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This book is a compilation of papers derived from talks, presented at TransCultural Exchange’s 2018 International Conference on Opportunities in the Arts. The aim of these talks was to inspire artists to think across disciplines and cultures and to suggest other career models beyond the typical studio to gallery/museum model. Much of this content is unique in that it not only addresses the practical needs of artists but, even more importantly, it does so in the context of today’s global reality. As artists have noted on post-Conference surveys, this information is “the missing link in the art world; the bridge between academic and real-world practice; between a local and international career in the arts.” By making this information available long-after the Conference’s end and to those who could not directly participate in the Conference, many more artists will have access to where to find jobs/residency programs and funding for their work, information on how to put together successful residency applications, how to market their work, and other professional development programming. In addition, they (and interested members of the public) will have access to the Conference talks on what leading artists are doing across disciplines, with new technologies, and in the public sphere.
In the mid-1900s America spent a great deal of time and money to send artists, filmmakers, musicians, scientists and other creative individuals abroad. They became familiar with other cultures and societies and served as ambassadors for their own. Largely supported by the State Department, they arguably helped end the Cold War by winning the proverbial hearts and minds of those around the world. That has now changed. Although American artists vastly outnumbered other nationalities in global art exhibits and biennales in the 50s through 70s, today their presence abroad has dropped precipitously, even though history repeatedly shows that the arts provide avenues for dialog when other means have failed. Yet, only a handful of US organizations continue to support international exchange and most of these have regional restrictions. The nonprofit organization TransCultural Exchange is different in this respect. TransCultural Exchange originated in 1989 as an independent, grassroots organization to create and produce international exchange exhibitions. Over time, increased interest in the organization's services necessitated incorporation as a 501(c)(3) non-profit, the creation of international online resources for artists and, in 2007, the production of International Conferences on Opportunities in the Arts. All these support the organization's mission to foster a greater understanding of world cultures through high quality, innovative, global art projects, artist exchanges and related educational programming - most notably the organization's Conferences. All these activities also serve as catalysts. They have provided artists with access to their international peers, new markets and resources for their work and the knowledge and tools to be competitive in today's global reality. These activities also have produced new revenues streams for local communities, helped create avenues for cross-cultural understanding and provided opportunities for American artists to continue to be a positive force abroad. This publication is a culmination of ten years of surveying and evaluating TransCultural Exchange's programs. The results provide a persuasive argument that supporting international exchange among artists produces a range of generative, sustaining and positive economic, cultural and social impacts.
This book presents and analyzes artistic interactions both within the Soviet bloc and with the West between 1945 and 1989. During the Cold War the exchange of artistic ideas and products united Europe?s avant-garde in a most remarkable way. Despite the Iron Curtain and national and political borders there existed a constant flow of artists, artworks, artistic ideas and practices. The geographic borders of these exchanges have yet to be clearly defined. How were networks, centers, peripheries (local, national and international), scales, and distances constructed? How did (neo)avant-garde tendencies relate with officially sanctioned socialist realism? The literature on the art of Eastern Europe provides a great deal of factual knowledge about a vast cultural space, but mostly through the prism of stereotypes and national preoccupations. By discussing artworks, studying the writings on art, observing artistic evolution and artists? strategies, as well as the influence of political authorities, art dealers and art critics, the essays in Art beyond Borders compose a transnational history of arts in the Soviet satellite countries in the post war period. ÿ