CSF news from elsewhere.
Via The Pitch KC
After an era of roaming, Charlotte Street Foundation—the creative institution serving Kansas City artists for the past 24 years—has found a home at 3333 Wyoming St. in Roanoke.
On Friday, June 11, the public is invited to explore the new space via guided tour, plus take in two exhibition openings called Who We Were, Who We Are, Who We Will Be and [Phainesthai] Prairie Translations.
Who We Were considers identity: “Within the identity of any singular person, there are multiplicities. There are various versions of ourselves to consider: past/present/future, self at best/self at worst, self as part of various communities.”
Via The Beacon
Local jazz musicians have lost a large part of their income to the continued spread of COVID-19, leaving them to look to new ways of making money and playing for audiences.
Kansas City, while famous for football and barbecue, is arguably most known for its contributions to jazz. The genre originated among the Black community of New Orleans in the early 20th century before becoming popular among the African American community of Kansas City in the 1920s. Since then, it’s become a cultural pillar of the city, with more than 40 venues regularly hosting jazz music — at least before the pandemic.
Via KU News Service
LAWRENCE – Who’s an essential worker during a pandemic, when people are asked to stay home to stop the spread? Grocery clerks, sure. Truckers. EMTs. But what about artists?
Making art is Benjamin Rosenthal’s raison d’être. The associate professor of visual art took some qualified risks and expended great effort during the pandemic year of 2020 to make some work. The result is an eight-minute video titled “the gleaners, and: ritual for signaled bodies” that he produced in collaboration with Eric Souther, assistant professor of video art at the New York State College of Ceramics (NYSCC), School of Art and Design at Alfred University.
Via KC Studio Magazine
Kimi Kitada has been named the Charlotte Street Foundation’s new Jedel Family Foundation Curatorial Fellow, a new iteration of its longstanding Curatorial Residency Program. Kitada, who formerly worked as a curatorial assistant at the Los Angeles Museum of Contemporary Art, was the co-founder of alt_break in New York City and has been involved in exhibitions as far away as Budapest. We spoke to her to learn about her plans and ideas for her new position in Kansas City, which she assumed in October.
Via KC Studio
The Kansas City Filmmaker and Musical Artist Received a 2019 Rocket Grant for a Film about Slain KC Civil Rights Leader Leon M. Jordan.
Emiel Cleaver has used his video production skills to educate and enlighten by casting a light on Kansas City’s rich, yet complex, Black history. In addition to a critically acclaimed documentary on the Black political organization, Freedom Incorporated, Cleaver has produced documentaries on Bruce R. Watkins and the historic First Baptist Church in Kansas City, Kansas. His resume also includes mini-documentaries and even his own music, including hip hop videos on Youtube.
Via KC Studio
Kansas City singer and harpist Calvin Arsenia was booked for performances all over the country until COVID-19 shut those performances down.
“As an artist, all these contracts being turned to ashes means I have no income anymore,” Arsenia said. “A gig on the calendar is how I’m going to eat that month or that week or that day.”
Via KC Studio
Making Moves is moving.
After a successful establishment year, Charlotte Street Foundation renewed the monthly choreographic showcase for 2020 and is bringing it to the Foundation’s new location at 3333 Wyoming.
Previously, “Making Moves,” produced by Charlotte Street studio resident Kyle Mullins, was presented every second Thursday at the Charlotte Street Foundation’s Capsule Performing Arts Space at 1664 Broadway Blvd.
Via KCUR 89.3 FM
Starting May 1, arts organizations plan lottery distribution of $1,000 checks to artists hurt by coronavirus shutdown.
Via KCUR 89.3 FM
Pat Alexander, Charlotte Street's programming and studio residency manager, says a lot of thought went into the two locations. He and his staff attended neighborhood meetings and listened to community officers to learn what sort of programming would be of interest to residents.
"So they're not just popping in and saying, 'We're art. We're here. Like it,'" Alexander notes. Instead, they're asking themselves, "How are you really going to interact with these communities?"