on bold geometric shapes and patterns, was popular in the art world of New York City. Walter saw similar themes expressed in the patterns on the quilts and believed that the quilters around Selma could benefit from forming a quilting coalition to fund civil rights activities. After a friend in New York suggested a quilt auction as a fund raiser, Walter met with Ella Saulsbury, a local field representative from the Southern Christian Leadership Conference, and then returned with her to visit McDaniels to discuss placing some of the Wilcox county quilts in the auction.

An informal group soon coalesced to collect quilts for sale at the New York auction. As Walter went door-to-door for the project, however, sentiment emerged among the quilters for a more organized, permanent quilting cooperative for black craftswomen in the area. Quilter Minder Coleman of Alberta, former president of Gee's Bend Farms, Inc., a New Deal cooperative agricultural community, envisioned a quilting business and offered to serve as chair. Momentum gathered for the establishment of a cooperative, with members earning the proceeds from sales of the quilts. Thus, on March 26, 1966, the Freedom Bee was officially organized, and those present elected officers, set up a board of directors, and adopted a charter. The group counted 60 members from across the Black Belt, with its nucleus in Rehoboth (also known then as Route 1, Alberta), because that was the home of manager Estelle Witherspoon, a skilled and politically savvy community leader.

In New York, Walter arranged for friends to stage two quilt auctions that were promoted as ways to help black women fighting for civil rights in the South. Produced by former Alabamians, the first auction, held on March 27, 1966, took place in a photography studio near Central Park West. Advertising consisted of a promotional flyer, a sign in the studio window, and word of mouth. One of the promoters also arranged for New York City wholesale home furnishings fabric houses to donate and ship cloth scraps to Rehobeth for use in the quilts. The second auction was held on May 24, 1966, in the basement hall of the Unitarian-Universalist Community Church of New York. By that time, the promoters found a communications professional to do volunteer publicity, placing a paragraph in The New York Times, courtesy of a Mississippi-born reporter, as well as printing posters and spreading the word. 

Prior to that first auction, Walter had travelled up and down the roads in the area, asking for quilts to be shipped off. Some women took stitchwork directly from their beds. Patterns reflected styles spanning at least a century of black quilting in the area, including the Roman Cross, Pine Burr, and Chestnut Bud. Especially poignant to prospective buyers were worn-out denim swatches made from blue jeans after their owners could no longer wear them in the corn and cotton fields. The auctions stirred momentum, and quilts went from $10-15 to $100 and upwards after the first two events. Famed New York decorator Sister Parrish purchased quilted works from the co-op for use in decorating her clients' homes, and Vogue editor Diana Vreeland promoted the quilting styles in the influential fashion magazine. High-end department stores such as Bloomingdale's and Saks Fifth Avenue bought quilts to sell to their customers, and The New York Times covered the group and generated publicity for the women and their work. 

The quilts caught the attention of influential artists, including painter Lee Krasner, widow of abstract expressionist painter Jackson Pollock, and the quilters exhibited at the Smithsonian Institution. Promoters from New York ran sewing schools at the co-op building that rose up in a former cornfield in Alberta. The women learned to conduct business, and for the first time, they earned money, enabling them to acquire indoor bathrooms and roofs that did not leak and to provide their children with high school graduation rings and college tuition. They also spurred a nationwide quilting revival. 

In the 1970s, the co-op decided to limit the number of patterns it produced to meet market requirements. The quilters no longer crafted original, one-of-a-kind showpieces, and the change drew some criticism. But members were committed to improving their lives and the lives of their children and raising the economic standards in their community. In addition to quilting, the group filled sewing contracts for Sears, sold works through larger co-ops, and took on projects through the New York-based Rural Development Leadership Network. By the mid-1990s, many of the members had retired, died, or taken steadier jobs outside the county, and the Freedom Quilting Bee lost the momentum. 

Despite these changes, a small group continued the work. Local students received summer training. Then in 2004, Hurricane Ivan damaged the Bee's traditional workplace, the Martin Luther King Jr. Memorial Sewing Center, causing the handful of remaining quilters to work in the living room of manager Rennie Miller. Retired from management in New York state, Miller had received a college education paid for in part by monies earned by her mother, Nettie Young, an early member of the Freedom Quilting Bee. Another member, Lucy Marie Mingo, was the most educated member, having studied on scholarship at Spring Hill College in Mobile. One of her quilts is now in the possession of the Birmingham Museum of Art.

Renovations to the portions of the building with storm damage have never been completed because of lack of community interest, among other obstacles. In May 2011, Nettie Young, the last living member of the original Freedom Quilting Bee and original board, died. Since that time, interest and participation in the group dwindled, and in 2012, Rennie Miller officially closed the Bee. She hopes to revive the historic co-op with help from outside sources.

additional:

http://www.ruraldevelopment.org/FQBhistory.html https://en.wikipedia.org/wiki/Freedom_Quilting_Bee http://www.uapress.ua.edu/product/Freedom-Quilting-Bee,341.aspx