Ian Moss has some insightful things to say about the misguided tendency of some funders to make large grants to already successful artists:

[I]n a world of six-hour news cycles, the idea that the average person (or even a highly-educated person) would somehow “realize the theater is important” because a heretofore unknown organization gave one person a nice sack of cash is absurd. People “realize the theater is important” because they have transformative experiences attending theater events or, more probably, because they participate in theater at a young age. Giving $200,000 to Tony Kushner accomplishes neither of these things.

There’s little doubt in my mind that, all things being equal, people with fewer resources generally find ways to stretch them further.  Fractured Atlas’s grant program makes micro-grants of just $250 to $1,000, but the recipients often do great things with the money that wouldn’t otherwise have happened.

What a large award (if it’s structured properly and doesn’t have too many strings attached) can do, however, is provide a safety net that allows an artist or organization to take big risks or make large bets that would otherwise not be possible.  But here, too, the more established/mature/flush the recipient is, the less likely such an award is to have this effect.

As you may know, Fractured Atlas began its life as a performing arts production company.  (I was a theatre director and I founded the company, in part, to provide a vehicle for producing my own work.)

Well, the first show I produced was called The Pumpkin Pie Show.  It featured a series of stories written and performed by Clay McLeod Chapman (with whom I spent a year at Sarah Lawrence College).  We took it to the 1998 Edinburgh Fringe Festival where we got decent reviews but bombed at the box office.  (Note to self: if you’re going to produce a show on another continent it helps to have a semblance of a plan for getting folks in the door!)

Anyway, Clay has been plugging away for the past 10 years and is now celebrating the 10th anniversary of The Pumpkin Pie Show.  Since our histories are so linked, I thought he deserved a shoutout.  He’s also offering a special discount for Fractured Atlas members.

So here’s the deal:

the PUMPKIN PIE show
stories written by Clay McLeod Chapman
performances by Clay McLeod Chapman and Hanna Cheek

October 16th - November 1st
Thursday, Friday, and Saturday nights at 8 PM
at UNDER St. Marks Theater
94 St. Marks Place
(btn 1st Ave and Ave A)
New York, NY

Tickets: $18 ($15 students/seniors)
www.horsetrade.info
or call SmartTix (212) 868-4444

Members of the Fractured Atlas family can use the code “FRACTURED” to be eligible for $12 tickets (or 2 for $25, but don’t think about the math on that one too hard ;-) ).

Some praise from the press:

“Like a collection of David Sedaris short stories, these are imaginative, slightly surreal tales that will stay with you for years.” – Canadian Broadcasting Center (FOUR STARS) (2008)

“The energy in this show is so intense, I wasn’t sure whether to laugh or worry that Chapman would leap into the crowd and start throwing chairs.” – See Magazine (FOUR STARS) (2008)

“Chapman and Cheek match each other character for character, voice for voice, imparting narratives so compelling and frequently funny that it’s a disappointment when they stop.” – City Pages (2008)

“Chapman… has crafted his language with care and wit, and it’s an uncomfortable pleasure to witness his characters come to life.” – Edmonton Journal (FOUR STARS) (2008)

“Clay McLeod Chapman and Hanna Cheek make kicking your theatrical ass seem easy…” – Fringe Famous (2008)

Americans for the Arts (actually the Americans for the Arts Action Fund) has published a comparison of the arts positions of John McCain and Barack Obama.  I’m not wild about the list of issues they asked the campaigns about, since they address only very superficial considerations.  Still, it’s an interesting read.

If you haven’t yet registered to vote, I’m here to remind you that your time is running out.

REGISTER TO VOTE ONLINE

Also, since I don’t have five real friends, but hopefully at least five blog friends, it’s my duty to pass this along:

Name: Cara Winter
Website: www.carawinter.net
Hometown: New York, NY
Artistic Disciplines: writing, acting
Fractured Atlas Member Since: February 2002
Fractured Atlas Services Used: Fiscal Sponsorship, Health Insurance, Liability Insurance

Cara, tell us about your work in a few sentences.

For about a decade, my focus was on performing, and I worked and toured all over the country.  But I’ve always written, on the side.  I am often inspired by the work I’m doing as an actress; for instance, I wrote two children’s plays while teaching acting to children, and wrote a play about an alcoholic while on tour with… well, you get the picture.  Last summer, my first play, “Social Work”, was picked up and produced by the Manhattan Repertory Theatre; and I have three more adult plays, all in-progress: “Poker Face”, “Seeds”, and “Alan Alda sat next to me on a park bench”.

Who/what are your biggest influences?

David Auburn, Aaron Sorkin, and Amy Sherman-Palladino are my major writing influences.

What has been your greatest success to date?

As a performer, it would have to be playing to a packed Fox Theatre in St. Louis.  Incredible.   As a writer, it was when “Social Work” was produced at the Manhattan Repertory Theatre.  The actors were amazing, the director and co-producer were incomparable.  Then the “aftermath” of the play’s success was SO cool:  several requests came in from development types to read the play (one at the Public, one at the Flea, as well as a film producer).  It was an incredible experience, and I learned so much.

How do you use your Fractured Atlas membership?

Fractured Atlas has helped me to obtain liability insurance (when I produced a short film), fund-raise and promote my production/s, and network with other artists.  For a while, though, the most important aspect of my association with Fractured Atlas was access to health care.  Last August we welcomed our first child into the world (a son, Avery), so having good health coverage was a priority.  My husband is also a freelancer, so he doesn’t have coverage through an employer.  Without FA, I’m not sure what we’d have done!  Glad I didn’t have to think about that.

Finish this sentence: A world without art is…

lonely.

How can we see/hear/read/experience/learn more about your work?

Whenever I’m in production with a piece, I usually send my blurb to Fractured Atlas’s community calendar.  I also have recent news on my own website: www.carawinter.net

Images:
Top: “Social Work” by Cara Winter at Manhattan Repertory Theatre;
Catherine Gowl as “Margaret” and Stas May as “Geoff”.  Photo by N. Warren Winter.

Bottom: Cara Winter as The Ghost of Christmas Past, with Cork Ramer as Scrooge; National Tour of “A Christmas Carol”.

A one-day workshop for non-conformist performers determined to take their vision from the page to the stage. The workshop will feature a panel discussion with notable actors and writers who have seen their work produced On or Off-Broadway, and break-out groups that will provide instrumental tools to seeing one´s work produced: development, budgeting, fundraising, marketing, and more.

Presented by TeatroStageFest, HOLA, and CUNY Grad Center in association with CUNY and Instituto Cervantes.  An official event of the 2008 NYC Latin American Cultural Week.

When:  Saturday, November 8, 2008; 10:00 am - 4:00 pm

Where:  Martin E. Segal Theatre Center; CUNY Graduate Center; 365 Fifth Avenue at 34th Street

Free admission

Prior reservation required.  Reservation and Information: info@teatrostagefest.org or 212.695.4010

Schedule:

10:00 am -12:00 noon: Produce-Yourself, Introduction to Artist Driven Projects

12:00 noon - 1:30 pm: Networking Lunch.

1:30 pm - 3:00 pm:  Group discussions led by industry professionals focusing on development, identifying producers and partners, budgeting and fundraising, and public relations and marketing.

Found a great comment on censorship tonight by one of my favorite authors, Philip Pullman.

He observes:

“The inevitable result of trying to ban something – book, film, play, pop song, whatever – is that far more people want to get hold of it than would ever have done if it were left alone. Why don’t the censors realise this?” (The spelling of realize is correct - it was printed in a British newspaper)

What do you think?

I just want to take a minute of your time to plug a really great organization that has helped hundreds of artists get their $*&# together in terms of their career.  And, it basically has the best name of any organization out there… Getting Your Sh*t Together!

Getting Your Sh*t Together (GYST) is an artist-run company that applies the creativity of an artist’s mind to the complex and daunting world of professional practices in contemporary art. Their mission is to support artists and arts organizations with an integrated mix of software, services, and information in order to keep artists working. Founded in 2000 by Karen Atkinson — a media, installation, public artist, independent curator, and CalArts professor — as a software company, GYST’s products and services include professional practices software, a newsletter, workshops, artist resume and statement review, archiving, and consulting services.

Written for visual artists by visual artists, the dynamic new GYST v.2.8 software manages all the business-related paperwork for your art career, and comes complete with tons of educational and information resources, too. The software easily lets you keep track of your art, exhibition history, prices, sales, invoices, budgets, and your artist statements, resumes, proposals and research notes. It also has a powerful inventory management system integrated with your contacts and mailing lists. With all this great information in one place you can easily keep your sh*t together.

But the software doesn’t stop there. It also includes the ability to create exhibition checklists, budgets, to do lists and will guide you through writing a grant or proposal with detailed instructions. Finally, there are over 300 pages of information artists need to know including how to secure exhibition spaces, negotiate contracts, file taxes, and plan for retirement. GYST 2.8 is also packed with hundreds of helpful web links, suggested readings, and more. GYST 2.8 is available online at www.gyst-ink.com/products.

And Fractured Atlas members are eligible for a $20 discount on GYST software through their website: http://www.gyst-ink.com/buy/buyonline.php. If you are a member, please go here to get the discount code!

“…the process itself is more important than the plan.”

- Jeffery Timmons, New Venture Creation

One of the key objectives for our professional development program is to help artists achieve success through manageable, persistent, strategic and consistent action; without sacrificing their spirit. Basically, we want to help you learn how to design a strategic plan for your career or organization and encourage you to implement it effectively.

WHY?

Without directions the journey seems overwhelmingly long and impossibly difficult, but with directions the journey seems realistic and achievable. Research shows, the very process of designing a strategic plan for your business is highly motivating. It puts you in charge of shaping your future, evaluating your choices, and initiating fruitful actions. The plan gives you a clear path to your long-term goals that is paved with actionable short-term goals.

Additionally, a strategic plan helps you manage risks and uncertainty, work smarter not harder, test your thinking, achieve results, manage stress, and understand the costs and benefits (both monetary and non-monetary). Also, you can temper impulsive hunches with a thoroughly researched understanding of consequences, make educated decisions, and limit trial by error. It helps you say “no” to distracting opportunities that often slow or halt progress. And if you decide to say “yes” to non-strategic expenses of your time, energy, and resources; you can do so with a clear understanding of the opportunity cost…of what you are sacrificing.

“Medèn ágan”

- Ancient Greek maxim (written in Latin)

This ancient Greek saying, carved on the pediment of the temple of Apollo at Delphi in Greece, literally translates into “Nothing in excess.” I caution any artist or arts manager to take heed when engaged in the strategic planning process. A plan is NOT A RIGID DOCUMENT; it is only a point of departure that MUST ADJUST as you attend to the unknown obstacles and opportunities that will inevitably emerge on your journey.

Common pitfalls in strategic planning involve letting the plan become:

• a source of tension
• an unhealthy list of “shoulds”
• an unrealistic thing that heightens your fear of failure
• a barrier to integrating unexpected opportunities
• fuel for your competitive nature
• an excuse for quitting when things take longer than projected.

The journey from idea to high potential opportunity requires navigating an undulating, constantly changing, three-dimensional relief map while inventing the vehicle and road map along the way.

-Jeffery Timmons, New Venture Creation

Again, you must accept that the plan (as written) will likely fail, because these fast paced times make it obsolete as soon as it comes off the printer. However, you can succeed if you take the time to go through the planning process:

• understand your goals
• clarify your creative offering
• understand your industry infrastructure
• understand your audience
• assess your resources and capabilities
• use the research and analysis to thoughtfully design your path. (What is your marketing strategy, operations strategy, financial strategy, entrance/exit strategy, development plan, etc.?)

A strategic plan will get you started, be a tool to measure progress/opportunities, and act as a battle plan for mitigating risk and overcoming obstacles. Just be sure to adjust the plan as needed.

Finally, taking the time to do a strategic plan is an investment in sustaining a lifelong passion, rather than a short-term fling, with the arts.

Fractured U. will be offering online courses in strategic planning and many related subjects. However, if you need any assistance prior to the Fractured U. launch, please feel free to contact me at kamal.sinclair@fracturedatlas.org.

Arwen Lowbridge, Adam Natale, and I are in Los Angeles this week. We’re meeting with LA artists, service organizations, and others in an effort to gather information about the LA arts community’s needs. If you’re in town, feel free to drop me a line at adam [dot] huttler [at] fracturedatlas [dot] org.