This title was digitized by the Museum of Contemporary Art of Georgia (MOCA GA).
About Art papers. (Atlanta, Ga.) 1981-current | View Entire Issue (Sept. 1, 1981)
1981 NEA Visual Arts Fellowship Announced The Visual Arts Program of the National Endowment for the Arts awarded fellowships totaling $2.6 million in fiscal year 1981 to 268 visual artists. Fellowships of $12,500 and $4,000 were awarded this year, amounts increased from $10,000 and $3,000 in the previous year. Due to severe budget restrictions and major changes in the Visual Arts Program, the fellowships will be awarded bien nially beginning with fiscal year 1982, although in increased amounts of $25,000 and $5,000. Southeastern artists receiving fellowships, listed by category, are: Conceptual/Performance/New Gen res, Susan Hiller (Coral Gables, FL; $12,500), Steven Sweet (New Orleans, LA; $4,000); Printmaking/Draw ing/Artists Books, James Furr (Opelika, AL; $12,500), Barbara Cesery (Jacksonville, FL; $4,000); Painting, Gerald Donato (Richmond, VA; $12,500), Ray Kass (Christians- burg, VA; $ 12,500); Jacob Kass (Largo, FL; $4,000); Video, Julia Heyward (Clearwater, FL; $12,500); Photography, George Blakely (Tallahassee, FL; $12,500), Prentice Polk (Tuskegee, AL $12,500), Timothy Kilby (Sperryville, VA; $4,000). Mark McFadden (Herndon, VA; $4,000); Sculpture, Ann Norton (West Palm Beach, FL; $12,500), Edgar Tolson (North Middleton, KY; $12,500), Martin Emanuel (Atlanta, GA; $4,000), Howard Finster (Sum merville, GA; $4,000), Carl Hender son (Atlanta, GA; $4,000); Crafts, Susan Loftin (Atlanta, GA; $12,500), Christopher Silliman (Richmond, VA; $12,500). These 19 artists (7% of the total artists in the program) receive a total of $169,500 (6% of the program’s total funding). Deadlines for 1982-1983 are by category: Print making/Drawing/ Artists Books, Sept. 21; Painting, Oct. 15; Video, Feb. 1; Photography, Feb. 1; Sculpture, March 4; and- Crafts, April 23. For more informa tion, contact: Visual Arts Pro gam/Guidelines, NEA, 2401 E Street, N.W., Washington, D.C. 20506. Reagan Arts and Humanities Task Force President Reagan’s appointed White House Task Force on the Arts and Humanities is made up of 35 well known figures in the arts and humanities, as well as individuals from the public and private sectors. The Task Force was asked by the President “to deliver to my desk by Labor Day a plan to make better use of existing federal resources and to in crease the support for the arts and humanities by the private sector.” In addition, the Task Force will in vestigate the feasibility of converting the NEA and NEH into a public cor poration. The Task Force is led by three co- chairman: Charlton Heston, actor; Hanna H. Gray, President of the University of Chicago; and Daniel Terra, collector and Ambassador-at- Large for Cultural Affairs in the State Department. Founder of Penland Dead at 92 Lucy Calista Morgan, founder of Penland School of Handicrafts, died on July 4 in her home in Webster, North Carolina. In 1929, Morgan established the crafts center as part of a community project to revitalize the skills of the handweavers living in the isolated North Carolina mountain region. Penland has grown into a ma jor regional handicrafts school with students and teachers from throughout the U.S. and the world. With LeGette Blythe, Morgan described her experiences of develop ing the school in a book, Gift from the Hills, published in 1958. New Building for the North Carolina Museum The North Carolina Museum of Art in Raleigh dedicated its new facilities designed by Edward Durrell Stone and Associates and Holloway- Reeves of Raleigh on May 28. With the projected opening scheduled for mid-1982, the new building features 181,300 square feet which will ac comodate greatly expanded gallery and work areas. The expansion also includes an education area with a 272-seat auditorium, a reference library, and space for photography, workshops, art conservation, offices, storage, and food service. With cantilevers projecting over the entrance and a proposed reflecting pool, a three-level skylit atrium, and a grand stairway descending toward the dining area, the structure will provide a welcome aesthetic change from the renovated office building which hous ed the museum for its first 25 years. The dedication ceremonies were presided over by the Museum’s new director, Dr. Edgar Peters Bowron, formerly the administrative assistant to the director and curator of Renaissance and Baroque art at the Nelson Gallery-Atkins Museum in Kansas City, Missouri. Florida’s Cuban Collection On January 29, 1981, the Museum of Arts and Sciences in Daytona Beach opened nearly 5,000 Square feet of exhibit space devoted ex clusively to the Cuban Foundation Collection, called the most important public collection of Cuban fine and folk art in the Free World. The collection was started over 25 years ago by a group of Cuban American businessmen and dip lomats, organized in Daytona Beach, with the support of Fulgencio Batista, the last president of Cuba, who, while in office, maintained a vacation retreat in Daytona Beach. After the Revolution in 1959, with the support of other Cubans, the collection has continued to develop. In 1971, the collection became one of the principle responsibilities of the Museum of Arts and Sciences which is now the American Association of Museums’ only accredited institution in north central Florida. Now housed in the east wing of the museum, America’s first Cuban collection con tains unique and significant examples from the artistic and cultural heritage of the Cuban People. Another Florida First Florida is the first state to legislate the insurance of artworks loaned from other states. The state’s indem nification for art program was signed into law by Governor Bob Graham on July 1. The bill, sponsored by Representative Bill Sadowski and Senator Dick Anderson, allows Florida museums to borrow works of art that would otherwise be unavailable due to the costs of in surance. The state will commit up to $3 million of its working capital reserve so that any eligible museum may apply for up to $1 million of in surance backing. A $25,000 deduc tion and securing of a private in surance underwriter is required for the balance of coverage. Jan van de Marck, Director of Miami’s Center for Fine Arts has in itiated the program. The museum has been loaned artworks valued at $100 million dollars for its opening exhibi tion in 1983; the institution’s in surance premiums have been reduced by 50% as a result of the new legisla tion. The exhibition, “In Quest of Ex cellence,” includes masterpieces from America’s most prestigious museums and is expected to travel throughout the state of Florida. Florida Airport Commissions Announced The Orlando International Airport Authority has announced the first commissions for its permanent collec tion. Among the artists selected are Trevor Bell (Tallahassee), Richard Anuskiewicz. and Bruce March (Orlando), and Paul Harris and Bruce Marsh (Tampa). The works were chosen by Marene Grant (Director, Loch Haven Art Center), Que Throm (Chair, Department of Art, Valencia Community College), Elayne Varian (former Curator of Contemporary Art, Ringling Museum of Art), and Linda Chapin (representative of the Board of Airport Authority). The air port will spend a total of $200,000 for the commission of new works during the next five years. HERBERT CREECY: RECENT PAIN TINGS; RUTH LAXSON: RECENT WORKS; BEVERLY BUCHANAN: RE CENT SCULPTURE, all from Sept. 19-Oct. 14. ALAN SHIELDS: RECENT WORKS, Oct. 17-Nov. 14. Heath Gallery. Hrs.: Tues.-Sat. 11-15. 416 E. Paces Ferry Rd., NW, Atlanta, GA. 404-262-6407. ANTHONY LAMOLINARA AND KEITH MALTBEY: BLACK AND WHITE AND COLOR, photographs, thru Oct. 15. Nassau Visions Gallery. Hrs.: Tues.-Fri. 10:30-4:30, Sat. 12-5. 1176'/2 West Peachtree St., Atlanta, GA. 404-872-0262. CLEMENTE, CHIA & CUCCHI: Etchings and Lithographs by Three Young Italian artists, Oct. 19-Nov. 21. Jane Bickerton Fine Arts. Hrs.: By appointment only. 1440 High Point Place, Atlanta, GA. 404-874-4750. LEE LOWE: RECENT WORKS, figurative and abstract, thru Oct. 8; EXHIBITION OF THE OLD MASTER: ALAN CRITE and Ed Rumfeld in his studio (photo: courtesy of Georgia St^te University). In Memoriam: Ed Rumfeld By George Beasley Ed Rumfeld was active in Atlanta for only a few years, but in that time his energy was felt in both sculpture and film. His three dimensional work was derived from studies of the Pied mont plateau at the point where it intersects and ascends to the Appalachian ridges. This imagery was expressed through the fabrication of multiple plane, hard-edge metal sculpture. His finely crafted pieces show the love and understanding with which they were built. All of us who worked with Ed knew this love and were affected by it. Beyond and more important than his love for the craft was his interest in and sensitivity to people. This seemed to lead naturally to an involvement with filmmaking. Ed had a knack for getting into the “head” and emotions of his subjects. A rapport and trust would be established. Ed produced less film work than sculpture, but was increasingly turning to film as an outlet for his very humanistic con cerns. In a community, the cultural climate is formed by the production of its individual artists. When an artist leaves the community part of that force is depleted. Atlanta has lost Ed Rumfeld. George Beasley, associate pro fessor at Georgia State University, was Ed Rumfeld’s teacher and friend as well as the subject of his film, Iron. Art Papers September-October 1981 22
