Archive for May, 2002

Attending Organizations M-Z : A list of all groups with tables at Expo 2002

Thursday, May 30th, 2002


Mission Creek Music Festival



Jtray7@directtvinternet.com; http://www.zmrzlina.com/mcmf/news.html


Mission Creek Music Festival is a local festival produced by the members of the local band Zmrzlina as well as other volunteers, featuring mostly local acts at venues around town. We are now organizing the 6th Annual MCMF for the last week of May.


Nadine Condon/ Nadine’s Wild Weekend



PO Box 182; San Mateo, CA 94401
(650) 340-8159; www.nadineswildweekend.com; www.nadinecondon.com


Nadine’s Wild Weekend: August 22-25, San Francisco; Nadine’s Wild Nights: May 2, Sacramento; May 30, San Jose; June 6, Modesto. Bands — submit your demos, it’s a celebration, not a contest! Also, visit nadinecondon.com for info on mentoring and one-on-one, personalized music-business consulting with the “Godmother” of rock.


New Langton Arts



1246 Folsom St., SF, CA 94103
(415) 626-5416; www.newlangtonarts.org/


New Langton Arts cultivates experimental contemporary artworks in a variety of disciplines while encouraging broad public appreciation and access to the art of our times. We provide support to contemporary artists from diverse economic, social and cultural backgrounds through exhibitions, performances, readings, concerts, commissions, fellowships, awards and publications.


OUTSOUND



P.O. Box 2281, El Cerrito, CA 94530
(510) 527-0145; outsoundorg@yahoo.com; www.outsound.org/


Outsound is a volunteer collective of new sonic musicians who, among other things, are involved in running music performance venues, recording labels and other DIY endeavors in San Francisco. The mission of Outsound is to raise public awareness of music not otherwise made available by presenting public performance, co-op promotion and education.


Popular Noise Foundation



www.popularnoise.org/


The Popular Noise Foundation is a nonprofit supporting local music in the Bay Area. Recent programs include a scholarship for young musicians, a concert series showcasing local music, and grants for local musicians. We recognize the wide breadth of genres that define the local music community and are dedicated to supporting them all.


Planet Drum Foundation



P. O. Box 31251, SF, CA 94131, Shasta Bioregion
(415) 285-6556; planetdrum@igc.org; www.planetdrum.org/


Planet Drum Foundation is a voice for bioregional sustainability, education and culture. Bioregionalism is the philosophy of organizing communities around regional natural resources. Planet Drum publishes and organizes extensively for bioregionalism all around the world, and works to support ecologically sustainable and regional culture in the Bay Area.


PlayGround



268 Bush Street, #2912, San Francisco, CA 94104
(415) 704-3177; playground@rcn.com


PlayGround is an eight-year-old theatre company dedicated to emerging playwrights. PlayGround produces the PlayLab series, a monthly staged reading of original short plays written exclusively for PlayGround in just five days, and the annual Emerging Playwrights Festival, a fully produced showcase of the best short plays from the PlayLabs.


POND: A place for art, activism and ideas



214 Valencia, SF, CA 94103
(415) 437-9151; www.mucketymuck.org/


POND is an educational nonprofit organization dedicated to providing a forum through which experimental artists may share ideas and foster a mutually beneficial relationship with the larger community. Our goal is to offer an accessible place for individual and community groups to develop and execute ideas in a non-competitive atmosphere.


RE/Search Publications



20 Romolo #b, SF, CA 94133


RE/Search Publications publishes interviews with artists, writers, poets, filmmakers, performance artists and other creative visionaries who aim to critique and change society. Most influential books include “Modern Primitives” (which helped launch the tattoo/body modification movement), “Incredibly Strange Music,” “The Industrial Culture Handbook” and the classic Search & Destroy punk rock ‘zine.


Renaissance Entrepreneurship Center



275 Fifth St., SF, CA 94103
(415) 541-8580; www.rencenter.org/


Renaissance Entrepreneurship Center provides classroom training, incubation, financing and ongoing support services to potential and existing small business owners. These services can be applied directly to artists ready to turn their passion into profit.


Renegade Productions



70 “R” Woodland Ave., San Rafael, CA 94901
(415) 459-5597; renegadeproductions@hotmail.com


We are a full-service event planning and staging operation, ready to meet any audio/visual need for presentations, promotions, conferences and live music. We are a licensed and bonded full-service production and booking agency serving public and private events, as well as booking for venues in the SF Bay Area.


Rocket Words Writing and Editing Services



1050 Stanyan Street #3, SF, CA 94117
(415) 731-6468; rocketjk@dnai.com; www.rocketwords.com/


Copywriting for artists, arts-related businesses and publications, including press kits, Web content and articles. My commercial copywriting experience is augmented by an understanding of the creative process gained through my own fiction writing and six years as a jazz radio producer. The result is compelling copy that remains true your creative vision.


San Francisco Community Music Center



544 Capp St., SF, CA
(415) 647-6015; pr@sfmusic.org; www.sfmusic.org/


The SF Community Music Center was founded in 1921 on the philosophy that age, ethnic background and income level must never be obstacles to participation in the life-enhancing qualities of a music education. The Music Center is a community resource dedicated to excellence, diversity and accessibility.


San Francisco Late Night Coalition (SFLNC)



268 Bush St. #2931, SF, CA 94104
(415) 820.3256; info@sflnc.com; www.sflnc.com/


The SFLNC is a group composed of promoters, activists, DJs, musicians, artists, community members and club owners working to protect, preserve and promote San Francisco’s late-night culture. We work to encourage awareness of the regulations and issues of after-hours entertainment, and to speak for the rights and the passions of this diverse community.


The San Francisco Media Archive



275 Capp St., SF, CA 94110
(415) 558-8117; www.sfm.org/


The San Francisco Media Archive is dedicated to the preservation of film and media materials. Our archive is composed of thousands of films, video tapes, film strips and other materials, many accessible via our online database. We offer training in film history, digital archiving and media preservation as well as public screenings and seminars.


Sanitary Fill Company Artist-in-Residence Program



501 Tunnel Ave., SF, CA 94134
(415) 330-1415; debmunk@earthlink.net


The goal of Sanitary Fill Company’s Artist-in-Residence program is to use art to inspire people to recycle and conserve resources, by giving artists the opportunity to make art from San Francisco’s refuse. The company provides a studio, a monthly stipend and a solo exhibit, but artists seem most excited about having unlimited access to the materials.


SCRAP (Scroungers’ Center for Reusable Art Parts)



801 Toland (entrance on Newcomb), SF, CA 94124
(415) 647-1746; scrapsf@mindspring.com


SCRAP is a creative reuse center accepting materials suitable for arts and educational purposes while diverting these materials from landfill. We make these materials available at low cost. Helping artists, schools and the general public creatively reuse 125 tons of trash per year. Make Art Not Landfill!


SoundSafe



870 Market St., Ste. 1260, SF, CA 94102
home@soundsafe.org; www.soundsafe.org/


The former tenants of Downtown Rehearsal Studio formed SoundSafe, a nonprofit organization established to develop a center for live music, dance, music rehearsal and art in San Francisco; and to continue its support; and to further music education and appreciation.


SoundWood c/o Fauna & Flora International



3490 California St., Ste 201; SF, CA 94118
(415) 346-7412; www.soundwood.org/


What do trees have to do with music?
SoundWood is an international conservation program of Fauna & Flora International working to safeguard the future of trees used to make musical instruments. The program combines education, outreach and industry integration as well as species and habitat conservation to affect long-term change. Make Music –Conserve Trees.


Taking the Leap



1506 62nd St., Emeryville, CA 94608
(510) 653-1655; www.takingtheleap.com/


Taking the Leap offers a six-month practicum filled with insider information, hands-on experience and networking opportunities. Participants gain detailed information about the structure of the art world, learn skills necessary for surviving as an artist, and organize and install an exhibition of their work (last year 2,000 people attended).


TILT (Teaching Intermedia Literacy Tools)



992 Valencia St, SF, CA 94110
(415) 401-8458; www.tiltmedia.org/


TILT is a media education organization that works within schools and community-based programs, teaching fundamentals of moviemaking while promoting intermedia literacy through hands-on experience with media making. TILT bridges the gaps between communities, the arts and academia in a manner that is intellectually rigorous, yet maintains its grassroots integrity.


Uncle Thrills Productions



PO Box 191556, SF, CA 94119
(800) 246-3030; www.unclethrills.com


Uncle Thrills is an SF-based independent record label. We specialize in helping new artists, by working with them to produce, record, package, press and release their first recordings, with local distribution, promotional materials and legal support. Rock and pop preferred. Current artists include Burke, Unsweetened and Creamsicle.


Women Environmental Artists Directory


http://wead.dreamfish-creative.com/



We promote national and international networking among eco-artists. Our directory of women environmental artists serves curators, administrators, other artists and writers and researchers. Our yearly Bioneers Conference (the largest multidisciplinary conference on ecology) promotes interaction of art and artists into eco/environmental projects on every level.


Ylem: Artists Using Science and Technology



P.O. Box 749, Orinda, CA 94563
(415) 647-8503; www.ylem.org/


Ylem is an international nonprofit providing a forum for new ideas by means of its Web site, forums at the Exploratorium, newsletters and informal get-togethers. Exhibits, performances and other special events happen about once a year. Ylem has been providing these services to artists using electronic media and/or science and math ideas for 20 years.

Expo 2002 Press Coverage

Thursday, May 30th, 2002




New Utopians Envision a Better Future for S.F.





San Francisco Chronicle, May 7, 2002


San Francisco Chronicle columnist Laurel Wellman captured the optimistic energy of Expo 2002.




Expo for the Artist & Musician





Artbusiness.com, May 6, 2002


An accounting of the day’s events, plus a fine photo gallery.

Attending Organizations A-L : A list of all groups with tables at Expo 2002

Wednesday, May 1st, 2002


The Art Explosion



2425 17th St., SF, CA 94110
(877) ART-EXPL; artex@big.net


The Art Explosion is dedicated to providing affordable artist work spaces in an open, supportive environment where artists can explore, create, and exhibit all kinds of art. We offer individual workspace, community resources and support and exhibition opportunities for a diverse community of both established and emerging artists.


Artist Resource



www.artistresource.org/


Artist Resource educates, connects and promotes visually creative people by building a supportive online community. We post exhibits, events, classes, forums, competitions, jobs, portfolios, galleries, services and supplies. Currently focused on Northern California, we are expanding in 2002 to New York and other cities in the U.S.


Artonomy, Inc.



PO Box 77572, SF, CA 94
info@artonomy.org; artonomy.org/


Artonomy will provide educational workshops, produce and promote events, and offer professional services to the arts and music community. The focus of this organization is to provide the information and tools necessary for artist and musicians to achieve their
personal goals and allow them to progress in their creative careers.


ArtSpan



934 Brannan Street, SF, CA 94103
(415) 861-9838; www.artspan.org/


ArtSpan is a nonprofit dedicated to building connections within San Francisco’s visual arts community and between that community and the general public. ArtSpan organizes the annual San Francisco Open Studios program, Art for Inner City Youth, Technical Assistance Workshops and the prestigious Selections Exhibition.


Black Rock Arts Foundation



1900 Third St., 2nd Fl., SF, CA 94107
(415) 641-0949; info@blackrockarts.org; www.blackrockarts.org/


The Black Rock Arts Foundation supports and promotes community-based interactive art — meaning, art that generates social participation. The process of creation, the means of display and the character of the work should inspire immediate actions that connect people to one another in a larger communal context.


California Lawyers for the Arts/Arthouse



Fort Mason Center, Building C, Room 255, SF, CA 94123
(415) 775-7200; www.calawyersforthearts.org/; www.arthouseca.org/


California Lawyers for the Arts/Arthouse is in nonprofit arts service organization providing lawyer referrals, dispute resolution, educational programs and information about art studios, live/work spaces and cultural facilities. Our house is administering the $1.5 million Emergency Rent Subsidy Program for nonprofit arts organizations.


ARTS Ed/East Bay Community Foundation



200 Frank H. Ogawa Plaza, Oakland, CA 94612
(510) 87407561; www.eastbaycf.org/artsed.html


ARTS Ed bridges schools and communities to create comprehensive and sustainable arts education for the children of the East Bay. We develop resources and provide grants to organizations and schools, and our website, listserv and online resource guide provide news, funding and job information for arts educators.


Art Network/Moneyforarts.com/



www.artmarketing.com/


Moneyforarts.com: grant research and consultations for fine artists seeking fellowships and grants. Art Network: resources (books, newsletters, directories, mailing lists) for fine artists wanting to learn how to market.


Art SF



info@artsf.org; www.artsf.org/


ArtSF is a coalition of artists and performers seeking funding for a nonprofit community arts center. We are working towards purchasing a warehouse in San Francisco, to serve as an arts resource providing studio, gallery, education, performance, community and rehearsal space for artists, musicians, dancers and performance troupes.


ARTwork Sales, Rentals & Exhibits



2861 California #5, SF, CA 94115
(415) 673-3080; info@artworksf.com; www.artworksf.com/


ARTwork provides sales and marketing services for artists and curates rotating exhibits in San Francisco. Our staff negotiates commercial art commissions, illustrations, murals and portraits and has installed over 3,000 exhibits and events. Since 1992 ARTwork has enabled hundreds of artists to gain the skills and exposure necessary to pursue an art career.


AXIS Dance Company



1428 Alice St., Oakland, CA 94601
(510) 625-0110; www.axisdance.org/


Since 1987, AXIS Dance Company has performed an exciting form of dance created by dancers with and without disabilities. AXIS also presents an extensive community education and outreach program, Dance Access, which offers classes for adults and youth, presentations, lecture demonstration, and residency activities locally and abroad.


Balazo/Mission Badlands Gallery



2811 Mission St., SF CA 94110
(415) 920-0896; balazogallery@yahoo.com


As a volunteer-based organization located in the heart of the Mission, Balazo has for the last three years been dedicated to promoting the cultural nuances within our community without discriminating as a result of ethnic origins, religious belief, age or gender — but giving preference to young and emerging artists exploring new and innovative concepts.


Bay Area Video Coalition (BAVC)



2727 Mariposa, 2nd Floor; SF, CA 94110
(415) 861-3282; www.bavc.org; bavc@bavc.org


BAVC is the nation’s largest noncommercial media arts center dedicated to providing access to media, education and technology. Founded in 1976, BAVC continues to provide access to new technologies in all aspects of media production. We are a production facility, an affordable training center and a critical resource for independent media-makers.


Bayview Business Resource Center



3801 Third St., Ste. 240, SF CA 94124
www.bayviewcenter.org/


The Bayview Business Resource Center is committed to providing small business training and support services to emerging and established entrepreneurs in Bayview Hunters Point and throughout San Francisco.


BorderZone Arts



97 Miguel St., SF, CA 94131
(415) 273-5510; www.borderzonearts.org/


BorderZone Arts is an international organization that facilitates collaborations among indigenous and non-indigenous artists across cultural, political and geographic boundaries. We organize exhibition programs that feature historically under-represented contemporary artists, and work link with other organizations to stimulate art practices and cultural exchanges.


California Artists For Education/foolsforhire



PO Box 1176, Mill Valley, CA 94942
(415) 504-9697; eberko@foolsforhire.com


California Artists For Education (CAFE) is an umbrella organization for artists and arts organizations who don’t want to undertake the nightmare of becoming a nonprofit themselves. foolsforhire is one of those lazy organizations that has not done so. They will be mooching, networking and using CAFE at the Expo.


CELLspace (Collectively Explorative Learning Labs)



2050 Bryant St., SF, CA 94110
(415) 648-7562; www.cellspace.org/


CELLspace provides a safe and supportive public environment for the expiration of art, education, performance and community building. Though cooperative relationships and multidisciplinary programs, we encourage a celebration of intergenerational and cross-cultural collaborations.


CITY ART



828 Valencia St., SF CA 94110
(415)979-9900


CITY ART is an artist owned, artist operated cooperative gallery on Valencia St., between 19th and 20th streets. Since 1998 CITY ART has provided an inviting gallery venue in a great location to hundreds of emerging local artists. In 2001 our member artist sales exceeded $50,000. Join us.


City College of San Francisco Continuing Education



Fort Mason, Bldg. B, Laguna and Marina, SF, CA 94123
www.ccsf.edu/; contined@ccsf.edu


City College of San Francisco offers a wide range of classes in a variety of subjects at an affordable price. We offer full semester courses as well as short-term workshops at many convenient sites around the city. It’s a great place to learn!


San Francisco Community Music Center



544 Capp St., SF, CA 94(415) 647-6015
www.sfmusic.org


Community Music Center was founded in 1921 on the philosophy that age, ethnic background, and income level must never be obstacles to participation in the life-enhancing qualities of a music education. The Music Center is a community resource where the study of music is a cherished undertaking and the program is based on excellence, diversity, and accessibility. In 2001-2002, the Center celebrated its 80th anniversary. The Music Center occupies an historic Victorian in the Mission District of San Francisco with a branch in the Richmond District and extension programs throughout the city.


CounterPULSE (formerly 848 Community Space)



848 Divisadero St., SF, CA 94117
(415) 922-2385; 848@848.com


CounterPULSE is a do-it-yourself space for artists, activists and community-makers. We also offer fiscal sponsorship, administrative services and production assistance. CounterPULSE affiliates include: 848 Community Space, Shaping San Francisco, Processed World, the Haight-Ashbury Literary Journal, Scott Wells and Dancers, Circo Zero and Gravity Productions.


Craigslist.org



PMB #244, 915 Cole Street, SF, CA 94117
(415) 566-6394; www.craigslist.org/


Craiglist.org was started in the SF Bay area by Craig Newmark in 1995. The site includes a community bulletin board with classifieds. The organization uses a common-sense, down-to-earth approach and works to make the Net more personal an authentic. It advocates social responsibility and promote small, local nonprofit organizations.


The Crucible



1036 Ashby Ave., Berkeley, CA 94710
(510) 843-5510; www.thecrucible.org/


The Crucible is a nonprofit art education facility and metal-arts sculpture studio that fosters collaboration between Art, Industry and Community. Through training in the fine and industrial arts, the Crucible promotes creative expression, re-use of materials and innovative design, while serving as an accessible arts venue for students and the greater community.


Crucible Steel Gallery



2050 Bryant St., SF, CA 94110
(415) 648-7562; www.cellspace.org/


The Crucible Steel Gallery in Cellspace gives opportunity to emerging Bay Area artists. In the spirit of artist encouragement we host an open, biannual “call for art.” This is a chance for artists to personally present their work to the gallery committee and submit show proposals for future exhibitions.


Destiny Arts Center



5688 San Pablo Ave, Oakland, CA 94608
(510) 597-1619; info@destinyarts.org; www. destinyarts.org/


Destiny Arts Center provides arts education and leadership training for a multicultural community of youth ages 3-18. Destiny participants build confidence, leadership skills and self-esteem through dance, martial arts and theater. Through our programs young people become educators and community activists with skills to promote true justice and peace.


The DJ Project



440 Potrero Ave., SF, CA 941
(415) 487-6714; thedjproject.com/


The DJ Project is a youth leadership program seeking to educate and empower low-income youth through hip-hop culture, entrepreneurship and musical expression. Local artists facilitate the creation of a youth-produced CD compilation as participants acquire marketable skills in teamwork and collaboration, project management, marketing and technology training.


Dreams by Degrees



jonathan@dreamsbydegrees.com; www.dreamsbydegrees.com/


Dreams by Degrees is a record label and design studio based in San Francisco. In 2002, Dreams by Degrees will release a series of slowcore and post-rock recordings inspired by the seasons, as well as develop Web sites for musicians and small businesses.


The Field



968 Page St., #5, SF, CA 94117
(415) 252-5670; info@thefield.org/www.thefield.org/


The Field San Francisco is a service organization providing workshops, performances and other programs for performing artists in the Bay Area. The underlying foundation of the Field is a commitment to serve all artists. To this end, the Field does not engage in any curatorial activity, maintaining an open, nonexclusive forum.


Film Arts Foundation



346 9th St., 2nd Floor, SF, CA 94103
(415) 552-8760; www.filmarts.org/


Film Arts Foundation provides a wide range of services to independent film and video makers, including seminars and workshops, equipment and post-production facilities, grants and fiscal sponsorship, a monthly magazine, exhibitions and screening, resources and videotape libraries, group legal and production insurance plans, funding and distribution consultation, and more.


Fortune Records



P.O. Box 11302, Berkeley, CA 94712
(510) 381-5041; fortune@dnai.com


Fortune Records is an independent label specializing in releasing records by artists who defy categorization.


The Foundation Center San Francisco



312 Sutter Street, #606, SF, CA 94108
(415) 397-0902; www.fdncenter.org/sanfrancisco


The Foundation Center operates a free library in downtown San Francisco with a collection of fundraising resources for the arts. Monthly, we offer a free grantseeking training program. This June will be devoted to the theme of “Funding for Art,” with programming and resources for individual artists and arts organizations.


GenArtSF



P.O. Box 460819, SF, CA 94146
(415) 305-8468; navril@genartsf.org


GenArtSF’s mission is to strengthen and empower the community of young artists; to cultivate a new generation of arts audiences; and to connect the arts audience to the community at large.


Graphics Arts Workshop



2565 Third St. #305, SF, CA 94107


The Graphics Arts Workshop is a printmaking cooperative of approximately 35 artists sharing a 2000-square-foot studio space with facilities for etching, lithography, woodcut, letterpress and monoprint. Our membership is open to all artists who can demonstrate technical proficiency in their chosen medium. 2002 marks the 50th year of our existence.


Greenmuseum.org



518 Tamalpais Dr., Corte Madera, CA 94925
(415) 945-9322; www.greenmuseum.org/


Greenmuseum.org, a nonprofit online museum of environmental art, advances creative efforts to improve our relationship with the natural world. Greenmuseum.org also offers opportunities to visit, participate in and propose new collaborative environmental art projects to serve our communities and ecosystems.


Hearing Education and Awareness for Rockers (H.E.A.R.)



1405 Lyon St. SF, CA 94115
(415) 409-EARS; www.hearnet.com/


H.E.A.R. is a health organization dedicated to raising awareness of the dangers of excessive noise levels, which can lead to permanent, and sometime debilitating, hearing loss and tinnitus. In addition to distributing hearing protection and information on hearing disorders, H.E.A.R. conducts hearing evaluation clinics in the SF Bay Area.


Hip Hop Slam



PO Box 5124, Berkeley, CA 94705
(510) 658-4293; hiphopslam@aol.com


A Bay Area mixed-media company specializing in archiving, turntablism and hip-hop music. Includes website and three 100 percent independent record labels: Hip Hop Slam Records, Chip Shop Spam Records and C.O.D. Records.


The Hub at the Jewish Community Center of San Francisco



1808 Wedermeyer St., SF, CA 94129
(415) 292-1286; atobin@jccsf.org; www.jccsf.org/HUB.html


The Hub at the JCCSF presents emerging and established performing artists who reflect, explore and represent current Jewish identity and experience, emphasizing intercultural dialog and instigating the evolution of Jewish culture. The Hub presents theater, music, spoken word and interdisciplinary performances, building community among both artists and audiences.


Iconoclast Productions



1807 Page Street, SF, CA 94117
(415) 668-5712; scalifornia@iconoclastsf.org; www.iconoclastsf.org/


Iconoclast Productions produces the African American Multimedia Conference and the SF Black Independent Film Festival. We produce videos and music, and offer training programs, workshops, and services for artists, arts and cultural and community organizations in the black community, and bring African American art into other communities.


ii Records/GirlzzRock



1547 4th St., Ste. A, San Rafael, CA 94901
(415) 453-4664


GirlzzRock is a group of local female artists whose focus is to collaborate with other groups to help increase the chances of success in the music business. ii Records is a local label with more than 40 artists on their roster with a goal to get artists major record company deals and/or help artists distribute their works.


Independent Arts & Media



PMB 821, 601 Van Ness #E, SF, CA 94102
info@artsandmedia.net; www.artsandmedia.net/; www.newsdesk.org/


Independent Arts & Media is a collaborative nonprofit working to develop a support/service infrastructure for public media and community arts. Our projects include the journalism website Newsdesk.org; the KUSF talk show RadioSegue; and Expo for the Artist & Musician. We also offer fiscal sponsorship and affordable editorial/production services.


Institute for Unpopular Culture



1850 Union St., #1523, SF, CA 94123


The Institute for Unpopular Culture is a 501(c)(3) that supports artists of all genres, and sponsors subversive or “unpopular” artistic visions, alleviating artists’ needs to cater to public tastes and opinion in order to survive. IFUC has supported Holly Hughes, Julia “Butterfly” Hill, the Sprocket Ensemble, Creativity Explored SF and painter Hawk Alfredson.


InterPlay



1606 Broadway Alameda, CA 94501
(510) 814-9584/; bodywiz@aol.com;


InterPlay is an improvisational art community practice used for performance as well as personal and organizational development. Used worldwide, it helps people access dance, personal stories, voice, music and silence to create on-the-spot intergenerational, interfaith, intergender and even interspecies collaborations.


Jazz in Flight



PO Box 20551, Oakland, CA 94620
(510) 763-4663; www.jazzinflight.org/


Jazz In Flight is a not-for-profit presenting creative music in the Bay Area since 1987. Our current focus includes a monthly jazz concert at Yoshi’s; the renowned Eddie Moore Jazz Festival (paying tribute to the late drummer); and Children in Flight, an free African performing arts education program. Musical submissions should include tape or CD plus publicity information.


Just Plain Folks



www.jpfolks.com/


We are a community of over 17,000 songwriters, recording artists, music publishers, record labels, performing arts societies, educational institutions, recording studios, engineers, producers, legal professionals, publicists and journalists, publications, music manufacturers, retailers and just about every other type of member of the music industry. Our motto is … We’re all in this together!


Kearny Street Workshop



c/o SomArts, 934 Brannan St., SF, CA 94103
(415) 503-0520; ksw@somarts.org; kearnystreet.org/


KSW is the nation’s oldest multidisciplinary Asian Pacific American (APA) arts organization. KSW channels the creative energy of Bay Area APA artists and community members into new and innovative expressions of the APA experience. We present arts and literature and offer community arts education, leadership and organizational training, and artist support and development.


KALX 90.7 FM



26 Barrows Hall #5650 Berkeley, CA 94720
(510) 642-1111; kalx@media.berkeley.edu; kalx.berkeley.edu/


We are a not-for-profit radio station that plays independent and local music in a free-form style, 24 hours a day. We also produce in-house programs that feature local filmmakers, women in the arts and local theater. Cultural programs such as Amandla and Cultural Outreach connect with a diverse Bay Area community.


90.1 FM KZSU



Box 20190, Stanford, CA 94
(650) 723-9010; www.kzsu.org


KZSU’s free-form community radio is brought to you by an all-volunteer staff made up of assorted locals as well as Stanford students and staff. Besides our DJs’ music shows, KZSU has a live music show (Wednesday Night Live), public affairs programming, PSAs and more.


KFJC 89.7 FM



12345 El Monte Road, Los Altos Hills, CA 94022
Main Lobby: (650) 949-7260; Promotions (650) 949-7093; Studio: (650) 941-2500; www.kfjc.org/


Led by a small but dedicated army of sonic freaks, KFJC takes listeners to
the edge of obscurity and beyond with its extreme and diverse mix of audio
art, music and public affairs programming.


KUSF 90.3 FM



2130 Fulton St., SF, CA 94117
Business: (415) 386-5873; Studio: (415) 751-KUSF; www.kusf.org/


KUSF is made possible by more than 100 volunteers from all facets of the San Francisco Bay Area community. We are dedicated to independent, underground, archival, specialty, local and eclectic/free-form music, information, ideas and public affairs programming that are marginalized by commercial media.


Liquid SPACES



(415) 934-0634; kevin@liquidpaces.org; www.liquidspaces.org/


Liquid SPACES (Society for the Preservation of Art, Culture and Entertainment in San Francisco) is a San Francisco based nonprofit with the mission of promoting emerging artists and encouraging collaboration across traditional boundaries in the arts. Liquid SPACES sponsors professional, high-energy shows in gallery-like settings on a quarterly basis.



Organizations M-Z

Does Art Make A Difference?

Wednesday, May 1st, 2002

by Med-O

“If art cannot change the world, it can help to change the consciousness and drives of the women and men who would change the world.”


Herbert Marcuse, “The Aesthetic Dimension”

Do practices like song or dance or prayer or graffiti or telling fairy tales have any real impact on stopping war or feeding people? Or are these symbolic gestures that function mostly as a substitute for asserting real social power?

I feel intensely schizophrenic answering those questions. I feel hopeful when relying solely on imagination, but hopeless when looking straight at the infrastructure of power.

For many artists, explaining or justifying art, however well intentioned, is simply playing into the hands of the anti-art, anti-freedom forces which constantly attack the artistic way of life.

I, however, think it is crucial to critically examine the role of art and the artist within a pro-art, pro-freedom perspective. I believe in the practice of constructive criticism for every aspect of life. Our greatest strength arises from the ability to deeply question and debate the thorny issues, contradictions and ironies that confront those dedicated to a life of cultural expression, insight, beauty, and social consciousness.

Even though I feel antagonistic toward Karl Marx’s annoying phrase, “Consciousness lags behind the material conditions,” it provides a counter-perspective and useful friction to my strong belief in the power of the imagination and consciousness to shape social reality. Today’s global horror show could not possibly be maintained without a major failure of popular imagination and will.
We are led by institutions and leaders that lack the basic sense of art, eros or compassion necessary to handle the inevitable conflicts produced by society.

With no awareness for the art of conflict‚ public life is subsumed by displays of police and military force, “security” measures, drive-by shootings, fly-by bombings and a booming prison industry as solutions to conflict. Our utter failure to create better solutions arises from a collapse of collective imagination.

Ten years ago, in 848′s first newsletter, I wrote, “We are urban love warriors. Our calling is the education of desire. We must fight for excesses of global justice and personal flamboyance.”

I am inspired by William Blake, who wanted his poetry to be both accessible and demand an extension of our emotional and intellectual capacities. He believed that art possesses a unique power to provoke progressive shifts of consciousness — but only when it engages the individual in a process of emotional and intellectual struggle to fully grasp it.

I am also committed to the Situationist vision that, “it is not a matter of putting poetry at the service of revolution, but rather of putting revolution at the service of poetry. The history of poetry is only a way of running away from the poetry of history, if we understand by that phrase not the spectacular history of rulers but rather the history of everyday life and its possible liberation.”

To that end, I’m most interested in art-making that is socially relevant, emotionally engaging, complex, contradictory, unexpected and willing to commit the ultimate economic crime — that which seeks to avoid the cash transaction. These are the most important ingredients artists and art lovers can mix to help create a freer, more just and interesting world.


Med-O is a founder of CounterPULSE: A San Francisco Center for Cultural Experimentation (formally, 848 Community Space), online at http://www.848.com/.

How to Open a DIY Art Space : An interview with Pond’s Steve Shada, Marisa Jahn and Blair Randall

Wednesday, May 1st, 2002


What is Pond and why’d you start it?

MJ: I always loved spaces, like Starcleaners and Epicenter, that were not so institutionalized. I was interested in something that had a lot of immediacy and spontaneity, and was genuinely grassroots, and where there weren’t any division between the people funding the artspace and the people producing the work and the people involved in running the space.

SS: We were just gonna have a small little gallery that would occasionally have shows, and the other times just serve as our studio. But because we were working on the place for so long, cleaning it up, repainting…. Other people [told us]“Oh, that’s so cool that you’re starting a space.” Then we realized that we could make this a real deal, a real thing in this community, because obviously people wanted it.


What is the difference between do-it-yourself and professional spaces?

BR: The “alternative space” has become a canon in itself. DIY spaces like Pond include a broader spectrum of interests.

MJ: I think sometimes DIY can be a rationale for lack of professionalism, though professionalism is not the aesthetic we’re going for.

SS: It shouldn’t be DIY or professional, I don’t want to be pigeonholed into anything. I want a space where anyone feels like they can come in and see anything … Also, DIY spaces are not nearly as concerned with money as professional spaces. It was never our goal to get tons of grant money and be totally set, or sell tons of work and make money off that, that was never our goal, it’s never going to be our goal.


Can you live without money indefinitely?

SS: Our goal is to be self-sustaining on our own terms … I’d rather just close down than have to fucking have Banana Republic sponsor us … that would make everything pointless.


When did you first get the idea to get a space, and how long did it take?

MJ: On the first day we looked, this was the first listing.

SS: We called the guy, he said “I’m only showing it for 30 minutes” –

MJ: He had only posted it 30 minutes before we looked at it, he said “I’m showing it now.” So I went down here and was talking to him. I kept going on about it and he got really excited … October 2000 we got the lease, started making the design, realized we were going to have an art space. November I filed the paperwork for nonprofit status … both of us have a background in nonprofit work, so that seemed like the most logical way to go. We curated the show in four weeks and opened the doors on January 1st.

SS: The place was totally destroyed, missing walls, missing a ceiling.

MJ: There were piles of shit.

SS: There were huge bags of stuff, every room was destroyed. We did tons and tons or remodeling, 12-hour days right up to opening the doors.


How much did it cost?

MJ: $35,000 total, so far.


How many people did it take?

SS: Me and my friend, and occasionally Marisa.


It was full time?

SS: It was pretty fucking full time. Wake up at eight in the morning, work till nine, 10 at night and then buy my friend beers so that he’d keep working.


What are the permits people need?

MJ: Local business license, city paperwork, register in the city and the state, and at the federal level too if you’re going nonprofit.

SS: A business bank account is really important. Checking into the permits is important. Having a sandwich board requires a permit. Having a huge sign hanging from nails above peoples’ head doesn’t. And you should have a fire marshal come in, they’ll tell you what your maximum occupancy is.
Having liability insurance is pretty important. If somebody slips and falls, your whole org and everything you tried to start is gone for the next four years of your life as you pay for the neck injury.


How do you work with volunteers?

SS: Everyone’s a volunteer. We’re all volunteers.


Is every volunteer automatically a keeper?

BR: Some people are more committed to begin with.

SS: A lot of times it’s faster to do it ourselves, but volunteers are really important for a lot of daily functions … our website is totally done by volunteers.


Any other tips for opening a DIY space?

SS: I think the most important thing is having a clear understanding of what you’re getting into. You’re not going to open up and have a hundred members … have good financial expectations that are rooted in reality.

MJ: Understand streams of revenue and fundraising strategy. Having a grantwriter, BEFORE you do anything. We kind of did it ass-backwards.

SS: Especially if you’re doing a nonprofit it’s important to hold out for a space that has enough square footage where you can have an event. It’s hard to raise money in a cramped little space …

MJ: On a personal level, I have had to compromise and not do a lot I would have liked to have done over this past year and a half.

SS: I actually am surprised we’ve been able to put on as many shows as we have … I look at other people who get programming grants for $50,000. Our whole programming for last year didn’t cost $20,000.

MJ: We’ve had 11 monthly exhibitions and about 25 events total — lectures, special events.


What are your hopes for art in SF?

MJ: I kind of hope that things get more gritty, but without diminishing the quality of work … I would like to see things that have more connection to other international art spaces. I’m hoping we’ll see more spaces like the ones we were inspired by … like Epicenter and Starcleaners.

SS: I would like to see more things like the 17th & Capp warehouse.


Those are gone now.

SS: People are starting ventures now that will be around for a long time. Those places are really what makes the city a great place, they kind of got shit on when all the rents went up … I think there’s more potential now than when we opened up for people to get a decent rate on their lease

BR: There are more art spaces, but it’s not helpful to the art community if they’re all competing to be the best new alternative art space. If they’re competing against each other, what’s the point? If they’re all working together that’s really significant … How do you have a space that runs more closely aligned to the ideals of your life, rather than this larger art institution that’s so tied to money it’s impossible to see beyond it? I’d like to see an arts community in SF that takes in more things than just showing art on the wall.


Visit Pond in San Francisco at 214 Valencia St. between Duboce and 14th, online at www.mucketymuck.org/, or call (415) 437-9151.

Fiscal Sponsorship Fundamentals

Wednesday, May 1st, 2002

By Caiti Crum

Do you feel that the current economy, current administration and recent world events have left little to no room for visual and media arts funding?

Raising money is probably the most daunting aspect of making art. Putting ideas on paper in a concise and professional manner, and then submitting them to a foundation for funding, is difficult enough. The situation is complicated by the fact that many foundations only give grants to tax-exempt nonprofit organizations.

You can overcome these difficulties, however, by getting fiscal sponsorship from a qualified arts nonprofit.


What Is Fiscal Sponsorship?


Fiscal sponsorship allows individual artists, musicians and producers the opportunity to apply for funds from grantmaking organizations that contribute solely to nonprofits with 501(c)(3) tax status.
Connecting with a nonprofit with a good fiscal sponsorship program will help you attain your artistic goals while maintaining your integrity.


Role of the Fiscal Sponsor


It is imperative to examine the requirements, benefits and stipulations of different fiscal sponsorship programs before you decide to sign a sponsorship contract.

  • Sponsoring organizations will generally take a five to 15 percent administrative fee out of each grant you receive, depending in part on the services they offer.
  • Some sponsors take ownership of a portion your work; others simply keep track of your funds.
  • Some act solely as the sponsor and do not take on a role in your project. Others offer support, samples of proposals, sources for funding, discounts and use of their facilities.

Consider how active you would like to be with your sponsor. If you know exactly what funders you want to approach or have your grant requests already written, you might not need as much help as someone who is doing this for the first time.

It is good to communicate this to your sponsor in order to maintain a productive relationship.


Application Requirements


There are a number of general requirements you’ll need to meet when applying for sponsorship:

  • Many organizations ask that you become a member if you are going to apply. Very often this will allow you certain privileges, including discounts, publicity and access to different kinds of events, lectures or special offers.
  • You should have a well-written proposal that outlines what your project is, who or what is involved in its production, why you are doing it and how long it will take.
  • Be sure to provide a detailed budget outlining everything that you will use and need. This will let people know how methodically you work and how prepared you are.
  • A timeline gives valuable perspective, and lets the sponsoring organization know how well you’ve considered the overall production process.
  • Include resumes of the people who are working on the project. Reviewers want to see what you have been working on, where you come from and what experience you have.


Good News


Funding is not an unapproachable, impossible task, and fiscal sponsorship can be an invaluable means to securing funding without the costly hassle of incorporating as a 501(c)(3) nonprofit.

Whether you’re applying for a grant or for fiscal sponsorship, remember that it’s necessary to plan and present yourself in a manner that displays your depth as a person and an artist.

Once you are used to this, funding will become an integral part of your art-making process. You will be able to see your work from other perspectives, and will able to convey your ideas in different ways so more people can understand them and relate to your own personal perspective. The result is better work overall.


Caiti Crum is the Fiscal Sponsorship Coordinator at the Bay Area Video Coalition (BAVC). For more information on BAVC services, including fiscal sponsorship, visit them online at bavc.org/, or call (415) 861-3282.

Grant & Funding Research Sources for Artists

Wednesday, May 1st, 2002

By Frances Phillips

In the course of your research you’ll find funding sources specifically for organizations, and also for individuals. Often foundations support artists with very specific backgrounds — children of people who work at certain businesses, graduates of specific colleges, artists who come from specific cultural or ethnic backgrounds or who were born in certain locations. Look at your candidacy from every possible angle, and use multiple research sources.

If you are seeking funds as an individual, review “Foundation Grants for Individuals,” published by the Foundation Center as a book and CD-ROM.


The Visual Artists Information Hotline

emphasizes emergency needs — places to turn when you’re evicted or have a fire in your studio — but other kinds of funding are included.


Arts International

publishes directories and a provocative journal, but you’ll want to check out its “advised funds and regranting” information for both artists and organizations wanting to work internationally.


Alliance for Artists Communities

serves organizations offering artists retreat and studio (usually temporary) facilities, and provides a national directory of these opportunities (local groups include Headlands Center for the Arts, Villa Montalvo and the Djerassi Resident Artists Program). Some of these organizations provide financial support for artists in addition to opportunities to work in creative settings.

Keep track of service organizations in your artistic discipline, like Dance USA, Theater Communications Group, Meet the Composer and Chamber Music America. Sometimes foundations give them money to “regrant” to artists. Locally the Kala Institute (for printmakers), San Francisco CameraWork and Film Arts Foundation manage artists’ awards on behalf of the San Francisco Foundation; Theater Bay Area manages the CASH arts grants on behalf of the Packard and other foundations; and New Langton Arts manages the Potrero Nuevo Prize for the Potrero Nuevo Fund.

Government funding is not covered in Foundation Center directories.

“The Catalogue of Federal Domestic Assistance”

is an exhaustive resource on government funding, but also research the California Arts Council, San Francisco Arts Commission, the Arts Commission’s Cultural Equity Grants program and the Marin Arts Council. These organizations also offer fellowships and prizes, opportunities to work “in residence” in schools and institutions, and commissions to create public art.

Public charities are grantmaking entities that both raise money and give it away. Some local public charities you might want to investigate are the Art Council, Inc., the Potrero Nuevo Fund, the Tides Foundation and the Women’s Foundation.

Grantwriting for the Artist and Musician

Wednesday, May 1st, 2002

By Frances Phillips

Anyone with a clear idea of what he or she wants to do can write a successful grant proposal. While grantseeking is competitive, if you don’t ask for money, you won’t get it. Approach grant seeking as a process, a discipline that is an ongoing part of your professional life — and don’t pin all of your hopes on one grant.


Doing the homework


If you have questions about a foundation or application process, do your homework first and then ask any specific questions you may still have.

If the foundation’s printed or Web guidelines tell you not to call, respect that request and submit your questions in a brief “letter of inquiry.” If the guidelines say that it doesn’t support a certain kind of activity, don’t waste your ink trying to change that. Focus your attention on the funding sources that best match your artistic profile or project idea.


Attending the details


Follow instructions. Don’t add extra material because you think “you know better,” and don’t skip questions because they seem irrelevant.

Any samples a foundation requests will be very important to the proposal. If you have anything duplicated, dubbed or edited for your proposal, double-check it before sending it.

Try to address your proposal to its audience. Will it be read by a “generalist” — a program officer who reviews grants in numerous subject areas — or does that person only read proposals in your field? Does the foundation use a panel of experts?
Many government agencies hold open review panels. If at all possible, attend when your proposal is being discussed. You’ll be delighted by your success or briefed on how to make a stronger presentation next time.


Writing the grant


Often the perspective and voice of the artist is the most compelling part of a proposal. Don’t be afraid to write it yourself, but be concise. Make your point, but don’t feel as if you have to describe your philosophy or approach at great length. If you’re not a confident writer, try your draft out on a few trusted friends.


Finding information


The Foundation Center maintains a national repository of information about grantmaking foundations. We’re lucky that one of the Center’s five regional libraries is in downtown San Francisco, at 312 Sutter Street, Suite 505 (www.fdncenter.org/sanfrancisco/). Plan to spend some time there — this is a reference library and you cannot check out materials.

Tell the librarian that you are an artist, as the Center has compiled a list of materials that may help you. To match a funding source with your project idea, search for grants in your geographic area, as well as the type of grant you are seeking (e.g. project grant, equipment grant).


Applying as an individual or an organization


Early on in your research, you will notice that some foundations say in their guidelines, “no grants to individuals.” That’s because to give money to individuals, foundations have to receive explicit permission from the I.R.S. If that is the case, you may need to apply as an organization or get a fiscal sponsor.

If you want to apply for funding as a nonprofit organization, either you will have to incorporate your project in California and apply for 501(c)(3) nonprofit status from the Internal Revenue Service — see “The Nonprofit Kit for Dummies” (www.dummies.com/) and “How to Form a Nonprofit Organization” (www.nolo.com/) for detailed information. There is also a useful nonprofit information Web site at nonprofit.about.com/cs/startanonprofit/.

A quicker alternative to forming a new nonprofit is to get a fiscal sponsor, thus connecting your project to the work of an existing organization with 501(c)(3) status. While you may retain artistic control, that organization provides fiduciary oversight of your project.


Frances Phillips is a senior program officer at the Walter and Elise Haas Fund (online at www.haassr.org/) and co-author of “The Grantwriting Kit for Dummies.”