Artists Remembering 10 Gifts of a MacDowell Studio

Transcription

Vol. 39, No.1 Summer 2010
In this Issue
Artists 2
Remembering 5
10 Gifts of a MacDowell Studio 6
News 14
Events 15
architects | composers | filmmakers | interdisciplinary artists | theatre | visual artists | writers
LETTER FROM THE DIRECTOR
Opening the Door to Possibility
MacDowell provides two essential things
to the more than 250 artists it supports
The MacDowell Colony
Artists
2
yet at MacDowell time and space are transformed. And
the Colony’s 32 studios are at the heart of this transformation. No studio is within sight of another, affording
a privacy that makes a residency of two to eight weeks
feel like exponentially more. When it comes to the work
space, MacDowell makes a concerted effort to provide not
only enclosure but also an ideal work environment that is
adaptable and welcoming.
In this issue, we look at some of the many gifts artists
have cited in relation to their stay in a MacDowell studio
and their experience of the place. Built, for the most part,
between 1907 and 1937, all of the buildings have unique
character as well as three common traits: a desk, a cot,
and a large window or porch to provide a portal into nature. And of course, there are the planks
of wood we affectionately call “tombstones” hanging in each studio, which artists-in-residence
sign at the end of their stay. Carefully designed, equipped, and maintained to meet the anticipated
needs of the artists that work within them, the studios are a hallmark of the MacDowell residency
experience. With history as a driving force, the board and staff are passionately commited to caring
for and protecting these vital work spaces so that future generations of artists will have the pleasure
of opening the door to their studio to find a whole new world of possibility.
In closing, I would like to note the departure of Communications Director Brendan Tapley,
who acted as editor of the newsletter for the past eight years. Brendan did a wonderful job establishing a professional communications office at MacDowell, and we will miss him. I would also like
to acknowledge Communications Associate Karen Sampson, who has contributed to the newsletter
as an associate editor for the past six years and delivered this one in fine style.
COurtesy Photo
each year: time and space. The concept is simple,
Medal of Arts for
Tilson Thomas
In early 2010, composer and conductor Michael Tilson
Thomas was named one of 12 recipients of a 2009
National Medal of Arts. The award was presented by
President Barack Obama and first lady Michelle Obama
in a ceremony held at the White House on February
25th. Established by Congress in 1984 and managed by
the National Endowment for the Arts, the Medal — the
nation’s highest award for artistic achievement — is
given to artists and arts organizations based on their
contributions to the creation, growth, and support of the
arts in the United States. “I receive this award with
gratitude to President Obama, the National Endowment
for the Arts and to my many musical colleagues
throughout the country whose devotion makes all this
possible,” said Tilson Thomas about the honor.
Currently the music director of the San Francisco
Symphony, he joins an impressive list of past National
Medal of Arts recipients, including MacDowell Fellows
Aaron Copland, Hume Cronyn, David Diamond, Anthony
Hecht, Donald Justice, Stanley Kunitz, and Virgil
Thomson. MacDowell — one of only 19 arts organizations to have been given this honor since it was estab-
Cheryl A. Young
Executive Director
lished in 1984 — received a National Medal of Arts from
President Clinton in 1997.
MANUEL HARLAN
A Play-by-Play
Above: A scene from Samantha Ellis’s (pictured
below, left) play Cling to Me Like Ivy. Below, right:
Young Jean Lee in Calderwood Studio in 2008.
Characters grappling with such issues as war, marriage, and
cultural identity have been commanding center stage at theaters
near and far in recently produced plays written and directed by
MacDowell Fellows. Helen Benedict’s The Lonely Soldier
Monologues (Women at War in Iraq) is an intimate portrait of women
serving in the military. Created from interviews and correspondence in connection with Benedict’s recently released book The
Lonely Soldier: The Private War of Women Serving in Iraq (Beacon
Press, 2009), the play premiered at the Theater for the New City in
New York in 2009, and was produced at La MaMa Club Theatre in
February. Meanwhile, across the pond, Samantha Ellis’s Cling to
Me Like Ivy — a comedic tale about an Orthodox Jewish bride-to-be
and her struggle to retain her identity — was staged from February
11th–27th at the Birmingham Repertory Theatre Company in the
United Kingdom. Ellis worked on the play during her 2008 residency at MacDowell. Another play that took shape at MacDowell in
2008 — Young Jean Lee’s The Shipment — has been connecting
with audiences around the world. An experimental take on issues
of race in the modern world, The Shipment has traveled to such
venues as The Kitchen in New York; the Hebbel Theater in Berlin,
Germany; the Andy Warhol Museum in Pittsburgh; and the Sydney
Opera House in Australia. A journalist from the future takes a
different kind of trip — one back in time — to interview writer Willa Cather in a new play by Toni Schlesinger. Created for the
Metropolitan Playhouse’s “Living Literature” festival inspired by
19th-century women writers, When the World Broke in Two: A Visit
with Willa Cather ran through January 26th in New York. A James
Lapine-conceived and -directed Broadway musical, Sondheim
on Sondheim, opened in New York on March 14th. Written and
composed by Lapine’s longtime friend and collaborator, Stephen
Sondheim, the play — an intimate self-portrait of one of the
best-known artists in American theater — ran at Studio 54 through June 13th.
COurtesy Gagosian Gallery, NEW YORK
Above: Visual artist Nene Humphrey, whose work was featured in the National
Academy’s 185th Annual, in Cheney Studio.
Above, right: Dust Tail II, 2008, by Sarah
Walker. Right: Better Dimension (detail), ink
and tape on glass slide from an installation
of silkscreened wood panels, 2010, by
Edgar Cleijne and Ellen Gallagher.
The 2010 Whitney Biennial, a preeminent survey of the
latest — and greatest — in American art, featured the work of
MacDowell Fellows James Casebere, Ellen Gallagher, Suzan
Frecon, Sharon Hayes, and Lorraine O’Grady. Practitioners
of various artistic mediums and aesthetic styles, the artists
selected for this year’s show reflected “diverse responses to the
anxiety and optimism of the past two years,” according to the
show’s curators, with contemporary artworks ranging in genre
from film and video, to photography, painting, sculpture,
drawing, installation, performance, and architecture. A total of
55 established and emerging artists from all over the country
were selected for inclusion in the show, which took over New
York’s Whitney Museum from February 25th through May
30th. MacDowell friends and supporters were treated to an
insider’s view of the Biennial on March 6th, when Casebere,
Frecon, and Hayes led them on a special tour of the exhibition.
Another New York exhibition focused on today’s cuttingedge artistic practices, The 185th Annual: An Invitational
Exhibition of Contemporary American Art, was held at The
National Academy Museum from February 17th through June
8th. A total of 11 MacDowell Fellows — whose work embodied
such diverse visual mediums as painting, drawing, digital art,
mixed media, photography, and video — were invited to participate in the biennial exhibition by a jury of National Academy
members. Dotty Attie, Gianna Commito, Elise Engler, Sandy
Gellis, Kathy Grove, Nene Humphrey, Charles Ritchie, Jane
South, Sarah Walker, Nina Yankowitz, and Emna Zghal were
chosen from more than 400 applicants to represent the finest
American artists working today.
Guggenheims for 23
New and Notable
We gratefully accept donations of Fellows’ artwork, books,
music, films/videos, photographs, and other work for the
Colony’s Savidge Library collection. Below is a selection of
books that were recently donated and/or created in whole
or in part at the Colony.
Cara Diaconoff
Unmarriageable Daughters: Stories, fiction
Monica Ferrell
Beasts for the Chase, poetry
Peter Godwin
When a Crocodile Eats the Sun, nonfiction
Pamela Harrison Out of Silence, poetry
Tim Johnston
Irish Girl, fiction
Brad Matsen
Titanic’s Last Secrets, nonfiction
Barbara Moss
Little Edens, fiction
Anne Sanow
Triple Time, fiction
Brian Teare
Sight Map, poetry
Jonathan Treitel The Beijing of Possibilities, fiction
Kenneth Turan
Free for All: Joe Papp, the Public, and the
Greatest Theater Story Ever Told, nonfiction
Philip Van Keuren Monody, poetry
Wendy Walters
Longer I Wait, More You Love Me, poetry
The John Simon Guggenheim
Memorial Foundation announced
the recipients of its 2010
fellowships on April 14th.
Among the 180 men and women
selected to receive a monetary
grant intended to provide as
much creative freedom as
possible were the following 23
MacDowell Fellows: Luca
Buvoli, Blane De St. Croix, Jill
Downen, Angie Estes, Nell
Freudenberger, Peter Godwin,
Barbara Hamby, Joel Harrison,
Daniel Heyman, Cynthia
Hopkins, Holly Hughes, Mark
Kilstofte, Franziska Lamprecht
(jointly with Hajoe Moderegger),
Victor LaValle, Mary Lum,
Philipp Meyer, Seung-Ah Oh,
Lothar Osterburg, Patrick
Phillips, Salvatore Scibona,
Steven Kazuo Takasugi, and
Monique Truong. More than
3,000 mid-career artists,
scientists, and scholars applied
for this year’s grants, which
were given with no special
conditions attached.
Above: Visual artist Mary Lum
at work in Shop Studio in 2007.
Left: Writer Victor LaValle in
Sorosis Studio in 2008.
Quotable “Having
all those uninterrupted hours each day to deal with my
manuscript enabled me not only to get an enormous amount of work done, but
also to go considerably deeper into the material than I would have thought possible.
I realized things about my project I had never realized before. In my 40 years of
nonfiction writing, I’ve never had an experience like this.”
—Writer and theater critic Kenneth Turan, talking about his 2006 residency, during which he worked on
Free for All: Joe Papp, the Public, and the Greatest Theater Story Ever Told. A nonfiction book
examining how Joseph Papp influenced American theater by founding the New York Shakespeare Festival
and the Public Theater, Free for All was released by Doubleday in January.
3
COurtesy Photo
Artistic Currency
Visual Compilations
A body of creative work completed over an extensive period of time
reveals much about the evolution of an individual artist. Surveying an
artistic collection that spans decades enables us to not only understand
the progression of the artist’s ideas and processes, but also to get a real
sense of who the artist is and how he or she views the world.
Artists
4
Take, for instance, Doug DuBois’s recent photographic memoir, All the Days
and Nights. A collection of 62 large-format color photographs, the book
chronicles the trials and tribulations of DuBois’s family via a selection of
snapshots taken over the course of 25 years. DuBois — whose work has
been shown at such venues as the
Getty Museum in Los Angeles,
MoMA in New York, and the
Langston in San Francisco —
started working on the book in
2003 while in residence at
MacDowell, where he met writer
Donald Antrim. Conversations
with Antrim led DuBois to conceptualize the project as a memoir, an
idea that the book’s introduction
— written by Antrim — reinforces.
“I wanted someone who would
place the book in the practice of
Pictured on the cover of DuBois’s book is a memoir,” explains DuBois. “It has
photograph titled My mother and father at
no captions, no dates, and you
the bar, London, 1990.
begin to — I think, I hope — invent
a narrative about these people.” The book was published by Aperture, a
nonprofit foundation dedicated to photography, in 2009.
Filmmaker and photographer Elisabeth Subrin’s latest solo show at New
York’s Sue Scott Gallery, Elisabeth Subrin: Her Compulsion to Repeat,
featured films, videos, and photographic stills shot over the past 20 years.
Organized around the idea of the repetition and re-enactment of primal
Philip Van Keuren in Nef Studio in 2009.
scenes from the past, the varied offerings of the retrospective exhibition
aptly reflect Subrin’s innate preference for working across narrative,
documentary, and conceptual artistic practices. “There are many ways to
create, just like there are many ways to make relationships,” says Subrin,
who was a MacDowell Fellow in 2002 and 2003. “Some are light and
immaterial, and some go deeper and therefore are both harder and more
rewarding.” Included in the exhibit — which ran from January 23rd
through February 26th — was Subrin’s 2008 two-channel projection Sweet
Ruin, as well as the premiere of her new video installation, Lost Tribes and
Promised Lands. She will have a solo show at PARTICIPANT Inc in New
York in 2011.
Four decades of Philip Van Keuren’s visual art was recently assembled in
Philip Van Keuren: Forty Years of Works on Paper, 1969–2009, an exhibit held
at The McKinney Avenue Contemporary (The MAC) in Dallas, Texas.
Featuring collages, drawings, and photographs that reflect Van Keuren’s
interest in the natural world and his affinity for poetry (he is also a poet),
the show — which ran from November 14th to December 19th — also
included a series of ink-saturated color diptychs entitled MacDowell Suites,
which was created during a 2009 residency at MacDowell (see photo
above). Also shown were selections from the photographic series Night
Cometh, which Van Keuren began in 1991 and added to considerably while
working in Nef Studio last year. Monody, a selection of his poetry written
from 1978–2009, was published concurrently with the exhibit.
Artist Awards, Grants, and Fellowships
Joan Acocella
ona Balakian Citation for Excellence in Reviewing ~ National Book
N
Critics Circle Awards
Natalia Almada
J acqueline Donnet Emerging Documentary Filmmaker Award ~
International Documentary Association, El General
Daniel Asia
Academy Award in Music ~ American Academy of Arts and Letters
Laura Battle
Art Purchase Program ~ American Academy of Arts and Letters
Leonard Bernstein*
GRAMMY Award, Best Musical Show Album, West Side Story
Richard Bloes
Pollock-Krasner Grant for Visual Artists
Philippe Bodin
Goddard Lieberson Fellowship ~ American Academy of Arts and Letters
Steve Bognar
cademy Award Nomination for Best Documentary Short, The Last
A
Truck: Closing of a GM Plant
Andrea Clearfield
American Academy in Rome Fellowship ~ American Composers Forum
Scott Coffel
Mary Karr
National Book Critics Circle Awards Finalist for Autobiography, Lit
Jonathan Keats
Sophie Brody Medal ~ American Library Association, The Book of the
Unknown: Tales of the Thirty-Six
YOung Jean Lee
Academy Award in Literature ~ American Academy of Arts and Letters
Dan LeFranc
New York Times Outstanding Playwright Award, Sixty Miles to Silver Lake
Gaspar Libedinsky
Beca Kuitca Award for Artists
Andrea Loefke
Michael Lowenthal
James Duggins Outstanding Mid-Career Novelists’ Prize
Paula Matthusen
Walter Hinrichsen Award ~ American Academy of Arts and Letters
Heather McGowan
Rome Fellowship in Literature ~ American Academy of Arts and Letters
Stephen Nguyen
Norma Faber First Book Prize ~ Poetry Society of America, Toucans in
Lothar Osterburg
Academy Award in Art ~ American Academy of Arts and Letters
the Arctic
Jayne Anne Phillips
National Book Critics Circle Awards Finalist for Fiction, Lark and Termite
Kara Lee Corthron
Paula Vogel Playwriting Award ~ The Vineyard Theatre
James Primosch
Academy Award in Music ~ American Academy of Arts and Letters
Frances Ya-Chu Cowhig
avid Calicchio Emerging American Playwright Prize ~ Marin Theatre
D
Company
Julia Reichert
cademy Award Nomination for Best Documentary Short, The Last
A
Truck: Closing of a GM Plant
Steve Erickson
Hilary Sample
Academy Award in Architecture ~ American Academy of Arts and Letters
Heide Fasnacht
Daniel Scott
Joan Frank
Richard Sullivan Prize in Short Fiction ~ University of Notre Dame
hristopher Isherwood Fellowship ~ The Christopher Isherwood
C
Foundation
Press, In Envy Country
Bruce Smith
John Grade
Academy Award in Art ~ American Academy of Arts and Letters
Anita Thacher
P
ollock-Krasner Grant for Visual Artists
Michael Tilson Thomas
Elliott Green
Art Purchase Program ~ American Academy of Arts and Letters
RAMMY Award, Best Choral Performance, Mahler: Symphony No. 8;
G
Adagio from Symphony No. 10
Michael Houston
USA Fellowship in Visual Arts ~ United States Artists
Colson Whitehead
PEN/Faulkner Award for Fiction Finalist, Sag Harbor
Michelle Huneven
National Book Critics Circle Awards Finalist for Fiction, Blame
Natasha Wimmer
Dan Hurlin
USA Fellowship in Theater Arts ~ United States Artists
Kevin Young
USA Fellowship in Literature ~ United States Artists
*Deceased For Guggenheims, see page 3. QUOTABLE “Having
the space and time for reflection within a landscape overflowing with the
stunning beauty of winter fading into spring gave me the freedom to explore new territories and create whole worlds in my quiet studio. Those simple and significant gifts — space and time — have
led me to leave this magical place with more than 60 new pages that didn’t exist before I arrived.”
—Playwright Kara Lee Corthron, whose play A Cool Dip in the Barren Saharan Crick, had its off-Broadway world premiere at
Playwrights Horizons’s Peter Jay Sharp Theater in March.
Architects Ersela Kripa and Stephen Mueller at MacDowell
in 2009.
Irving Kriesberg_Figurative Expressionist painter and sculptor Irving
Kriesberg passed away on November 11, 2009, in Manhattan. A graduate of the
School of Art Institute of Chicago and New York University, he was admired for
his abstract paintings that combined intense colors with evocative images of
people and animals. His work is included in collections at New York’s Whitney
Museum of American Art and Museum of Modern Art, and at the Corcoran
Gallery of Art in Washington, D.C. A Fulbright scholar and Guggenheim fellow,
he wrote several books and taught at Columbia, Yale, and Pratt. He had six
residencies at MacDowell from 1970 through 1982. He was 90.
A Gift for All Time
Artists need the uninterrupted time a MacDowell
residency gives them. And they need your support. You
can help artists who come to work at the Colony
through two exciting giving options that transcend the
bounds of time.
The first option, MacDowell’s planned giving program,
offers a variety of ways for donors to provide residency
Evelyn Stefansson Nef_Philanthropist, psychotherapist, photographer,
opportunities beyond their lifetimes while enabling them
to retain their current assets and enjoy tax benefits.
Donors support MacDowell in their estate plans by
making bequest provisions in their wills or by setting up
trusts to provide annual income to the Colony. Creating the
Future — a new brochure outlining MacDowell’s planned
giving program — is now available by mail or on the
Colony’s Web site.
The second option — a recurring gift plan — automatically renews support for the Colony, sustaining artist
residencies throughout the year. Recurring gifts save
mailing costs and eliminate the hassle of remembering
to give. Scheduling donor gift renewals in regular
cycles (monthly, quarterly, or annually) ensures that
the Colony has a reliable income stream to sustain its
With more flexible ways to give, it is easier than ever to partner with MacDowell in supporting the artists who are creating the groundbreaking work of tomorrow. For more information on making a planned or recurring gift, please click on “Give” at
www.macdowellcolony.org or contact Britton Matthews
at 212-535-9690 or [email protected].
“I think of Virginia Woolf’s A Room of One’s
Own but also of the importance of time —
cleared time, unburdened time, undistracted time — to make one’s work. It is a
gift to get to live like this and think only of
the art and not of the countless little tasks
that go into the daily grind of earning one’s
keep.”
—Sarah Lambert, playwright
Ellen Foscue Johnson
commitment to artists and creativity.
and long-time MacDowell board member Evelyn Stefansson Nef died on
January 10, 2010, in Washington, D.C. She was 96. A proponent of living life to
its fullest, she had a spirit of generosity as varied as her life pursuits. Her
background included such diverse things as puppetry, singing, Arctic research
and exploration, teaching,
writing, and a passionate
support of the arts. The
recipient of an Honorary
Doctor of Laws degree from
the University of Alaska and a
Doctor of Fine Arts Honoris
Causa from the Corcoran
School of Art, she received the Icelandic Order of the
Falcon Medal of Honor in
2001. A longtime member of the Society of Women
Geographers, she was
president of the Evelyn
Stefansson Nef Foundation,
and was a member of the
board of the Corcoran Gallery
of Art, the National Symphony Orchestra, and the Washington Opera. An active
member on MacDowell’s board since 1991, the same year she funded the
building of Nef Studio (see “A Dream of a Studio,” page 11), she was elected as
a vice chairman in 1995. A MacDowell Fellow who had a residency in Banks
Studio in 1993, she left a $1 million bequest to the Colony in her will.
Rachel Wetzsteon_Poet and teacher Rachel
Wetzsteon passed away on December 24, 2009, in
Manhattan. Known for its striking examination of the
lives of single women and widely praised by critics, her
poetry appeared in such places as The Paris Review, The New Yorker, and The Nation, as well as The New
Republic, where she was named to the post of poetry
editor last fall. Her published work also includes three
volumes of poetry: The Other Stars (1994), Home and
Away (1998), and Sakura Park (2006). A member of the
faculty of William Paterson University, she previously
taught at the 92nd Street Y’s Unterberg Poetry Center.
Wetzsteon had two residencies at MacDowell, one in
1998 and one in 2006. She was 42.
5
William Berry_Artist, illustrator,
and author William Berry died on
January 3, 2010, in Columbia,
Missouri. Known for his pencil figure
illustrations and still lifes, he was the
author of the widely used textbook on
figure illustration Drawing the Human
Form: Methods, Sources, Concepts. His
work was shown around the world in
more than 500 juried exhibitions and
solo shows at numerous venues,
including the Rhode Island School of
Design; the Palazzo Cenci in Rome,
Italy; and the USIA Gallery in Athens, Greece. He was the recipient of a Citation
of Merit from the Society of Illustrators, and 32 of his drawings were featured in
a three-year traveling exhibition sponsored by the Mid-America Arts Alliance in
partnership with the National Endowment for the Arts. His design and illustration work was widely published in magazines such as Newsweek, Esquire,
Harper’s, Sports Illustrated, and Texas Monthly. A professor emeritus of art at
the University of Missouri, Columbia, at the time of his death, he also taught
previously at the University of Texas, Austin; Lacoste School of the Arts,
France; Wesleyan University; and Boston University. Born in Jacksonville,
Texas, in 1933, he had a residency at MacDowell in 1984.
Remembering
In April, the American Academy in Rome announced
the winners of the 2010–2011 Rome Prize. Awarded
annually through an open national competition juried
by leading artists and scholars, the Rome Prize
fellowship includes a stipend, a study or studio, and
room and board for a period of six months to two
years in Rome, Italy. Included in the 33 recipients
named this year are architects Ersela Kripa and
Stephen Mueller, interdisciplinary artist Fritz Haeg,
and writer Heather McGowan. Their fellowships in
Rome will begin in September.
Kevin Dingman
Four Fellows Receive Rome Prizes
10
of a
G
I
F T S
MacDowell Studio
6
A room of one’s own, a cabin in the woods… These are the proverbial utopias of the artist
throughout history. MacDowell offers 32 of them. But does the studio system still hold up in an age of relentless engagement, when
even being alone at our computers means being with the world at large?
At a time when peace and quiet is scarcer than ever, the MacDowell studio has never been never more sought after and never more needed.
With the number of applications for a MacDowell residency having doubled since 2001, the idea set forth by Edward and Marian MacDowell
has remained transcendent, outlasting trends by favoring universal truths. We all — and artists, in particular — deserve uninterrupted time
to focus on the big questions of our lives. The breadth and resonance of art that emerges from such focus is firmly rooted in the tranquility
and seclusion that enable the artist to wrestle with ideas, grapple with emotions, and delve into the unknown.
Trying to define the tangible virtues of the studio experience — and why it enables artists to produce more, and better, work — is
not easy. But in talking with our Fellows, we discovered 10 gifts of a MacDowell studio that explain why these spaces have been, and
continue to be, a relevant refuge for all kinds of artists.
S pac e
The precious, half-timber facade of Adams Studio belies the
1
bright, spare interior — a space large enough so I had room to move back
and forth between writing and drawing on the computer at the south end,
and drawing and painting in the abundant north light. The Colony staff
found me four long tables, which I arranged in a big U so I could pursue
several watercolors at once. It looked a little like an assembly line, but it
resulted in delicate new work because I was able to let the colors just seep
and blend on one page while I diverted to the next. On the opposite wall, I
set up my computer and pinned up my entire 15-week theory course with
key readings, projects, and lecture slides in order of their presentation. With
the semester arrayed as a single work on one wall, I could manipulate it and
write about what I saw and what was needed.
I think I was driven to set up my workstations when I arrived as a
kind of defense — confronting all that quiet in the woods with my urban
productivity. But arranging these activities in one private, secluded place
allowed for unexpected directions and new rhythms for regarding and
pursuing my work that have sustained me ever since.
Richard Griswold is associate provost, dean of students, and a faculty member
at Boston Architectural College (BAC). He is working to turn his lecture course,
Design Principles — a threshold into design thinking for all BAC undergraduates
— into a book. In July of 2010, he will lead a study abroad program in Florence,
Italy. He also works for a design firm part-time and paints when he can.
32
Alexander Studio was
built over the course of
six years using stones
quarried on Colony
property.
F A C T S
>
>
studio
Adams Studio was the
first studio — and is one
of only four — designed
with a second story.
off that my agent panicked, but neither was I at the mercy of her alwaysplugged-in work habits. Building a fire provided just the meditative activity that I, on occasion, needed. The simplicity of the studio was like a
whetstone that honed my attention to a razor-sharp edge.
The cumulative result was the ability to squeeze three days of work out
of every 24-hour period. The world that “is too much with us” fell away. In
New York, I write before noon but by lunch I feel like I have to plug my
phone back in and start returning calls. MacDowell has a different pace, and
noon simply became the time when I could retrieve my lunch basket. My
only company when I ate was four walls, two large windows, and those uncluttered desks. As I began my afternoon shift, my writing became focused
— more alert to itself. Dinnertime arrived just when it needed to and then
later, buoyed by the company of powerful artists at the communal meal, I
returned to my cabin and worked yet again before retiring. I slept blissfully,
in sight of my notebooks, knowing I could resume work when my eyelids
opened and the day announced itself.
When I first entered Star Studio, I noted immediately — and with
2
relief — how pared down its contents were. Two desks were just the number I needed. A dictionary was the only book I wanted, and there it was.
The studio was gloriously devoid of Internet access yet within walking
distance of a wireless network. This arrangement meant I was not so cut
7
F O C U S
Jorge Ignacio Cortiñas’s awards include fellowships from the National
Endowment for the Arts and the New York Foundation for the Arts. His
plays include Maleta Mulata, Sleepwalkers, and Blind Mouth Singing,
which was praised as having “visionary wit” by the Chicago Tribune and
called “beautiful and strange” by The New York Times. Cortiñas is on the
faculty at Lehigh University and belongs to the New York Theatre Workshop
and New Dramatists.
L I G HT
My wonderful experience at MacDowell was heightened by the
Calderwood Studio, built
in 2000, is the most
recent studio constructed
on Colony grounds.
>
Barnard Studio was
moved from its original
location on Union Street
in 1910.
Chapman Studio, located
at the end of a gravel
lane, is the farthest
studio from Colony Hall.
Karen Sampson
>
Baetz Studio was built in
memory of Edward
MacDowell’s nurse, Anna Baetz.
Karen Sampson
>
>
>
Karen Sampson
Banks Studio is part of
the structure known as
“Mrs. MacDowell’s folly”
because it took 11 years to complete.
3
Karen Sampson
Claire Sherman has had solo exhibitions at Kavi Gupta Gallery, Chicago; DCKT
Gallery, New York; Houldsworth Gallery, London; Aurobora Press, San Francisco;
and Hof and Huyser Gallery, Amsterdam. Recent group shows include the Neuberger
Museum of Art in New York; the Bodybuilder and Sportsman Gallery and Western
Exhibitions, Chicago; Samson Projects, Boston; and Gregory Lind Gallery, San
Francisco. Her work is included in the collections of UBS Bank; The Margulies
Collection, Miami; and the Nerman Museum of Contemporary Art, Kansas.
natural light in Heinz Studio. With two sets of double doors that open
to the woods on opposite ends and windows lining the top end of the tall
studio walls, it was as though I was working in the woods. The shift in
filtered light throughout the day provided a tempo by which to work and
measure time, while the crispness of the air and sun allowed for greater
visual and mental clarity.
C ross - P ollina t ion
My creative interests have always been divided between writing/
directing and composing music, and my studio at MacDowell catered to
both impulses in a way I’ve never experienced before. Delta Omicron
had what I had only fantasized about previously: an ocean-sized desk, a
beautiful grand piano, and quiet. What happened during my five weeks
was an effortless, fluid interchange between writing and music. I would
write for an hour, then move over to the piano and work on a piece
of music, then move back to my computer. The two disciplines excite
different parts of the brain, and I found myself continually refreshed by
this pendulum swing between the two. Better yet, each practice began
to inform the other. Sometimes I found musical accompaniments to the
moments I was writing about; sometimes my perambulations along the
keyboard created new tonal contexts for the scenes I was considering.
Other times, music was simply an escape from the structural contingencies of screenwriting — a dose of free impulse that led me down
an occasionally fantastic rabbit hole. I left MacDowell with a finished
screenplay and a host of musical pieces that may find their way into my
future films, as they did in my first feature.
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Derek Simonds is a screenwriter, director, and musician living in Los Angeles
and New York. He wrote, directed, and composed original music for his first
feature film, Seven and a Match. He recently adapted Andre Aciman’s acclaimed novel, Call Me By Your Name, for the screen and is preparing to
direct the project in the coming year. Kristine Diekman
N A TU R E
I arrived at MacDowell in early spring, intending to experi-
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to the tender unfolding of the green leaves that saturated the peripheries of
my world. The interiority of the studio, the verdant forest, the trace of a past
severed from the flow of the emerging present . . . This altogether unexpected
narrative of the natural world deeply affected my work, opening up new,
sensuous, and unanticipated paths in my artistic process.
ment with making small scar-like surfaces that, when touched, told the
story of traumatic injury. The first night I arrived late, and while driving
down the dark, unfamiliar road to Mixter Studio, my headlights flashed
across catastrophes of tangled limbs. These were the broken branches of
trees suddenly severed during a recent ice storm. The violent trace of
these breaks became the focus of my daily investigation in drawing and
film, and I simultaneously found that the pace of my work was perfectly
mirrored by the springtime experience of witnessing leaves slowly emerge,
until there was a full, lush, green canopy outside Mixter’s windows. The
membrane of my window became the screen through which experience
passed.
This dynamic tension of traumatic loss and measured regeneration embodied in the natural world deepened my studio work. The cracked debris
spearing the ground and the damaged trees arcing overhead were a backdrop
Cheney Studio accommodated Porgy and Bess
playwrights DuBose and
Dorothy Heyward in 1927.
Kristine Diekman is a media artist whose work addresses institutionalization, language, sanity, somatic experience, and feminist identity through
documentary, narrative, and poetic strategies. She is the recipient of grants
from the New York State Council on the Arts, the New York Foundation for
the Arts, the Paul Robison Foundation, the Rhode Island State Arts Council,
and the California State Council on the Arts. She is a professor of video at
California State University (San Marcos) and serves on the board of directors
of Media Arts Center in San Diego. She received her M.F.A. from the Rhode
Island School of Design.
Firth Studio was converted in 1956 from a hay
barn that was part of
Hillcrest Farm.
Heinz Studio functioned
as an icehouse until 1940;
it was transformed into a
sculptor’s studio in 1996.
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Delta Omicron Studio was
built with funding from Delta
Omicron Sorority, which is
now known as Delta Omicron
International Music
Fraternity.
Graphics Studio was
reconfigured in 1972–
1974 after serving as
Hillcrest Farm’s pump
and power house.
Karen Sampson
Michael Malyszko
R i t u al
bit older than I was in 1979.) There were distracting voices in my head,
but they did not yet include the nag insisting I check messages on my
cell phone or e-mail. In 1979, Colonists awaited their chance to use one
of the two phone booths in Colony Hall — ghostly absences today in a
beautifully renovated space. The rules of nostalgia make me grateful for
the phone booths and also grateful they’re gone. My boyfriend of 1979
— now my husband of nearly 30 years — is unchanged: He wants me to
work well at MacDowell. When I call from my cell phone these days, he
always tells me the MacDowell ritual lie: Miraculously, for days — even
weeks — no bills have arrived at home.
But home for now is Mansfield. Some of the furniture has changed, but
that’s the same pencil sharpener with the rusty handle, ancient as a crank
phone, affixed to the wall right above the little bed. When I wake up from
a nap later, I’ll scribble some notes, sharpen my pencil before it needs it.
Some shavings will fall on the pillow, like snow.
For now, I set the old rocking chair to face the fireplace. I turn my head
from the tombstones. I turn over one of my emptied boxes of books (another
ritual: I always bring too many books) for use as a footstool and coffee table. I
turn on the teakettle. At home now, and once again, I turn to myself.
and relish the sound of gravel crunching — that’s the sound I’ll hear when
lunch is delivered, too. That’s the sound of Blake Tewksbury, the man who
drives the lunch truck, and who, when he comes today, will teach me all over
again how to open the flue in the fireplace. (I know how, but I need the reassurance — one of my MacDowell rituals.) A bit later in the week, I know I’ll
hear Blake or another MacDowell hero shoveling the snow off my doorstep.
Nearly every time I’ve come here it’s been winter, and I depend on the snow
falling. Poems seem to fall out of the sky when it does.
I set down some boxes and before I even set up my computer and printer,
I check the tombstones. Yes, I’m still there — one of the thankfully living
dead. Mary Jo Salter: 1979, 1988, 2005, and now, 2010. I know how to
fill the gaps among those dates. I’ve been to MacDowell 14 times, and
have also signed tombstones in Delta Omicron, Phi Beta, Star, Baetz,
and Monday Music. All of these studios are old friends. I can remember
the titles of many of the poems I wrote in each of them; I can associate
certain lines with the slant of trees from a particular window. But Mansfield
is “my” studio because it was my first. I was 25; now I’m 55. Mansfield
Studio is one of the few places in the world where I feel my age doesn’t
matter, even to me. I am most myself here — whatever that is.
When I first came to MacDowell, I brought with me a manual typewriter,
hope, and fear. It’s easy to romanticize being young, easy to forget the
fear. I was single, and had no children — I wondered if a serious writer
should ever have children. (Now, my first child is a writer, too. She’s a
I’m back. Home. I pull the car up the circular drive to Mansfield Studio,
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Mary Jo Salter is the author of six collections of poems, most recently A
Phone Call to the Future (Knopf, 2008). She is the editor of the forthcoming
Selected Poems of Amy Clampitt (Knopf, 2010), and teaches in The Writing
Seminars at Johns Hopkins University.
P R I V A C Y
During my residency at MacDowell, I was developing new
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work. Having the sense of privacy in Shop Studio was a gift that allowed
me to focus on the subtleties that are important to my work. The
private space enabled ideas to float into my head, which my creative
mind could embrace (or not) and hold lightly. The privacy gave my ideas
enough room to breathe and grow, and the lack of distraction in the studio
generated unforeseen ideas and explorations, opening up a whole new
approach to working. Free of my inhibitions and self-consciousness (which
can easily stop me in my tracks), I was given the opportunity to take risks
and get past the point to where the real stuff begins to reveal itself.
MacDowell Studio is
named in recognition of
support from a group of
Edward MacDowell’s
music students.
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Heyward Studio was
originally intended to be
an apartment for a
caretaker. Kirby Studio, the only
brick building at
MacDowell, was built by a
local mason in 1937.
Mansfield Studio has
sheltered more than 200
writers since 1922,
including James Baldwin,
Mary Gaitskill, and Studs Terkel.
Karen Sampson
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Karen Sampson
Irving Fine Studio was
renamed for distinguished composer and
Colony Fellow Irving Fine
in 1972.
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Karen Sampson
Megan Biddle has been an artist-in-residence at The MacDowell Colony, the
Jentel Foundation, The Creative Glass Center of America, Sculpture Space, and
the Virginia Center for the Creative Arts. Her work has been exhibited in New
York, Rhode Island, and Virginia, as well as the Czech Republic and Iceland.
S e cl u sion
Since my residency at MacDowell, I have bought an upright
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Karen Sampson
piano. The six weeks I spent in Watson Studio made getting a piano a
must; complete seclusion with my two main instruments — voice and piano — was the opportunity of a lifetime that provided me with tremendous
inspiration. In New York, I only had a keyboard, which I had to use with
headphones so as not to disturb my neighbors. Having the ability to get
up at any hour of the night and play without worrying about disturbing
anyone — and without being disturbed — was a life-changing experience
for me. Without interruptions, I was able to delve deep within my creative
spirit. Being forced to be silent and still in one place was hugely important
for me — it offered me a new way of being. No distractions and no selfconsciousness were the new discoveries in Watson Studio, along with a
state of mind and memories I can now carry with me wherever I go.
of saxophonist pioneer Steve Coleman’s Five Elements for the past seven years,
Shyu has collaborated with Sekou Sundiata, Mark Dresser, Dave Burrell,
Bobby Previte, Mat Maneri, Ben Monder, Taylor Ho Bynum, and her
band members David Binney, Miles Okazaki, Dan Weiss, Shane Endsley,
David Bryant, and Thomas Morgan. She recently sang a featured role in the
recording of Anthony Braxton’s Trillium E opera, which was completed in
March. She is the recipient of fellowships and commissions from the Asian
Cultural Council and the Jerome Foundation.
Jen Shyu is vocalist, composer, improviser, performance artist, and multiinstrumentalist (piano, erhu, moon guitar). Aside from being a core member
F l e x ibili t y
( liv e - in vs . non - liv e - in ]
liv e - in
For years, I’ve been a companion to 5 a.m., when it’s still
dark, even in summer. Companion to a pot of tea and a halfway slouch on
a semi-made bed, my begging bowl out, pen and paper ready. If only I am
patient enough, empty enough . . . So all my poems begin. At least, that’s what
wordlessly goes on before anything hits the page. But something else takes hold
and continues seemingly without me — if I am lucky.
At MacDowell, I’ve been enormously lucky, my studio both times
being a live-in. Monday Music Studio allowed me to work as I most love
to work: immediately upon waking, still partly sunk in dream, slowly
coming out of sleep into what passes for a usual wakefulness. Hours of
that, and after that still alone, well into early afternoon. Robert Lowell has
called the poem “a controlled hallucination,” which seems about right.
But did I hallucinate a grand piano, that haunted, blessed roommate I
had? Or the deer that came hungry, to winter-graze on bare trees outside
the big window? Or the snowstorm I watched as morning claimed a first
light, and went furious with it? All these things entered my poems at
MacDowell. Disturbed and happy, I couldn’t keep them out.
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Marianne Boruch’s sixth collection of poems, Grace, Fallen from, appeared
in 2008 from Wesleyan University Press. Her awards include fellowships from
the Guggenheim Foundation, the National Endowment for the Arts, and the
Rockefeller Foundation’s Bellagio Center.
N O N - liv e - in
I found the combination of having a dormitory-type room to sleep
in and Baetz Studio to work in absolutely ideal. I look back on those days
in my studio as almost perfect work times in a space devoted to working.
And the natural beauty I saw when walking to the studio, both by day and
by night, shaped my days.
New Jersey Studio was
designed as a replica of
Monday Music Studio.
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Monday Music Studio’s
roof was crushed by
Hurricane Hazel in 1938.
New Hampshire Studio,
originally called
Peterborough Studio, was
renamed in 1943.
Karen Sampson
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Karen Sampson
Nef Studio has been a
creative haven for more
than 70 photographers
since it was built in 1993.
Karen Sampson
Mixter Studio, an ideal
work space for filmmakers, is located across the
road from Colony Hall on
land Edward MacDowell
donated for a public golf course.
Karen Sampson
Karen Sampson
Perri Klass is a professor of journalism and pediatrics at New York University.
A graduate of Harvard Medical School, she completed her residency in pediatrics at Children’s Hospital in Boston, and her fellowship in pediatric
infectious diseases at Boston City Hospital. She has written extensively about
medicine, children, and literacy. Her short stories have won five O. Henry
Awards, and in 2006, she was the recipient of the Women’s National Book
Association Award. Her most recent books are Treatment Kind and Fair:
Letters to a Young Doctor and The Mercy Rule, which was released in 2008.
F r e e dom
For me, the most powerful art captures an emotional moment
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in time. But to work with an emotion, I must first risk experiencing it.
The beauty and isolation of Sprague-Smith Studio, in combination with
the nurturing MacDowell environment, encouraged a profound freedom
where anything was possible. With no food to cook, clock to watch, or
neighbors to hear me, I was able to stay with my emotions and explore
new ways of expressing them. Once, inspired by another Fellow’s work, I
sang at the top of my lungs, banging out chords on the piano that I
couldn’t even label. I was “fooling around,” and had I not been in a safe
environment, I might have restrained myself to more careful composing
methods. But the honor of being given a studio at MacDowell gave me
the confidence to trust my instincts and fully embrace the mood.
The result was a highly chromatic and dramatic song — quite a departure from my usual “folky” sound. The elation of this blur between
“play” and “work” plunged me into a sea of details. I recorded layers of
harmonics on the tenor guitar, and with collaborator Maggie Dubris’s
guidance, I wrote poetry. I also spent an entire day with a digital delay
pedal, tapping the bridge of my violin with a guitar pick. It sounded like
hundreds of feet shuffling, and suddenly, I was crying. At MacDowell,
what might have felt overindulgent became a deep reveling in true art.
And that is a gift to last a lifetime.
Lisa Gutkin is best known as a fiddler and singer for the Grammy-winning
Klezmatics, as well as the downtown Celtic group Whirligig. She’s been called
“one hot fiddler” by Cyndi Lauper, and Pete Seeger described her song Gonna
Get Through This World as “a piece of genius.” Her work can be found on
more than 100 albums and film scores.
Visionary
A Studio for Interdisciplinary Art
L
ooking toward the future of creative
freedom at MacDowell, the Colony
hosted an evening exploring
contemporary artistic processes and crosspollination on March 5th in New York. A group
Charles Rose Architects (2)
of 30 MacDowell artists, patrons, and guests
enjoyed a showcase of works that challenge the
conventions of form and discipline and demonstrate the breadth of creativity that will be made
possible by the Colony’s planned interdisciplinary art studio.
Chairman Robert MacNeil spoke about the
invited their artist peers to join them in
During dinner, award-winning architect Charles
leadership in innovation that has defined the
Peterborough. He also emphasized that this new
Rose presented his design for the new interdisci-
Colony since Edward and Marian MacDowell first
studio will allow the Colony to welcome choreog-
plinary studio, which has been developed based
raphers and other artists who require larger and
on input from many MacDowell artists. Focusing
more dynamic space than MacDowell can
on the need for an adaptive work space at the
currently offer. Board members Vallejo Gantner
Colony, Rose has incorporated a large black-box
and Dan Hurlin led a lively presentation of
theatre, a control room, an overhead grid, and an
contemporary art by video artist Chris Doyle;
outdoor space into the versatile layout of the
collaborative installation artists Andrew Ginzel
studio. This flexible and functional environment
and Kristin Jones; choreographer and composer
will enable collaborators to create simultaneously
Meredith Monk; performance artist Dean Moss;
while also allowing individual artists to work
and Kenneth Collins’s theater group, Temporary
freely on large-scale and multifaceted projects.
Distortion. Guests also experienced works by
John Kelly, Ralph Lemon, and Karen Sherman,
as well as a multimedia spectacle by the 2009
Spalding Gray Award-winning performance
realize this unprecedented work space for
choreographers, visual artists, and collaborative teams, please contact Dona Lee Kelly at
Shop Studio, a visual arts
studio, previously served
as Hillcrest Farm’s
woodshop.
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Phi Beta Studio was
home to composer
Louise Talma 41 times
over a 52-year period.
Schelling Studio, funded
by Marian MacDowell,
was the first studio built
at the Colony for visiting
artists.
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Putnam Studio, originally
an open woodshed, was
converted to a printmaking studio in 1974.
Karen Sampson
212-535-9690 or [email protected].
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Karen Sampson
group, Radiohole.
Artists eagerly await this new studio. To help us
Sorosis Studio offered a spectacular view of
Pack Monadnock when built on land cleared for farming in 1926.
Dream
A of a Studio
Nef Studio in fall.
photographers the ability to experiment with
new techniques. “In the last 20 years, photography has undergone huge changes, and many
artists are combining traditional and digital
processes. In Nef, there is enough space to
accommodate both dark room and digital and the
in-between combinations.”
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Photography has a long history at the Colony,
going all the way back to Edward MacDowell
himself, who was an avid photographer. While
numerous photographers like Zeke Berman
and Francesca Woodman worked at the Colony
early on, Nef Studio has proven to be fertile
creative ground for James Casebere, Barbara
Ess, Edward Grazda, Bill Jacobson, O. Zhang,
and a myriad of other innovative photographers
A
s a puppeteer, an Arctic adventurer,
A longtime board member who died on December
since it first opened in 1993. One of Nef’s most
a scholar, and a psychotherapist,
10, 2009, at the age 96 (see Remembering, page
recent inhabitants, Dutch photographer Katja
Evelyn Stefansson Nef lived the
5), Mrs. Nef funded the first new studio built at the
Mater, insists the studio was a vital part of her
dreams of many lifetimes. But one of her very
Colony in nearly 60 years — Nef Studio — in 1991
residency experience. “Nef Studio was one of
first dreams was fulfilled by the photography
during Mary Carswell’s tenure as executive
the most perfect working contexts I have ever
studio she donated to MacDowell in 1993. A
director. Nef’s $500,000 gift — which enabled the
found myself in,” Mater said of her winter 2010
photographer herself, Mrs. Nef knew what it
Colony to improve its facilities for visual artists
stay. “My time in Nef has been very productive
was to be an artist making do in less than ideal
— was the largest MacDowell had ever received.
and inspiring, and I feel charged to continue
circumstances. She also understood that
It has since been augmented by her $1 million
working on the new projects I have started here
although the seed of creativity could be planted
bequest to MacDowell, which will help the Colony
when I return to Amsterdam.”
anywhere, an idyllic environment helps it
build its endowment and sustain the residency
flourish. “This is the studio that Evelyn
experience well into the future.
Stefansson Nef dreamt of in her young photographic days,” reads the plaque that adorns Nef
Studio’s bluestone fireplace. “Providing it for
new generations is a way of making the dream
come true.”
Providing support to those who see the world
through a different lens and as enduring as MacDowell Fellow, photographer, and board
the light that shines through its windows, member Olivia Parker, the first artist to work in
Mrs. Nef’s studio — and her generous Nef Studio, credits the space for helping to spark
bequest — ensure that her dream will live some of her most enduring work and for giving
on at MacDowell.
Start
a Studio Fund
The MacDowell Colony welcomes interest from individuals and
organizations in supporting projects to preserve and improve artist
studios. You can help by making a gift directed toward your favorite
studio or artistic discipline. Your annual or endowed gift for a studio
maintenance fund pays day-to-day costs and allows MacDowell to make
building repairs on a regular basis, while a renovation grant helps fund
one-time major capital improvements. Currently, only six of the
Colony’s 32 studios are supported by designated studio funds. To initiate
your own studio fund, please contact John Martin at 212-535-9690 or
[email protected].
Featuring an overhead crane and welding equipment for large-scale
sculpture projects, Heinz Studio was converted from an icehouse, thanks
to a 1996 gift from MacDowell board member Drue Heinz. Maintenance for
Heinz Studio was endowed by a 2009 gift from the Drue Heinz Trust.
Veltin Studio has housed
nine Pulitzer Prizewinners, including poet
Edwin Arlington
Robinson and playwright
Thornton Wilder.
Sprague-Smith Studio,
destroyed by fire in 1976,
was rebuilt later that year using the original
fieldstone.
Wood Studio is sided with
large, overlapping pieces
of hemlock bark harvested from trees on
Colony property.
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Star Studio was the first
studio donated by an
outside organization:
music sorority Alpha Chi
Omega.
Watson Studio, designed
in the Classical style,
boasts Doric pilasters
and star-shaped, patterned windows.
On Sunday, August 15th, The MacDowell Colony will present its 51st Edward MacDowell Medal to jazz composer
Sonny Rollins. Rollins joins an impressive list of past recipients, including Leonard Bernstein, Alice Munro, I.M.
Pei, Merce Cunningham, and Georgia O’Keeffe. Beginning at 12:15 p.m., the award ceremony will take place on The
MacDowell Colony grounds, which will be open to the public for the festivities and celebration. MacDowell Fellow and
pre-eminent jazz writer and critic Gary Giddins, this year’s presentation speaker, will introduce Rollins and describe
his life and work to the audience. Following the ceremony, guests can enjoy picnic lunches on Colony grounds by
bringing their own or by pre-ordering lunch baskets. MacDowell artists-in-residence will then open their studios
to the public from 2 p.m. until 5 p.m. There is no charge to attend Medal Day. The MacDowell Colony is grateful
for the support of Lincoln Financial Foundation, our Medal Day corporate partner.
“I’m proud and pleased to be selected to receive this very special prize,” said Rollins. “Edward MacDowell’s spirit
engaged me many years ago when, as a child, I was inspired by his composition To a Wild Rose. Later, I had the
opportunity to make it a part of my repertoire, performing it on many occasions and eventually recording it.
Somehow, I feel I’m getting to meet him again.” A live version of Rollins’s rendition of To a Wild Rose is available on
his album The Cutting Edge, which was released in 1974.
In naming Rollins the 2010 Medalist, Giddins, also the chairman of this year’s Medalist Selection Committee,
said, “Much as The MacDowell Colony represents to countless artists a matchless paradise for inspired,
uninterrupted creativity, this year’s Medalist represents the zenith of his art. Perhaps more than any other artist
since World War II, Sonny Rollins has personified the fearless adventure, soul, wit, stubborn individuality, and
relentless originality that is jazz at its finest. From the time he began recording at 19, he was recognized as a
major talent; his innovative approach to the tenor saxophone was endlessly copied, and his original compositions frequently adapted. But in jazz, composer and performer are often one and the same, and perhaps his key
achievement has been the forging of an improvisational method that has given the idea of theme-and-variations
a renewed vitality. His singular music is at once reassuring in its fortitude and daring in its detours. Incapable of
faking emotion or settling for rote answers to the challenges of creating music in the moment, he keeps us
ever-alert to the power of the present.”
Joining Giddins on the committee were composer and founder of the Skymusic Ensemble, Carman Moore;
composer, musician, and noted professor Dr. Valerie Capers; and Dan Morganstern, GRAMMY Award-winning jazz
historian, critic, and current director of Rutgers University’s Institute of Jazz Studies.
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Called the “greatest living tenor saxophone player” by The New York Times, Rollins has had a profound impact on
music. Born in 1930, he gravitated to the tenor saxophone in high school, inspired by the work of Coleman
Hawkins. By the time he graduated, he was already working with such well-known musicians as Bud Powell, Fats
Navarro, and Roy Haynes. In 1951, Rollins debuted with Prestige, the record label that produced his classics
Worktime and Tenor Madness (with John Coltrane). Five years later, he went out on his own, ushering in a highly
creative period that produced the records A Night at the Village Vanguard, Way Out West, and Freedom Suite.
Taking the first of his well-known sabbaticals in 1959 — a period in which he could often be found practicing on the
Williamsburg Bridge — Rollins returned to music in 1961 with The Bridge, which featured a collaboration with
Hawkins, his longtime idol. In 1966, he received his first GRAMMY nomination for the film score for Alfie; his first
GRAMMY win came in 2000 for This Is What I Do, followed by a second in 2004 for Without a Song (The 9/11 Concert).
Rollins is the 14th Medalist in music composition, but the very first in the field of jazz. He follows such luminaries as Aaron Copland, Samuel Barber, Elliott Carter, and Lou Harrison. In its 102-year history, MacDowell has
provided Fellowships to more than 950 composers, including Bernstein and Copland, as well as other wellknown artists such as Amy Beach, Anthony Davis, David Diamond, Lukas Foss, Osvaldo Golijov, Meredith
Monk, Paul Moravec, Ned Rorem, Duncan Sheik, Alvin Singleton, Lewis Spratlan, Louise Talma, Virgil
Thomson, Melinda Wagner, and Ellen Taaffe Zwilich. These composers are part of the more than 6,500 artists
from all disciplines who have worked at the Colony.
Composer Yotam Haber is the
recipient of the first ASCAP Fellowship.
Board Adds Two Members
Elizabeth Gaudreau was elected to MacDowell’s board of directors in December. Having
CourtesY Photo
previously served on the Colony’s National Benefit committee in 2006 and 2007, Gaudreau has
lent her time to fundraising and special event efforts for several boards in Boston, including the
Boys and Girls Club, the Women’s City Club, and the Neighborhood Association of the Back Bay.
She has also served on the fundraising committee for the Cancer Research Foundation of
Washington, D.C. An interior designer by trade, she is the president of Grand Design in Boston.
Also named to the board in December was George Griffin. A three-time MacDowell Fellow, Griffin
is an independent filmmaker, writer, flipbook artist, and commercial producer who has made
more than 30 films that have screened at festivals around the world. He has received numerous
awards, including grants from the National Endowment for the Arts and a Guggenheim
Fellowship. His most recent film, The Bather, was shown at the 2009 Tribeca Film Festival in New
York. He is also the creator of MacDowell: A User’s Manual, one of a quintet of short films comprising the Colony’s Centennial film, Seasons of MacDowell.
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Mr. T, the Colony’s beloved pet and mascot,
died peacefully in March after living happily
at MacDowell for more than 15 years. The
painting of him above was created and
donated by visual artist Cynthia Daignault.
MacDowell Medal Goes to Sonny Rollins
The ASCAP Foundation has
partnered with MacDowell
to offer a new Fellowship for
a composer in 2010. The
ASCAP Fellowship covers
all costs of a residency,
including the exclusive use
of a studio, all meals,
accommodations, and the
benefits of working in a
dynamic multidisciplinary
community of artists.
Supported by a grant from
the ASCAP Foundation’s
Johnny Lange Fund, the first
ASCAP Fellowship was
awarded to Yotam Haber,
who had a spring residency
at MacDowell. The ASCAP
Foundation is dedicated to
nurturing the music talent
of tomorrow, preserving the
legacy of the past, and
sustaining the creative
incentive for today’s
creators through a variety of
educational, professional,
and humanitarian programs
and activities. Many ASCAP
members — from Clarice
Assad to Leonard Bernstein
— have worked at MacDowell
over the years, leaving
behind a distinguished
legacy of creative work.
News
John Abbott
Michael Jackson
ASCAP
Foundation
Gives Composer
Fellowship
Chairman and President to Retire
from Leadership; New President Named
Williams Tsien Commissioned for
New Library Complex
In February, architects Tod Williams and Billie Tsien presented their design for a new
library complex intended to serve the needs of Colony Fellows for the next century.
Integrated with the existing Savidge Library, the design was the product of three site
visits and six months of working with an ad hoc design committee comprised of members of the board.
Carter Wiseman
By utilizing passive solar gain, an extraordinarily tight building envelope, triple-glazed
windows, and locally sourced building materials, the design minimizes the energy
needed for both construction and operation of the new facility. This new space, which
will house artists and their work for generations to come, will cost $2.2 million.
Fundraising for this exciting project is just getting underway. For additional information,
please contact Dona Lee Kelly at 212-535-9690 or [email protected].
During his 11 years as president of MacDowell’s board
of directors (and a total of 15 years as a board member),
Wiseman was involved in numerous initiatives that
enhanced the Colony’s mission. Acting as editor, he
oversaw the completion of A Place for the Arts, the
240-page commemorative book MacDowell produced for
its Centennial. He was also instrumental in developing
architecture as a discipline at the Colony, and helped to
spread the word to colleagues like Fred Clarke, Paul
Byard, and Les Robertson. Wiseman was integrally
involved in the design committee for the building of
Calderwood Studio in 2000, and has lent his expertise to
committees overseeing plans that are in the works for a
new studio for interdisciplinary arts and an expansion to
Savidge Library. “I’m going to miss being in touch with
so many people, talking about important issues, and
making a contribution,” said Wiseman.
Tod Williams Billie Tsien Architects (2)
News
14
The architects’ design envisions the new space as a series of intimate areas where Colony
Fellows — alone or in small groups — will work, read, converse, browse, or engage with
MacDowell’s multimedia collection. With a low roof line and refined granite facade, the
asymmetrical, 3,000-square-foot media center will connect to Savidge Library’s southwest
corner. A bank of floor-to-ceiling windows will set the library aglow after dark like a
lantern in the woods. Also proposed is a massive outdoor fireplace that, when lit at night,
will act as a beacon for Fellows finishing their evening meal in nearby Colony Hall. Savidge
Library will continue to serve as a reading room and presentation space, as it was
originally intended to be when designed and built in the 1920s.
President Barack Obama has appointed MacDowell board member
Pamela Joyner to the President’s
Committee on the Arts and
Humanities. Sworn in at a special
ceremony at the Supreme Court on
February 24th, Joyner — who is a
current trustee of the San Francisco
Ballet, The School of American Ballet,
and Dartmouth College — was added
to the 25-member committee of
high-profile constituents representing
the country’s private and public
cultural sectors. Aimed at bridging
the interests of the White House,
federal agencies, and the private
sector, the committee works to
support arts and humanities efforts in
arts education, cultural diplomacy,
and community revitalization.
Wiseman’s presidency also coincided with several
challenges in MacDowell’s history — including the legal
battle to reaffirm the Colony’s tax-exempt status — as
well as important milestones, the most notable being the
celebration of the Colony’s 100th year in 2007. Wiseman is
quick to distribute credit to the many board members he
served with, especially Chairman Robert MacNeil. “My
relationship with Robert has been so hugely productive. I may have the last name, but it is he who is the sage.”
Wiseman’s decision to retire was motivated by a desire to
infuse new blood into MacDowell’s leadership. A distinguished writer, architectural critic, and teacher, he plans
to continue writing and is in the process of finishing a new
book entitled Writing on Architecture. He will also maintain
his teaching duties at Yale, as well as his volunteer work
mentoring high school students.
Arts = Commerce
in Monadnock Region
As one of 18 members of the board of directors of Arts Alive!
— a nonprofit organization working to sustain, promote, and
expand access to artistic and cultural resources in the
Monadnock region — MacDowell’s Resident Director David
Macy participated in efforts to initiate and support an
economic impact study aimed at quantifying the fiscal
contributions generated by local arts organizations and
activities. Authored jointly by Arts Alive! and Americans for
the Arts, the 11-month study revealed that nonprofit arts and
culture are a $16.6 million industry in the region — one that
supports 477 full-time jobs and generates $1.3 million in
local and state government revenue. The report found that
Monadnock-area arts and culture organizations spend $13.1
million each year in their communities, which translates into
an additional $3.5 million in expenditures by audiences and
arts patrons. The study’s total measured economic impact
was based on the direct and indirect spending of participating arts organizations and their audiences in relation to
specific events in 2008–2009.
CourtesY Photo
Joyner Named
to Presidential
Committee
Chairman of the Board
Robert MacNeil and
President Carter Wiseman
announced earlier this year
that they will step down
from their posts in 2010.
Media executive Susan
Davenport Austin succeeded
Wiseman in May, and a new
board chairman will be
named later this year.
Of Austin, Wiseman says,
“She is a fabulous choice.
She’s smart, has a sense of
humor, is incisive, and
brings a new perspective to
the organization. She’s
experienced on the business side, which is a good
thing to have at this
particular moment.” Austin
Susan Davenport Austin
currently serves as a
director and senior vice president and chief financial
officer of Sheridan Broadcasting Corporation (SBC), and
president of the Sheridan Gospel Network. Among other
holdings, SBC is the majority owner and manager of
American Urban Radio Networks, the only AfricanAmerican owned national radio network, with more than
300 affiliates across the country. Prior to joining SBC,
she spent 10 years in investment banking with such
firms as Goldman, Sachs, and Co; Bear, Stearns, and
Co.; and Salomon Brothers, Inc. She graduated from
Harvard University with a degree in mathematics and
holds an MBA from Stanford. “I’m honored to have been
elected president of MacDowell’s board of directors,”
says Austin. “While I am a businesswoman and not an
artist, I understand that the ‘business’ of MacDowell is
the artists, and I am excited by the opportunity to help
MacDowell grow in its nurturing of the arts.”
Save the Dates
51st Annual Medal Day Celebration
Honoring Sonny Rollins
Peterborough, NH
Sunday, August 15, 2010
New York, NY
Monday, December 6, 2010
MacDowell’s National Trip
September 10–12, 2010
Join MacDowell friends and patrons for an
art-filled fall weekend in Massachusetts
featuring unique visits to MASS MoCA, The
Sterling and Francine Clark Art Institute, and
the homes of major collectors of contemporary art in the Berkshires. Special exhibits at
MASS MoCA will include Sol LeWitt: A Wall
Drawing Retrospective and the collaborative
installation Material World by Colony Fellows
Wade Kavanaugh and Stephen Nguyen. At
the Clark, trip participants will enjoy an
introduction by director Michael Conforti,
tours of the special exhibition Picasso Looks
at Degas and the new Stone Hill Center
designed by Tadao Ando, and a private
dinner in the penthouse overlooking the
galleries. Space for this trip is limited. For
an itinerary and more information, please
contact Britton Matthews at 212-535-9690 or
[email protected].
MacDowell Downtown
11.6.09
Lady in the Wings, a 1954 Hallmark Hall of Fame
film about the evolution and founding of the
Colony, was screened.
4.1.10
Puppet and movement artist Luis Tentindo
showed video excerpts from his puppet-theater
piece The Mud Angels. He also demonstrated
puppetry techniques and invited audience
members to try their hand at this imaginative
art form.
MacDowell in the Schools
11.20.09
Writer Adrian Nicole LeBlanc returned to
Peterborough to conduct a daylong workshop
with more than 200 students at ConVal Regional
High School. The day was the culmination of a
three-month project in which multiple classes
All-Star Cast Takes the Stage at The TimesCenter
On December 7, 2009, more than 300 guests gathered at MacDowell’s National Benefit in New York City
to pay tribute to the Colony’s influence on the worlds of Broadway, film, television, painting, and the arts.
A group of Colony Fellow Richard Mayhew’s powerfully colored paintings were on view in the large
windows of The TimesCenter on 42nd Street. Beginning with remarks from Chairman Robert MacNeil,
the evening was hosted by The Daily Show’s Aasif Mandvi, who engaged Colony Fellows and their collaborators in live interviews. James Lapine and William Finn discussed their Broadway collaborations and
introduced a special performance by actor Sherie Rene Scott from their new musical Little Miss Sunshine,
a stage adaptation of the hit film. Food writer Ruth Reichl and actor Dianne Wiest talked about their new
PBS television series Gourmet’s Adventures with Ruth, while filmmakers Michael Almereyda and So Yong
Kim introduced scenes from their acclaimed feature films Hamlet and Treeless
Mountain. The evening was capped off with an original musical sketch by
Broadway collaborators Scott Frankel and Doug Wright with performances by
Broadway and television stars BD Wong, Alison Fraser, and Sherie Rene Scott.
Recent photographs by Stephen Shore were also projected in the concert hall.
Very special thanks go to benefit cochairs Eleanor Briggs; Pamela J. Joyner and
Alfred J. Giuffrida; Stephanie and Robert Olmsted; Barbara and Andrew Senchak;
and Theresa M. and Charles F. Stone, III. MacDowell would also like to thank
Ruth M. Feder and Helen S. Tucker, as well as all the honorary chairs for this
event: Laurie Anderson, Richard Mayhew, Mark Morris, James Stewart Polshek,
Roxana Robinson, and Stephen Shore. MacDowell appreciates the generosity of
lead corporate sponsor Random House/Bertelsman, as well as Sara Crichton
Books/Farrar, Straus, and Giroux and Zone: Contemporary Art. The National
Benefit in New York City raises funds to help support Fellowships at MacDowell.
at ConVal read LeBlanc’s award-winning
nonfiction book, Random Family: Love, Drugs,
Trouble and Coming of Age in the Bronx, a
meticulous chronicle of the struggles of an
impoverished inner-city family. The book’s
publisher, Scribner, donated 175 copies of the
book to ConVal last summer, enabling teachers
to work it into their curriculum. LeBlanc — accompanied by two individuals prominently
profiled in Random Family, “Mercedes” and
“Cesar” — met and talked with small groups of
students throughout the day and at a large
group assembly where the author, her guests,
and Alice Truax (an editor who worked with
LeBlanc on the book) took questions from
students, faculty, and parents.
Top (left to right): Sherie Rene Scott, BD
Wong, and Alison Fraser performing at the
National Benefit. Above: Aasif Mandvi (right)
talks with James Lapine (left) and William
Finn (center).
The LeBlanc program at ConVal is one of more
than roughly 200 artist presentations the Colony
has initiated in area schools since it began its
MacDowell in the Schools program in 1995. Over
the past 14 years, MacDowell in the Schools has
reached more than 3,000 students by bringing to
area classrooms more than 150 accomplished
artists in the fields of architecture, music
composition, interdisciplinary and visual arts,
film, theatre, and literature.
1.12.10
Writer Sam Swope visited The Well School,
where he shared his work with pre-K through
fourth-grade students. He also collaborated with
students on a story, and talked about the writing
process.
1.18.10
At a visit to a third-grade class at Peterborough
Elementary School, writer Sam Swope read to
students and engaged them in a collaborative
writing exercise. He also talked to them about
MacDowell and his career as a writer.
3.19.10
Nonfiction writer Perri Knize spoke to writing
students at ConVal High School about the
rewards and challenges of being a journalist.
Other Outreach
3.7.10
Poet Christian Barter shared his poems at a literary reading at Del Rossi’s restaurant in Dublin.
Writer Adrian Nicole LeBlanc, pictured left and above in
yellow, at her MacDowell in the Schools program.
Outreach
National Benefit
Honoring Robert MacNeil
15
Peterborough, NH
Saturday, October 9, 2010
Events
New Hampshire Benefit
100 High Street Peterborough, NH 03458-2485
From left to right: Writer Kimberly Cloutier Green, visual artist Robert Lyons, architect Jonathan Friedman, composer Wenhui Xie, and theatre artist Reginald Edmund.
16
Fellowships
From November, 2009, through April, 2010, The MacDowell Colony welcomed a total of 137 artists from 22 states and six
countries. This group included 57 writers, 25 visual artists, 19 theatre artists, 14 composers, nine interdisciplinary artists,
nine filmmakers, and four architects.
Selena Anderson, writer
Pearland, TX
Reginald Edmund, theatre artist
Minneapolis, MN
Christian Barter, writer
Bar Harbor, ME
Jesse Epstein, film/video artist
Brooklyn, NY
Claire Barwise, writer
Brooklyn, NY
Christine Farrell, theatre artist
Cliffside Park, NJ
Caren Beilin, writer
Missoula, MT
Michael Fiday, composer
Cincinnati, OH
Hunter Bell, theatre artist
New York, NY
Leigh Fondakowski,
Jesse Bercowetz, visual artist
Brooklyn, NY
Brooklyn, NY
Ben Beres, interdisciplinary artist
Seattle, WA
Susan Blackwell, theatre artist
New York, NY
Amy Bloom, writer
Durham, CT
Jonathan Blunk, writer
Crompond, NY
Nancy Bowen, visual artist
Brooklyn, NY
George Brant, theatre artist
Providence, RI
Alan Burdick, writer
Hastings-on-Hudson, NY
Bill Burns, interdisciplinary artist
Toronto, CANADA
Clayton Campbell, visual artist
Pacific Palisades, CA
Rachel Cantor, writer
Philadelphia, PA
Purcell Carson,
film/video artist
Jessica Francis Kane, writer
New York, NY
Jonathan Friedman, architect
Glen Cove, NY
Alina Gallo, writer
Portland, ME
Renee Gertler, visual artist
San Francisco, CA
Samantha Gillison, writer
Brooklyn, NY
Sigrid Gilmer, theatre artist
Pasadena, CA
Peter Godwin, writer
New York, NY
Meghan Gordon, visual artist
New York, NY
Amanda Green, theatre artist
New York, NY
Yotam Haber, composer
Brooklyn, NY
Alex Halberstadt, writer
Brooklyn, NY
Andrea Hart, theatre artist
Berkeley, CA
New York, NY
Ted Hearne, composer
New York, NY
Rebecca Chace, writer
New York, NY
Lilah Hegnauer, writer
Charlottesville, VA
Michelle Chang, architect
Cambridge, MA
Sabine Heinlein, writer
Sunnyside, NY
Andrea Clearfield, composer
Philadelphia, PA
Nayef Homsi, visual artist
New York, NY
Kimberly Cloutier Green, writer
Kittery Point, ME
Laura Jacqmin, theatre artist
Chicago, IL
Bonnie Collura, visual artist
Bellefonte, PA
John Jesurun, theatre artist
New York, NY
Matthew Connors, visual artist
Brooklyn, NY
Roxane Johnson, writer
San Francisco, CA
Meehan Crist, writer
Brooklyn, NY
Hillary Jordan, writer
Tivoli, NY
Zac Culler,
Kathryn Joyce, writer
Astoria, NY
Seattle, WA
Gabriel Kahane, composer
Brooklyn, NY
interdisciplinary artist
Cynthia Daignault, visual artist
Brooklyn, NY
Kelly Daniels, writer
Rock Island, IL
Amanda Davidson, writer
San Francisco, CA
Caitlin Delohery, writer
Brooklyn, NY
Stacey D’Erasmo, writer
New York, NY
William di Canzio, theatre artist
Drexel Hill, PA
Bronwen Dickey, writer
Durham, NC
Kerry Dolan, writer
San Francisco, CA
Mark Doten, writer
New York, NY
The MacDowell Colony is located at
100 High Street
Peterborough, NH 03458
Telephone: 603-924-3886
Fax: 603-924-9142
Administrative office:
163 East 81st Street
New York, NY 10028
Telephone: 212-535-9690
Fax: 212-737-3803
Web site: www.macdowellcolony.org
E-mail: [email protected]
Stephen Karam, theatre artist
New York, NY
Daniel Kellogg, composer
Erie, CO
Jerome Kitzke, composer
New York, NY
Cindy Kleine, film/video artist
New York, NY
Kevin Kling, theatre artist
Minneapolis, MN
Perri Knize, writer
Missoula, MT
Sarah Lambert, theatre artist
Port Jervis, NY
Adrian Nicole LeBlanc, writer
New York, NY
Nathalie Rozot, architect
New York, NY
Seoul, SOUTH KOREA
Helen Rubinstein, writer
Brooklyn, NY
Dan LeFranc, theatre artist
Brooklyn, NY
David Licata, film/video artist
New York, NY
Jennie Livingston,
film/video artist
Brooklyn, NY
Robert Lyons, visual artist
Easthampton, MA
Jan Mammey, visual artist
Leipzig, GERMANY
Nancy Manter, visual artist
Seal Cove, ME
Ben Marcus, writer
New York, NY
Katja Mater, visual artist
Amsterdam, THE NETHERLANDS
Paula Matthusen, composer
Tempe, AZ
Robinson McClellan, composer
New York, NY
Molly McNett, writer
Oregon, IL
Philipp Meyer, writer
Newfield, NY
Eve Morgenstern, visual artist
New York, NY
Kate Moses, writer
San Francisco, CA
Quince Mountain, writer
Mountain, WI
Nicholas Muellner, visual artist
West Danby, NY
Janine Nabers, theatre artist
New York, NY
Ziad Naccache, visual artist
Brooklyn, NY
Itty Neuhaus,
Fishkill, NY
Susan Nisenbaum Becker, writer
Middleboro, MA
Danica Novgorodoff, writer
Brooklyn, NY
Morgan O’Hara, visual artist
New York, NY
Diana Park, writer
Pikesville, MD
Joanne Pasila, visual artist
Brooklyn, NY
Dane Patterson, visual artist
Brooklyn, NY
Mary Jo Salter, writer
Baltimore, MD
Nora Salzman, visual artist
Chicago, IL
Adam Schoenberg, composer
New York, NY
Heidi Schwegler, visual artist
Portland, OR
Derek Simonds, film/video artist
Los Angeles, CA
Alvin Singleton, composer
Atlanta, GA
Becky Smith, film/video artist
Los Angeles, CA
David Soll, film/video artist
Brooklyn, NY
Jessica Stern, writer
Boston, MA
Scott Stossel, writer
Chevy Chase, MD
Patrick Stoyanovich, composer
Bainbridge Island, WA
Manil Suri, writer
Silver Springs, MD
John Sutton,
Seattle, WA
Sam Swope, writer
New York, NY
Louisa Thomas, writer
New York, NY
Daniel Tice, film/video artist
West Hollywood, CA
Patrick Tighe, architect
Santa Monica, CA
On the Cover…
Lynne Tillman, writer
New York, NY
Jonathan Treitel, writer
London, ENGLAND
Kim Uchiyama, visual artist
New York, NY
Daria Vaisman, writer
Brooklyn, NY
Ayelet Waldman, writer
Berkeley, CA
Dan Welcher, composer
Bastrop, TX
Rachel Perry Welty,
MacDowell Studio, one of the Colony’s 32 artist studios.
David Prince,
Gloucester, MA
Photo by Victoria Sambunaris.
South Pasadena, CA
Joan Wickersham, writer
Cambridge, MA
Beth Raymer, writer
Brooklyn, NY
Amber Reed, theatre artist
Brooklyn, NY
Crystal Williams, writer
Lake Oswego, OR
Kristina Wong,
Jacquelyn Reingold,
Los Angeles, CA
New York, NY
Joy Wood, writer
West Bloomfield, MI
theatre artist
Suzanne Rivecca, writer
San Francisco, CA
Lacey Jane Roberts, visual artist
Birmingham, MI
Roxana Robinson, writer
New York, NY
The MacDowell Colony awards Fellowships to artists of exceptional talent,
providing time, space, and an inspiring environment in which to do creative
work. The Colony was founded in 1907 by composer Edward MacDowell and
Marian MacDowell, his wife. Fellows receive room, board, and exclusive use
of a studio. The sole criterion for acceptance is talent, as determined by a
panel representing the discipline of the applicant. The MacDowell Colony was
awarded the National Medal of Arts in 1997 for “nurturing and inspiring many
of this century’s finest artists.” Applications are available on our Web site: www.macdowellcolony.org.
Chairman: Robert MacNeil
President: Susan Davenport Austin
Executive Director: Cheryl A. Young
Resident Director: David Macy
Gabriela Salazar, visual artist
New York, NY
Non-Profit Org.
U.S. Postage
PAID
Permit No. 11
Peterborough, NH
Michelle Burke, writer
Brooklyn, NY
theatre artist
Soyung Lee,
Doug Wright, theatre artist
New York, NY
Wenhui Xie, composer
Cincinnati, OH
Cynthia Zarin, writer
New York, NY
The Colony is grateful for the
generous support of the following organizations:
MacDowell is published twice a
year, in June and December. Past
Fellows may send newsworthy
activities to the editor in Peterborough. Deadlines for inclusion are
April 1st and October 1st.
Editor: Karen Sampson
Contributing Editor: Brendan Tapley
Design and Production: John Hall Design Group, Beverly, MA
All photographs not otherwise credited: Joanna Eldredge Morrissey
Printer: Shawmut Printing, Danvers, MA
No part of MacDowell may be
reused in any way without written
permission.
© 2010, The MacDowell Colony
The names of MacDowell Fellows
are noted in bold throughout this
newsletter.

Artists Remembering 10 Gifts of a MacDowell Studio

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