Philadelphia’s Leeway Foundation recently announced the next step in the application process for their annual Art and Change Grants and Transformation Awards.
From 4:00 to 5:00 PM ET on Thursday, April 2nd, Program Director Melissa Hamilton will hold a virtual information session via Facebook Live. The session will cover the Foundation’s mission and available grants–most importantly, the session offers interested artists the opportunity to ask questions about the application process for the Leeway Transformation Award, which closes its application window on May 15th.
National Network of Abortion Funds and Forward Together Unveil Art Campaign Illustrating Multigenerational Support for Abortion as an Act of Love
On Roe anniversary, new artwork envisions the power of compassionate abortion support because everyone loves someone who had an abortion
As this week marks the 47th anniversary of Roe v. Wade, the National Network of Abortion Funds and Forward Together are launching an art campaign that envisions multigeneration love and support during abortion. Forty-seven years after Roe, and in light of attacks attempting to block abortion access at the state and federal level, it’s apparent that Roe was never a promise to abortion access. The recent wave of attacks on abortion have left community members confused about where and if they can access abortion services. Many people are left facing increased attacks, intimidation at clinics, and stigma from their communities for accessing the care that they need—all pushing abortion access even further out of reach.
Editor’s Note: This interview in our Feminist Giving IRL series features Elizabeth Yntema, president and founder of the Dance Data Project (DDP), which promotes “equity in all aspects of classical ballet by providing a metrics-based analysis through our database while showcasing women-led companies, festivals, competitions, venues, special programs and initiatives.”
1. What do you wish you had known when you started out in your profession?
I wish I had had a female mentor, and she had reassured me that success isn’t defined by a linear path. I have been a corporate attorney, a lobbyist, worked as the Director of Governmental Affairs of the Chicagoland Chamber of Commerce, was employed part-time as a consultant, opened an art gallery and, with three small children, focused on volunteering for a time. Now, I use every single one of my experiences and skills acquired over the decades.
The game development world is changing. And it’s changing for the better.
At PAX Unplugged, held in Philadelphia from December 6-8, developers and fans alike gathered for a weekend of celebrating one of our favorite pastimes: analog board games. The atmosphere at this convention was different from others I’ve been to in the past. The excitement was there, of course, as was the kid-in-a-candy-shop feeling that permeated the Expo Hall, but there was an edge to the proceedings that I haven’t felt before, a conversation that started a few years ago and is turning into one of the most compelling threads in game development today.
For generations, games were seen as something of a “boy’s club,” an industry dominated by white, male players consuming games and media designed by white, male-dominated studios. While there is still much work to be done in this arena, progress is on its way.
The annual Women in Games European Conference kicked off in London on September 11, facilitating a conversation the games development industry has been itching to have since 2014.
Sexual harassment, assault, and unhealthy work environments for women, nonbinary individuals, and other marginalized communities are all far too common in gamedev. In recent years, allegations of harassment and assault have come to light, leading to major restructuring decisions from games industry giants like news sources Polygon and IGN, and developer Bethesda.
The Sidney and Lois Eskenazi Museum of Art of Indiana University (IU) in Bloomington, Indiana recently received an estate gift of about $4 million from the late art historian and philanthropist Jane Fortune, who died in 2018. Fortune founded the non-profit Advancing Women Artists (AWA) in 2009 with a mission to research, restore and share women’s artwork, particularly in Florence, Italy. She was known to be a passionate explorer and advocate for the preservation of historic pieces by women and was affectionately dubbed “Indiana Jane” by the Florentine press, according to Smithsonian.com. The new gift to the museum consists of a collection of works as well as funds to back future research and initiatives that will support women artists.
Great news for theatre buffs in Rhode Island: a new collaborative, formed a year ago, is now taking off to produce more dramatic works by women. Named WomensWork Theatre Collaborative and headed by Creative Director Lynne Collinson, they will present a trio of plays about madness in 2019 and 2020.
WomensWorkRI Theatre Collaborative describes itself as “a creative collective designed to promote theatrical opportunities for women of all ages. A major mission focus is to provide leadership roles – on and off stage — for women over the age of 40.”
“WomensWork has chosen three plays – all written by women — that examine the ways madness manifests itself in women’s lives, whether from the strain of caring for a parent with a deteriorating mind, the seismic change brought about by midlife crisis, or the daily dread faced by women duty-bound to risk their lives for a tyrant,” said Collison, in an announcement rolling out the slate of plays to be produced over the next year.
Being a working artist
is demanding. Most artists hold other jobs to support themselves, which limits
their studio time.
“It’s a cycle. You don’t have the time to create the work, so you can’t create enough work to sell to support yourself financially, so you need to have the job, which takes up your time. It’s hard to get out of that loop,” says Rhode Island artist Kathy Hodge. Hodge is an award-winning artist with many exhibitions and shows to her name who also served as the Artist in Residence at multiple U.S. national parks. Because the gender gap is still prevalent in the art world, as in many sectors and professions, women artists like Hodge are in particular need of support.
Minority directors are underrepresented in
film at a degree of three to one, while women are underrepresented at a rate of
seven to one, according to UCLA’s 2018 Hollywood Diversity Report. There is clearly room for
progress here in terms of equality, especially for women who are black or of
another minority identity. Rapper, singer, actress, label president, author,
real estate developer and entrepreneur Queen Latifah is out to shift the
scales; she recently teamed up with Tribeca Studios and Marc Pritchard, Procter
and Gamble’s chief brand officer, to launch the Queen Collective (TQC). TQC has
a goal of “accelerating gender and racial equality behind the camera.” Two
inaugural documentaries backed by TQC premiered in April 2019 at the Tribeca
Film Festival, and they are now streaming on HULU.
While women fill most of the shoes in ballet,
leadership positions are still dominated by men, especially in choreography and
artistic direction roles. A nonprofit called the Dance Data Project (DDP) aims
to help more women in dance keep up to date with choreographic opportunities
and ascend the ballet leadership ladder. With this goal in mind, in April 2019,
DDP released a report on contemporary
opportunities in choreography, along with monthly spreadsheets and calendar
reminders of global deadlines. Earlier in 2019, it also published research on salary by gender for
leaders in ballet, finding notable imbalances in favor of men, especially in