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Rabbit Island Residency programs provide time and space to investigate and challenge creative practices in a wilderness environment. Artists live and work on the island for 2-4 weeks, engaging directly with the landscape, responding to notions of conservation, ecology, and sustainability via their research and cultural practices. The residency reflects on the American continent's four hundred year history of settlement and division of land, and stems from the idea that in a developed society intelligent organization of wild spaces is one of the most civilized things we can pursue. The island itself, an unsettled and undivided space, enables artists to present commentary on these ideas, creating interpretations and solutions to issues of global importance-climate change, loss of natural habitat, the value of pristine watersheds, the environmental implications of entrepreneurship, and so forth. Modern understanding of our natural reality, as well as our cause-and-effect relationship to it, dictates a need for principles worthy of our time. If artists do not create the work that defines this new space, who will? Art is perhaps the purest form of creation, and serves fittingly as a symbol for all human constructions.

In creative placemaking, partners from public, private, nonprofit, and community sectors strategically shape the physical and social character of a neighborhood, town, tribe, city, or region around arts and cultural activities. Creative placemaking animates public and private spaces, rejuvenates structures and streetscapes, improves local business viability and public safety, and brings diverse people together to celebrate, inspire, and be inspired

CIRD supports rural communities with a population of 50,000 or less located in a non-metropolitan county or a metropolitan county on the urban fringe. CIRD defines "community" broadly: not just the town center or area within the town boundary, but also the surrounding areas that depend on its goods and services and contribute an economic base, agricultural land or open space, and recreational opportunities. Ability to carry out the logistical and practical preparations for a two-and-a-half workshop (secure a facility for the workshop, provide breakfast and luncheon for participants, provide audio visual equipment, arrange for field trips), including a public engagement event Matching funds (suggested $7,000 in cash or in-kind donations) Support of a local governing body, municipal agency, or other appointed or elected officials, including an expressed willingness of these individuals to serve as official partners and to actively participate in the workshop Support of additional local and/or regional partner organizations and leaders Ability to identify and engage a diverse group of community members as participants in the workshop and follow-up activities Intention and readiness to implement actions emerging from the workshops, participate in the evaluation of the workshop, and report on results

This project takes as its focus the documentation and dissemination of performance art from the former communist and socialist countries of Central, Eastern and Southern Europe, from the period of c. 1960-1989. Performance art in the West emerged as a self-conscious genre, and a deliberate alternative to the production of painting and sculpture for display in the gallery space. However, in Eastern Europe, artists such as Jiří Kovanda (Czechoslovakia), Andris Grīnbergs (Latvia), and Ion Grigorescu (Romania) often created performance art for a select group of friends and colleagues, and even sometimes only for themselves. If in the West, documentation was often an essential component of performance art, and necessary to exhibit the work in the gallery, in the East, the recording of performances, by video or photography, was more haphazard. At times, artists were intent on documenting their work for posterity, in the hope that someday, somewhere (outside of the totalitarian regime) it would have an audience. At others, photographs were taken simply as a record, without any thought that they would ever be seen.

EmcArts, in partnership with the Doris Duke Charitable Foundation, is accepting applications for Round 2 of the Innovation Lab for Arts Development Agencies, a sixteen-month program designed to help performing arts organizations and arts development agencies incubate and test strategies that address complex organizational challenges. The Innovation Lab provides organizations selected on a competitive basis with space, time, and resources to explore and accelerate the design and testing of new organizational change strategies. Strategies selected for inclusion must offer substantial leverage for new, effective practices in the performing arts field, though they do not necessarily have to be large in scope or cost.

The Indian Arts Research Center at the School for Advanced Research offers three artist-in-residence fellowships annually to advance the work of mature and emerging Native artists. Each fellowship includes a monthly stipend, housing, studio space, a supplies allowance, and travel reimbursement to and from SAR. These fellowships provide time for artists to explore new avenues of creativity, grapple with new ideas that they can integrate into their work, and strengthen existing talents. 1) Ron and Susan Dubin Native Artist Fellowship: Dedicated to supporting traditional Native artistry, the fellowship period runs from June 15 to August 15, 2019. 2) Rollin and Mary Ella King Native Artist Fellowship: The King Fellowship is dedicated to preserving the Southwest's rich artistic heritage. Applicants must be from a Native community in the Southwestern United States (Arizona, Colorado, New Mexico, Utah) and work in the visual arts. The residency period runs from September 1 to December 1, 2019. 3) Eric and Barbara Dobkin Native Artist Fellowship for Women: The Dobkin Fellowship encourages the creativity and growth of indigenous women artists working in any media. The residency period runs from March 1 to May 31, 2019.

The Levitt AMP Music Series was created in 2014 by the Levitt Foundation, a pioneer in the creative placemaking movement. Levitt AMP brings the joy of free, live music to people of all ages and backgrounds living in small to mid-sized towns and cities, transforming neglected public spaces into thriving community destinations.

The Levitt AMP Music Series was created in 2014 by the Levitt Foundation, a pioneer in the creative placemaking movement. Levitt AMP brings the joy of free, live music to people of all ages and backgrounds living in small to mid-sized towns and cities, transforming neglected public spaces into thriving community destinations.

Lighthouse Works, a nonprofit arts organization, is devoted to encouraging the development of artists through a fellowship program and to the enrichment of the year-round cultural and economic vitality of Fishers Island, New York. To that end, the organization is accepting applications for its fellowship program. Fellowships are six weeks in length and occur year-round. Fellows are provided with housing, food, studio space, a $250 travel allowance and a stipend of $1,500 to help defray the cost of shipping materials, the purchase of art supplies, and other expenses incurred in making artwork in a remote location. The organization's belief is that no artist should have to spend money to accept the opportunity of a fellowship. In addition, fellows have the chance (though they are not required) to teach workshops, mentor students, or invite them for studio visits.

The Mockingbird Foundation, Inc. ("Mockingbird") offers competitive grants to schools and nonprofit organizations that effect improvements in areas of importance to the Phish fan community. Our programmatic focus is music education for children, defined as follows: Music: We recognize broad and basic needs within conventional instruction, though are particularly interested in projects that foster creative expression (whether in instrumentation, vocalization, composition, or improvisation) and encourage applications associated with diverse or unusual musical styles, genres, forms, and philosophies. Education: Education may include the provision of instruments, texts, office materials, or equipment; the support of learning, practice, and/or performance spaces; and the provision of instructors or instruction. We appreciate the fostering of self-esteem and free expression, but have never funded music therapy separate from education nor music appreciation which does not include participation. Children: We primarily fund programs serving children eighteen years of age or younger, but will consider projects which benefit college students, teachers, instructors, or adult students. We are particularly (though not exclusively) interested in programs which benefit disenfranchised groups, including those with low skill levels, income, or education; with disabilities or terminal illnesses; and in foster homes, shelters, hospitals, prisons, or other remote or isolated situations.

The University of Chicago is offering talented individuals from traditionally underrepresented populations an expenses-paid opportunity to explore graduate education at the University of Chicago. Join us for a weekend of graduate admissions workshops, presentations by world-renowned faculty and their graduate students, and informal socials. Receive advice on submitting a competitive application to graduate programs and learn how to develop your own career as a scientist, academic, or professional.