Student Spotlight: Annmarie Zito

Annmarie Zito_HeadshotAnnmarie Zito is a 2012 graduate of Marist College. She majored in Fine Art with a concentration in Art History. She worked with hundreds of artists as the Exhibition Coordinator at Agora Gallery in Chelsea. While studying abroad in Florence, Italy, she interned at Palazzo Vecchio Family Museum. She has also interned in the not-for-profit sector at Rockland Center for the Arts, as well as the for-profit sector at Marlborough Chelsea and Christie’s. Continue reading “Student Spotlight: Annmarie Zito”

Student Spotlight: Teresa Calves

Teresa CalvesTeresa Calves graduated with a BA in Theatre Arts from Drew University. She also has studied theatre at the London Academy of Music & Dramatic Art. Since graduating, she has worked as an arts administrator for numerous theatre organizations, including Rising Sun Performance Company, Lark Play Development Center, George Street Playhouse, and Sundance Productions. Her passion is to make theatre arts accessible to children in underserved communities. Teresa discovered this passion while working as the Business Manager for Front and Center for Performing Arts, a performing arts school that trained children in acting, singing, and dancing. She will continue to help create access to the arts, especially for the benefit of children. Continue reading “Student Spotlight: Teresa Calves”

Lessons in Sustainability: Five Questions for Sharon Louden

ARAD 2nd year student, Hannah Fenlon, had the chance to present artist and editor Sharon Louden with a few questions about her life as an artist. Read on for a short excerpt from the original blog for Creative Capital.

Sharon Louden teaches at the Chautauqua Institution.
Sharon Louden teaches at the Chautauqua Institution.

This winter, artist Sharon Louden hosts her first four-part webinar series: How to Approach, Engage & Communicate with Galleries, Museums & the People You Want to Know. This series is now sold out, but stay tuned for information about more webinars with Sharon in the spring and fall! Interested in hearing about upcoming dates or joining the waitlist for this series? Email us!

Sharon is also the editor of the 2013 compilation, Living and Sustaining a Creative Life: Essays by 40 Working Artists, which offers realistic insight into how artists juggle their creative lives with the everyday needs of making a living. 

We had the opportunity to ask Sharon five questions about how she manages to sustain her own practice, and what she’s learned along the way. 

Hannah: Did you make any early career mistakes in approaching galleries or museums? Can you tell me about one of them?

Sharon: Absolutely. I remember one embarrassing thing I did, which was an outrageous and fantastic learning lesson for me! There was potential for a museum to acquire my work, and I was so excited by the prospect of that happening…

To learn what Sharon’s embarrassing moment was and what she learned from it, click here to read about it on Creative Capital’s blog!

The Art of Conversation: Five Questions for Moira Brennan

ARAD 2nd year student, Hannah Fenlon, chatted with Moira Brennan, Program Director of the MAP Fund, an organization which supports artists, ensembles, producers and presenters who work in the disciplines of contemporary performance. Read below for an excerpt from the original post on Creative Capital’s blog.

Moira Brennan leads a session at the Theatre Communications Group National Conference in 2010.
Moira Brennan leads a session at the Theatre Communications Group National Conference in 2010.

Moira Brennan is an arts writer and Program Director of the MAP Fund. On Monday, January 19, she will host a live, online discussion with cultural producer and performance curator Caleb Hammons. This webinar is the first performing arts edition of our Conversations Inside series. To be a part of the conversation, register here.

We had a chance to ask Moira some questions about her upcoming webinar series, in addition to a few things we just wanted her opinion on…

Hannah: Imagine you were curating a conversation with five people in the performing arts field (past or present), who would you select and why?

Moira: Come on, only 5?! Impossible! We shall convene a series of conversations, that include meals and libation, that go on forever (oh, wait, that’s what the performing arts already are!!)…

Find out who Moira picked for this hypothetical conversation here on Creative Capital’s blog!

ARAD Works: Student Elizabeth Metts writes on Individual Artist Grants and the National Endowment for the Arts


The State of the American Artist: Foundations Respond to the Congressional Elimination of NEA Individual Artist Fellowships

by Elizabeth Metts, Teachers College, Columbia University

“…An NEA grant holds national importance and gives artists national significance. But will the NEA ever renew its fellowship program? Can it? Should it?”

ABSTRACT: In 1995, the 104th Congress mandated that the National Endowment for the Arts eliminate its individual artist fellowship program. With the congressional mandate came the question of who would support individual artists if not the NEA, and whether this new support would be more beneficial than the NEA with its project-based direct monetary grants. I examine the forms of support foundations have provided—including project grants, materials, professional development, artist space, and funding databases—and I argue that the elimination of the NEA’s fellowship program will help artists by providing and fostering a more diversified support system. Creative Capital Foundation filled a venture capitalist role formerly attributed to the NEA by promoting innovative and provocative works through its open application process. The Ford Foundation launched two influential research initiatives on artists’ needs and spearheaded the establishment of the USA Artists grant program. These two foundations’ initiatives have important policy implications—such as how scalable and sustainable these foundational responses can be without NEA participation—for American artists, given the likelihood that the NEA will not restore its individual artist fellowships.

To read Elizabeth’s full paper about the necessary role that foundations play in supporting individual artists, please contact the ARAD program at