SPREAD

SPREAD 3.0 WINNER!

SPREAD — Fri, 07 Sep 2012 21:46:41 +0000

OVERVIEW
Snow Poems is a community poetry venture, originating in Santa Fe, which explores cities as “living books.” Windows throughout the city are stenciled, using temporary spray snow, with original poetry created in free workshops. The poems are readable from the streets. Produced simultaneously are location maps, an updated website, and a final book linking the poetry of the other participating cities.

We as citizens are constantly interacting with the landscape of our cities, but we don’t always consider our power to shape and define this space. Contrasting with the bombardment of advertising and public signage, public poetry offers points of stillness, and provides a venue for exploring and discussing how we humanly inhabit our own cities. Snow poems happen in the dead of winter, a season for the incubation of ideas and are washed away in time for the arrival of spring.

We hope the process of writing, reading, and experiencing the poems jars us into reconnection with what is important and meaningful. By providing free poetry workshops for diverse groups within communities, we expect to spark meaningful conversation and collaboration. Citizens become the authors of their own living books: cities become public records of human emotion and experience.

IMPLEMENTATION
The visual simplicity of the Snow Poems project relies on the labor of many people. We plan to use the grant for poets stipends, to pay artists for installation and de-installation, documentation (website, photography), primary artist’s stipend for organizing the project, printing the location map, materials, and supplies.

DETAILS
We are currently finding 25 participating window fronts. We will hold free poetry workshops in November and December. Selected poems will be installed at the beginning of January and de-installed at the end of February. In January, we will print location maps that will be distributed at poem locations.

IMPACT
This project uses poetry to engage with and bring together the people of Santa Fe. Since the workshops and installations will be scattered throughout the city, we hope to encourage reflection and conversation while walking, driving, dining, etc.

We started the collective in order to emerge out of our isolation as mothers, writers, and artists. We now would like to work on a public scale that we hadn’t imagined possible as individuals. We desire hearing the voices in our public spaces that reflect the vibrant population of Santa Fe.

This project will support local writers and artists with employment.

Friends of the Orphan Signs

SPREAD — Mon, 06 Aug 2012 22:07:20 +0000

OVERVIEW
Friends of the Orphan Signs holds a lease to use the three orphan signs that grace the barren lot that is the former site of the Trade Winds Motor Hotel at San Mateo and Central in Albuquerque. Since the fal

l of 2010, FOS team members have posted text messages submitted by the public in response to a number posted on the largest sign. With the help of Albuquerque’s Sprout micro-granting initiative, FOS has recently rehabilitated a second sign on this site, posting images submitted through Facebook. FOS is planning a night of video projections onto the wall of the Octopus Carwash at the western edge of the lot to celebrate the spirit of travel and the open road as embodied by historic Route 66 and The Trade Winds Motor Hotel. Videos with themes of lingering, transition, travel, or stopping and staying will be chosen for projection on four sections of the car wash’s wall. Audio for each of the videos will be transmitted by four different low-powered transmitters so that people can park their cars in the empty lot, watch the videos, and listen to soundtracks by turning into four different stations, depending on which they want to hear.

IMPLEMENTATION
We would use the grant to rent generators, promote the event, purchase and rent projectors, and pay honorariums to the artists. If feasible, we’d also like to invite food trucks to park during our event, which may require permits and other fees.

DETAILS
Corresponding to the ISEA 2012 conference coming to Albuquerque in September 2012, Friends of the Orphan Signs plans to hold this event on the night of Sunday, September 23, 2012.

IMPACT
In the 1960’s, the tantalizing Trade Winds Motor Hotel graced what is now a wide expanse of dirt littered with broken glass, overturned shopping carts, and a huge, dilapidated sign. Between the Octopus car wash and Pep Boys Auto Supply shop on Central Avenue, this place would have been, in the 70’s, a bustling crossroads of activity. By putting up poetry and artwork submitted by the community and now holding this interactive event we hope to bring life back to this empty lot and invite the community to reclaim it as a space to come together and celebrate.

Cut+Paste Society

SPREAD — Mon, 06 Aug 2012 22:05:12 +0000

in free workshops. The poems are readable from the streets. Produced simultaneously are location maps, an updated website, and a final book linking the poetry of the other participating cities.

This project will support local writers and artists with employment.

Christy Georg and Cedra Wood

SPREAD — Mon, 06 Aug 2012 21:58:21 +0000

OVERVIEW
We have been accepted to The Arctic Circle, a three-week international residency program to take place this fall aboard an ice-class Barquentine tallship—we will cruise and explore the High Arctic, departing Svalbard, Norway, just ten degrees from the North Pole! The program invites artists, scientists, educators, and architects to collectively explore a region of the Arctic and respond to this experience in their work. We applied for the residency independently, never having met one another; since then we’ve developed a mutual respect for each other’s discipline and creative work. We celebrate the unlikely serendipity that two New Mexico desert rat artists were chosen for this once-in-a-lifetime polar expedition by sea! We want to see polar bears, killer whales, walruses, arctic fox, and the giant lion’s mane jellyfish! We want to interact with our new colleagues who have similar interests and might become collaborators. We seek to stand on top of the world, enduring hardships to attain it (as past Arctic explorers have), to obtain a clearer perspective of our world beneath. We will make brilliant artwork both during and after this momentous experience and mount an exhibition of the work here in New Mexico.

IMPLEMENTATION
The grant will assist in covering airfare and the Arctic Circle residency program fees. We will also buy materials with which to create our work.

DETAILS
The Arctic Circle expedition takes place Sept. 28 – Oct. 15, 2012. Work resulting from the voyage will progress through the winter and we hope to exhibit it in 2013.

IMPACT
Our work relies heavily on interactions with the environment. Georg creates esoteric, sculptural devices inspired by specific locations and historical accounts—devices whose meticulous craftsmanship lends them authority as functional implements, but which upon inspection may seem absurd or uncanny. Wood engages in immersive performances that address ideas of survival and belonging, sometimes mimicking the tactics of other, better-adapted creatures; these surreal, sometimes comical, actions provide imagery for her realist paintings. The Arctic will provide unfathomable material and inspiration for our independent and collaborative projects.Rich Text Area

Styles

IMPLEMENTATION
The grant will assist in covering airfare and the Arctic Circle residency program fees. We will also buy materials with which to create our work.

DETAILS
The Arctic Circle expedition takes place Sept. 28 – Oct. 15, 2012. Work resulting from the voyage will progress through the winter and we hope to exhibit it in 2013.

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Last edited by SPREAD on August 15, 2012 at 2:37 pm

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6 August, 2012 @ 14:59 by SPREAD

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<h1>Marcia Lyons</h1>
SPREAD — Mon, 06 Aug 2012 21:47:29 +0000
OVERVIEW 
Luminous Massage is born out of the performative uncanny in which the human body – with its psychic drives and physical thresholds – is exposed to actual site energies. Unfolding across a series of geographical realities (ice, deep sea, desert), in the span of three years, my work explores site as an entity with its own psychology and momentum, introducing the notion of a subtle alchemy: field as witness. Introducing different kinds of situations in which an audience and a site’s energies are in ‘play,’ fusing more with the contemporary environment in the moment. A dynamic sense of standing in, with, among, remote and local energies, I’m inviting viewers to access a living presence within their own improvisational moves. Remote frequencies become a kind of character study, suggesting a ‘porousness’, awaiting entry and passage, as well as, the ‘wide open’, as an endless metaphor for field. Each geographical circumstance has its own unique tone. This idea of narrative is formulating in relationship to the increased complexity and intensification of a field witnessing, prompting more intricate forms of character development. Exploring forces in live performance, Mirage Desert Hum, the last site, takes this principle as a governing sensibility.
IMPLEMENTATION 
Hire Database Programmer: Softcinema installation involves a non-linear interactive editing system and dataRent Professional HD Video Equipment: Cinematic and telematic sequences are shot on location and triggered by proximity-based movementHire/Record Actors/Post-Production Editing: An aural sensation ‘generated by field’ is recorded through a series of live performances
DETAILS 
June 2012: On Location White Sands Shoot 
July 2012: Post-Production/Voices 
Aug 2012: Print/Exhibition
IMPACT 
My work seems recently to have developed a more recognizable character—that is a vision and voice–that fuses cinema and live performance, and incorporates physicalized projectiles and sometimes text. I regard it as participatory –a brew inhabiting the universes and traditions of public art and witnessing, but “thickened” with cross-pollinating performative disciplines (film, sound design, theater and live media) that help weave a context for a developing field narrative. This project is the culmination of three years of research expeditions.This grant would enable me to realize the work on location.

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<h1>Molly Sturges and Acushla Bastible/ Littleglobe</h1>
SPREAD — Mon, 06 Aug 2012 21:41:47 +0000
OVERVIEW
COAL is an unusual and dynamic combination:  an upbeat musical theatre production and a grassroots call-to-action. A musical like no other, COAL takes audiences to the heart of the paradox, illuminating both the benefits and consequences of our fossil fuel based society.
COAL uses a full-scale musical production as a community prompt and combines it with a series of community workshops that invite diverse local audiences to creatively reflect on their own lives, and engage in personal and collective actions in response to one of the greatest challenges of our times.
A mythical story told through a global musical score, COAL brings people together across many divides, igniting social imagination, catalyzing collective knowledge and fostering social action. COAL offers multiple opportunities for engagement through musical performances, participatory workshops, mobile storytelling events, community meals, and the establishment of social media / digital communities.
IMPLEMENTATION
COAL, under the leadership of artistic director/composer, Molly Sturges, and stage director/project co-director, Acushla Bastible, has been in development over the past year with a professional team of artists,<ins cite="mailto:Acushla%20Bastible" datetime="2012-08-27T20:15"> </ins>a diverse range of community participants and key organizational partners, including the Lensic Performing Arts Center, the Institute for American Indian Arts Sustainability Team, and the University of New Mexico.
COAL emerges from the unique cultural and social context of northern New Mexico and draws on the insights and wisdom of artists, partners and community members living here. A locally conceived project, COAL will also have a national impact because it is designed to travel to communities, large and small, across the nation.
DETAILS 
July- August 2012: Script/music workshops and rewrites (NYC & Santa Fe); September- November 2012: ongoing script re-writes and 3 participatory creative development workshops in northern New Mexico (Santa Fe, Albuquerque, and Four Corners); February 7th & 8th 2013: Staged Reading at The Lensic Performing Arts Center; Spring 2013: Final workshops and content workshops (Locations TBA); Fall 2013: Musical Premiere and workshops.
IMPACT
The story of climate change is often told through a despairing and overwhelming lens and too often ends up “preaching to the converted.”   Through mythical musical storytelling that engages the imagination and heart, COAL invites human wisdom and courage back into the story. COAL is a catalyst for value clarification, personal and collective engagement, and social action.  Through the musical and the workshop process COAL reaches a wide range of communities and develops diverse exchanges that will build the capacities needed to create a just and sustainable New Mexico and beyond.

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<h1>Lynn C. Miller</h1>
SPREAD — Mon, 06 Aug 2012 21:38:29 +0000
OVERVIEW 
The modernist writer Gertrude Stein (1874-1946) was multi-faceted––she was an art collector, a critic of language, a scientist of human behavior, a writer of experimental texts, the creator of the continuous present, and one half of the most famous lesbian couple in the early 20th century. My project, Performing Gertrude Stein, documents my career-long critical exploration of Stein through stage adaptations, both solo and ensemble, that showcase her writing and the ways in which she performed her life on the page, in her salon, and during her famous lecture tour of America in 1934-35. 
I’ve lectured and published on Stein’s work in performance, and adapted and directed her work for stage, including two solo performances, “Gertrude Stein as Gertrude Stein” and “Saved By Gertrude Stein.” My plan for the SPREAD grant period includes writing the final chapter of the book: a script for five actors, “Gertrude Stein Lights the Lights,” that incorporates the various selves of Stein and includes adaptations of two of her word portraits, “As a Wife has a Cow a Love Story” and “Miss Furr and Miss Skeene,” said to be the first time (1927) the word gay was used to connote homosexuality in print.
IMPLEMENTATION 
This grant would be used to complete my research, particularly at the Stein archives at Yale University’s Beinecke Rare Book and Manuscript Library. SPREAD would also fund a staged reading of “Gertrude Stein Lights the Light,” including theater rental, music and sound design, and publicity to bring Stein’s work to the general public. Discussion follows the performance.
DETAILS 
I anticipate completing research for the project by December, 2012. January-March, 2013 will be spent writing “Gertrude Stein Lights the Lights” with the staged reading taking place in summer of 2013.
IMPACT 
Stein has been rediscovered over the past two years as an extraordinary innovator through new art exhibits (2011-12) in San Francisco, New York, Washington D.C. and Paris. Performing Gertrude Stein showcases this artist whose work spans visual art, literature, and theater, bringing her modern consciousness into the 21st century. She invented the word portrait as a literary form that captured perception much as cubism does in painting. The final chapter of Performing Gertrude Stein, “Gertrude Stein Lights the Lights,” will allow audiences to experience her remarkable theories of language and perception in acoustic space.

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<h1>Mary Tsiongas</h1>
SPREAD — Mon, 06 Aug 2012 21:34:13 +0000
OVERVIEW 
Imagine a darkened room, a clear screen with an image of tree rings hovering holographically on the surface of the screen. It’s transparent except for the tree rings. Beyond the screen is a large wall of projections triggered off by the viewer touching the tree rings. When the viewer continues ‘touching’ a tree ring, s/he will be able to view one of hundreds of video vignettes programmed to the rings on the screens. The work uses touch screen technology, and the programming language of MaxMSP to create a more lyrical read of dendrochronology. Think of the classic image of a mammoth slice of tree trunk with hundreds of rings dwarfing the human form and our concept of time, often labeled with significant historical events on the rings of the tree. My tree rings will invoke shadowy moving images of scenarios the tree may have recorded such as rainstorms (rainfall creates a larger ring), fire raging (causes scarring in the rings), or solar activity, (from research I will do at the Laboratory of Tree-Ring Research at the University of Arizona). Some will be illusory such as animal activity, a car burning, a train passing, and banal or mysterious human activities.
IMPLEMENTATION 
I will: hire an assistant to help me program the interactivity component of the touch screen activated video; purchase equipment- a mac mini to run the program,& a high resolution projector; Purchase a custom made hologram of a tree slice; rent a studio to test out interactivity & lighting of piece; and travel to Laboratory of Tree-Ring Research – University of Arizona for research.
DETAILS 
September 2012–Develop Prototype ( 20 different video vignettes); December 2012 — Travel to Laboratory of Tree-Ring Research – University of Arizona for research; January 2013–Design Tree Ring hologram based on research at LTRR; February 2013–Create 30 more video vignettes to be in database of piece; March 2013–Complete piece and exhibit.
IMPACT 
The project integrates the field of dendrochronology in a poetic and metaphoric way with human experience of time. This piece furthers my investigation of our changing relationship to the natural world. Seeing the images of events recorded by trees may bring about a desire to see ourselves as part of broader living systems, as interconnected organisms. The connection I am making is that the technology of interactive video allows the viewer to see (literally) what I imagine the trees to have recorded. The work also alludes to the impermanence of digital media.

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<h1>SPREAD 3.0!</h1>
Irene Hofmann — Thu, 22 Mar 2012 20:47:52 +0000

SITE Santa Fe is delighted to announce that the third SPREAD community dinner will be held on Friday, September 7, 2012 7pm at the Santa Fe Farmers Market.
The SPREAD 3.0 application period will open April 2
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3rd and continue until May 25, at 11:59pm. More info on the application process can be found at www.spreadsantafe.com.
 
SMALL GRANTS FOR BIG IDEAS
SITE Santa Fe’s SPREAD is a micro-granting initiative that provides small grants for innovative projects conceived by New Mexico-based artists. SPREAD is a recurring public dinner designed to generate community-driven financial support to fund artistic innovation.
 
HOW SPREAD WORKS
At a large community dinner, diners pay a sliding scale entrance fee (starting at $15), for which they will receive dinner and a ballot. During dinner, the SPREAD audience will hear short proposals from up to eight artists for innovative and yet-to-be-realized new projects. Diners will then cast their votes for their favorite project. At the end of dinner, the artist whose proposal receives the most votes will be awarded all the funds collected at the door to realize their project.
The inaugural SPREAD event, held on March 18, 2011, raised $7,722 in proceeds from the door, which was then given to the winning artist group, Meow Wolf, to support their installation The Due Return at Center for Contemporary Art. SPREAD 2.0, held on October 28, 2011, raised $8,015 which was awarded to filmmaker/artist Jason Jaacks for his Reel Youth Stories project. For more info on the previous finalists and winners, visit www.spreadsantafe.com.

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<h1>Artist Application Workshop</h1>
Irene Hofmann — Thu, 22 Mar 2012 19:26:26 +0000

Join us at SITE on Tuesday, April 3 from 6-7 pm for the workshop geared to artists interested in applying to SPREAD,as we cover topics such as:
* Get advice from past SPREAD jurors about describing your work
* Get feedback on image sele
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ction for your application
* Get notes on your Project Statement copy? (great to know for ALL grants!)
* Get advice about framing your studio practice in the context of a SPREAD project? (painters and photographers, that means you!)
* BONUS FEEDBACK: If you would like personal feedback on developing your 400-word Project Description (the first part of your application that gives an overview of your project), please send us a draft by March 25th.
  This workshop is FREE but reservations are required. Register by March 30th by sending an email to info@spreadsantafe.com with your name and phone number.
The SPREAD 3.0 application period will open April 23rd and continue until May 25, at 11:59pm. More info on the application process can be found at www.spreadsantafe.com.
Once the finalists have been selected, SITE will have several small group meetings to help finalists prepare their presentations, assist with technical needs related to the presentations, and practice rehearsals.
 
 
Questions from the application:
Name of Project
Total estimated Cost
Overview  
200 Words
Implementation
How will you use the grant to make your idea happen? Will you buy materials, hire workers, and rent a space? Please be specific
50 words
Details
What is your projects timeline?
50 words
Impact
why is this project important?
100 words
Has any additional/other funding been secured?
Yes or No
What aspect of your project would the SPREAD grant support?
How do you plan to use SPREAD funds?
50 words

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