Regina R. Smith has served as a program officer on the Arts & Culture team at the Kresge Foundation since 2008. She identifies prospects for national funding opportunities and possible partnerships; reviews funding requests; conducts site visits; meets with prospective grantees and partners; and monitors existing grant relationships. Previously, Smith worked at the Arts & Science Council in Charlotte, N.C., where, as vice president of grants and services, she managed a $12 million grants portfolio. She served as programs and services director at Culture Works in Dayton, Ohio, from 1994–99 and, earlier, managed a nationally recognized program for the Indiana Arts Commission. In 1989, while on a nine-month Arts Administration Fellowship, Smith was in residence with three arts organizations: the Madison Art Center, COMPAS in St. Paul, Minnesota, and Chicago’s Department of Cultural Affairs. She began her career as a museum educator at the Cleveland Children’s Museum and the Cleveland Museum of Art. Smith served on the Center’s 2009 management panel.
AUX Curatorial Fellow Jamillah James presents a screening of The Fantasies Given to Us May Never Be Fixed, followed by a performance from Philadelphia-based artists Kris Harzinski and Will Haughery.
A new, user-friendly technology platform will enhance and streamline DataArts’ data collection and analysis tools, used nationally by thousands of cultural nonprofits to drive data-informed decision-making.
A live and digital theatrical experience will question the impact of technology on human connectivity as two actors perform their roles on separate continents—one live in a theater and the other projected through a live-streaming video feed.
Before retiring in 2010, Joseph Carvalho served as the executive director of Springfield Museums in Springfield, MA.
Lisa Sonneborn’s documentary film and video work has been used to promote social action in the disability community.
InterAct Theatre Company collaborated with consultant CultureWorks in a creative placemaking and strategic business planning process designed to revitalize the Adrienne, a multi-tenant arts facility where InterAct is based, as a regional hub for the development and production of new theater.
In the third and final segment of our three-part conversation with Center Visiting Artist Ain Gordon, he gives us a glimpse of how he has entered into conversations at the Center and proposed alternative possibilities for our approach to our work.
WXPN, the public radio service of the University of Pennsylvania, will launch a new research initiative in order to better understand the music-listening preferences of the “Millennial” generation.
Pig Iron Theatre Company’s Center-funded School for Advanced Performance Training was featured in the Philadelphia Inquirer.
The Center has awarded $500,000 to Opera Philadelphia, to strengthen the organization’s efforts to respond to the changing nature of its audiences and develop new programs.
Praised by The New York Times for his “alluring, emotive” work, composer Lembit Beecher creates intimate and dramatically potent musical experiences.
Yancey considers whether arts organizations be expected to approach their businesses with the same degree of courage and creativity that they expect of presenting artists.