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“Khuyana” Artist in Residency program in Peruvian Amazon

“Khuyana” AiR program in Peruvian Amazon for 2018.

Khuyana AiR
The residency program “Khuyana” welcomes visual artists, architects, photographers, other disciplines; national and international for the period of one month (up to three month) to develop research and production projects related to the Peruvian Amazon, the community of Cuyana – Iquitos and amazon ancient cultures (Quichua and Kukama Kukamiria).

The community of Cuyana has its origin in the migration of the Andean Quechua ethnic group to the Peruvian jungle, now known as “Quichua”. The main activities of Cuyana inhabitants are the land and raising livestock.Nearby we find a community Kukama Kukamiria whose main activity is crafts, there is a tradition in the production of ceramics and balsa wood carving decorated with traditional motifs, vegetable fiber fabrics and other products that represent the cultural wealth held by the Community. Most of the population still preserving them Amazonian ancient culture but they are losing their original language. The residency program works in close collaboration with the self-management space Correlación Contemporánea, the volunteer program Sami Khuyay – Free School and the community of San Pablo de Cuyana, offering artistic workshops for children and young people, as well as the care of the infrastructure and space needs.

The studio is called “Wasicha”, is a floating indigenous maloka built with traditional techniques and materials of the Amazon ancestral architecture. The Wasicha was originally the center of Sami Khuyay – Free school whose mission is to strengthen indigenous culture and identity of children and young people of the community. In this time will host Khuyana artist-in-residence. The Walicha has a large multipurpose studio, three bedrooms available for artists, two bathroom, kitchenette, a large open space for installations, performances, etc., and camping area (only available from July to December).

One month up to three months (Residency period: March, April, May 2018)

Number of residents

Residency fee
700 US$ / month

Fee covers:
– Transportation airport – residence – airport (pickup schedule will be provide).
Welcome session with a traditional amazon dinner.
– Residency period accommodation in floating amazon maloka with shared rooms.
– Weekly meetings and talks organized by coordinators to exchange information and ideas about a proposed topic.
– The organization is committed to holding two art exhibitions that will show the artist-in-residence products in two cities, the first one in Iquitos at the end of residency period, then pieces will be moving to the second exhibition in Lima.
– The AiR program will provide the space and promotion for resident’s open studios or workshops.
– The AiR program will provide the cultural promotion for resident’s exhibition in social medias, national Tv and/or radio.
– Invitation letters and certificates of participation to the participants will be extended.
+info: [email protected]

More Info:

UPDATED! 10 Reasons to Support the Arts

By Randy Cohen

How Lin-Manuel Miranda Saved the NEA

Americans for the Arts - Arts Action Fund

September 14, 2017

When Lin-Manuel Miranda and his dad, Luis Miranda, heard that the  National Endowment for the Arts and the National Endowment for the Humanities were at risk of being eliminated this year, they contacted Americans for the Arts and the National Humanities Alliance to ask how they could help. They committed two full days to walk the halls of Congress and made contact with more than 30 Members of the House and Senate on September 12-13. Exhibiting great bipartisanship throughout, Lin-Manuel also received two deserving awards while he was on Capitol Hill: the 2017 Freedom Award from the US Capitol Historical Society and the 2017 Congressional Hispanic Caucus Institute’s Medallion of Excellence.

The timing of Lin-Manuel’s visit was crucial as the Senate deliberates on the new FY2018 funding level for the NEA and NEH after the House proposed $145 million for each agency (a $5 million cut from last year).  He urged Senators to consider increasing the funding level to $155 million for each agency. In addition to meeting with 30 Members of Congress, check out the fun he had singing his way through the Capitol subway trains while connecting with Members of Congress and staff.

Visit theArts Action Fund Blog for more photos and news about this story.




Help us in thanking Lin-Manuel by sending him a tweet:

Thanks @Lin_Manuel for helping #SAVEtheNEA #SaveTheNEH. Your advocacy on Capitol Hill this wk was invaluable @Americans4Arts @HumanitiesAll


Connect with the Arts Action Fund through our online communities:


Bambi Artist Tyrus Wong Gets His Due

Tyrus Wong, The ‘Bambi’ Artist Who Endured America’s Racism, Gets His Due

The late Tyrus Wong, whose paintings formed the basis of Disney’s iconic film, is finally receiving the recognition he deserves.

Tyrus Wong
Bambi visual development, 1942, watercolor on paper

Even if you’ve never heard the name Tyrus Wong before, you’ve likely seen his work. Maybe not in a museum or gallery, but you’ve probably enjoyed the late artist’s fascinating brushstrokes ― or the films that they inspired ― in the comforts of your home.

Until his death last year at the age of 106, Wong was considered America’s oldest living Chinese-American artist and one of the last remaining icons of Disney’s golden age of animation. Few people outside of his studio could identify him during his lifetime, but his art was eerily ubiquitous. Handpicked by Walt Disney to guide one of his films, Wong’s watercolor sketches formed the basis of “Bambi” and, later, Warner Bros.′ live-action movies like “Rebel without a Cause.” His calligraphic imagery wound its way onto Hallmark Christmas cards, kites and hand-painted California dinnerware. He did show in galleries and museums, too ― with greats like Pablo Picasso and Henri Matisse, no less.

And yet, it wasn’t until recently ― later in his life ― that he began receiving the recognition he deserved. It was in 1942 when he painted a minuscule buck leaping through a forest felled by blazing flames, an electric landscape that would heavily influence the World War II-era movie about a fawn who lost his mother. Seventy-five years after “Bambi,” Wong is the subject of an “American Masters” film on PBS, a documentary portrait that reveals how he overcame a harrowing immigration process and years of racism in the United States to become one of the most prolific artists in recent memory.

Courtesy of the Tyrus Wong family
Portrait of Tyrus Wong

“Tyrus Wong’s story is a prime example of one of the many gaping holes in our society’s narrative on art, cinema, and Western history,” Pamela Tom, the director behind “Tyrus,” set to air on PBS Sept. 8, explained in a statement. “By telling his story, I wanted to shine light on one of America’s unsung heroes, and raise awareness of the vital contributions he’s made to American culture.”

Her 90-minute documentary follows Wong from his birth in Canton (now Guangzhou), China, to his attempts to immigrate to the United States in 1919. Detained for a month, he, along with his father, endured extensive interrogation before being allowed to enter the country, only to live in poverty once they arrived. As multiple sources in the film point out, American society in the 1920s and ’30s was not kind to Chinese-American communities ― many immigrants saw only a few options for work, including acting as laundry men, house boys or restaurant staff. And the world of animation and film, a more than unlikely field Wong fought tooth and nail to enter, was not much kinder. Described as “an old boy’s club,” Wong recounts how he was called a racial slur on his first day with Republic Pictures.

Still, his sights were ultimately set on fine art. An eventual graduate of Otis Art Institute, the animator, designer, painter and kite maker rose to the coveted status of a Disney Legend by 2001. Beyond that, his work indeed hangs in museums, his name appearing in placards next to other greats. “He had a lot of dignity, but he also felt the pangs of racism,” Tom told HuffPost in an earlier interview. “I think Tyrus represents success. He represents someone who’s a survivor, who broke these racial barriers.”

Today, immigrants in the U.S. continue to face astounding obstacles. Just a few days before the premiere of “Tyrus,” President Donald Trump and his administration initiated the termination of the Deferred Action for Childhood Arrivals protections, putting nearly 800,000 young undocumented immigrants at risk of deportation if members of Congress fail to strike a deal. Wong’s story illuminates just how difficult it is to succeed in a world that’s designed to test your limits at every turn.

“It’s so unlikely,” a voice in the film’s trailer declares of Wong’s biography, “and that’s what makes it so valuable.”

Ahead of the debut of “Tyrus,” HuffPost is premiering an exclusive clip from the “American Masters” film. For more information on the project, head to PBS.

Tyrus” will air on PBS on Sept. 8 at 9 p.m ET. See more images of Wong’s artwork below.

Tyrus Wong
Bambi visual development, 1942, watercolor on paper

Tyrus Wong
Bambi visual development, 1942, watercolor on paper
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Tyrus Wong
Pre-production illustration, possibly from the Warner Bros film “Gypsy”

Tyrus Wong
Reclining nude, circa 1936, oil on canvas

Ildiko Lazslo
Pamela Tom and Tyrus in Tyrus’s kite studio.

Tyrus Wong
Tyrus Wong’s self-portrait, late 1920s.

Courtesy of the Tyrus Wong family
Tyrus Wong painting in his studio.

Fall 2017 Arts Action news

  Vol. III 2017 Quarterly Member Newsletter
Support the Arts Action Fund PAC.
Click to Donate
Message from President & CEO Robert Lynch
As you can see in this quarter’s Arts Action Fund newsletter, the theme is economic impact. From newspaper headlines across the country to briefings on Capitol Hill, state legislative chambers and city halls, the golden number that we all need to memorize is that the nonprofit arts are a $166.3 billion annual industry in America.

We’re very grateful to the federal, state, and local elected officials, business leaders and arts administrators, who are helping to spread the word about the powerful economic impact of the arts in strengthening cities and  enriching lives. In fact, one of our important public partners, the National League of Cities, recently released its annual Top 10 Issues impacting cities. While it may not shock you to read that “economic development” was on the very top of the list, you may be surprised to learn that mayors cited  examples of arts and culture at least 25 percent of the time in their “State of the City” speeches as examples of innovative economic development.

Recently, Arts Action Fund Executive Director Nina Ozlu Tunceli (pictured below on the right) organized a group of grassroots members to meet with the Chairman of the House Interior Appropriations Subcommittee Rep. Ken Calvert (R-CA-42) (pictured in the middle). They met in his district office in Corona, CA, to discuss the programmatic and economic impact of NEA grants in his Congressional district. I am pleased to share that Chairman Calvert rejected President Trump’s request to terminate the NEA and, instead, restored $145 million.

Americans for the Arts Unveils National Findings of Fifth Economic Impact Study of Nonprofit Arts Industry

A new national study by Americans for the Arts finds that the nation’s nonprofit arts and culture industry generated $166.3 billion in economic activity in 2015-$63.8 billion in spending by arts and cultural organizations and an additional $102.5 billion in event-related spending by their audiences.

This activity supported 4.6 million jobs and generated $27.5 billion in government revenue. Arts & Economic Prosperity® 5 (AEP5) is the largest study of its kind and was released on June 17, 2017, at Americans for the Arts’ Annual Convention in San Francisco.

AEP5 documents the economic contributions of the nonprofit arts industry nationally as well as in 341 local study regions, representing all 50 states and the District of Columbia. Data was gathered from 14,439 arts and cultural organizations and from 212,691 members of their audiences. The full report, a map of the 341 study regions and a two-page economic impact summary for each region, a sample PowerPoint presentation, and a media toolkit for advocates can be found at


Ads and Newspaper Headlines Mobilize Arts Advocacy
In early 2017, Americans for the Arts launched a suite of ads and a social media campaign, #SAVEtheNEA, to showcase the importance and value of federal funding for the arts. Ad placements began the first week of March in The Hill, New York Daily Post and Palm Beach Daily News. Then continued for Arts Advocacy Day in The HillPolitico and Roll Call, reaching a combined audience of nearly 600,000 influential political readers, as well as more than 500,000 people on Facebook.

In May, Americans for the Arts developed 21 customized ads designed to educate key members of the Congressional Appropriations Committees with ads and op-eds in their hometown newspapers. In June, the results of our economic impact study in 341 regions began grabbing front page headlines in newspapers (like the ones below) across the country in all 50 states.

Federal Update
House Appropriations Committee Recommends $145 million in NEA Funding, Rejecting Trump’s Termination Proposal


In July, the U.S. House Appropriations Committee approved funding for the NEA at $145 million for FY 2018. Although this proposal is a small $5 million budget cut (from $150 million in FY 2017), we are encouraged that the GOP-controlled House rejected President Trump’s attempt to terminate the NEA.

Still to come is the U.S. Senate’s proposal. At this key time in the negotiations, six local arts leaders, who are also AEP5 study partners, came to Washington, D.C., as part of a continuing series of advocacy initiatives to respond to President Trump’s proposed termination of federal cultural funding, including NEA, NEH, IMLS and CPB. These arts leaders from across the country met with key Congressional appropriators at a strategic time when the House and Senate are negotiating funding for FY 2018.

State and Local Update
Americans for the Arts Continues to Strengthen Ties with Local Officials and Military

In June, Americans for the Arts’ partner, The United States Conference of Mayors, unanimously passed eight arts policy resolutions at its annual conference. These resolutions called on Congress for full funding of the National Endowment for the Arts (NEA), preserving charitable giving tax incentives, and endorsing the Arts & Economic Prosperity 5 Study.

Americans for the Arts, in partnership with the National Association of Counties, was recently awarded an NEA Our Town grant to work with rural counties to use the arts and culture to address systemic issues facing counties.

Americans for the Arts 
was also contracted by the NEA to administer its Creative Forces program
(military arts therapy) and recently hosted the first of 10 kick-off celebrations. These events will bring together members of the military and local arts groups, who will be working together to provide arts therapy and programs to military soldiers, veterans and their families.

PAC Update

The Arts Action Fund hosted its annual reception and fundraiser at the Americans for the Arts Convention in San Francisco on June 16th, featuring President and CEO Bob Lynch, Arts Action Fund Executive Director Nina Ozlu Tunceli, and Executive Director of the Djerassi Resident Artists Program Margot Knight. Margot spoke about the importance of the Arts Action Fund’s grassroots work with members. She urged advocates at the reception to become monthly donors to the Arts Action Fund PAC in order to
support pro-arts candidates, especially in the next mid-term elections. To set-up monthly giving, please visit


2017 Oregon Arts Summit

Tony Kushner, the return of the Governor’s Arts Awards

to headline 2017 Oregon Arts Summit: “Creating Impact”

The important role of the arts in reflecting and defining society will be explored during the 2017 Oregon Arts Summit, “Creating Impact: Art and Civic Engagement,” scheduled from 8 a.m. to 4 p.m. on Friday, Oct. 6 at the Hilton Portland Downtown. Celebrating the Oregon Arts Commission’s 50th anniversary, the Arts Summit will feature Pulitzer Prize-winning playwright Tony Kushner and the return of the Governor’s Arts Awards after a 10-year hiatus. Scholarships are available. 
Tony Kushner
“Throughout history, art has reflected the most important social issues of its time,” says Arts Commission Chair Christopher Acebo, the associate artistic director of the Oregon Shakespeare Festival.

“It’s fitting that we celebrate the Arts Commission’s 50th Anniversary by examining the important connection between art and civic engagement, and we are thrilled to have Tony start the conversation.”

Nominated for an Academy Award for his screenplay for Steven Spielberg’s “Lincoln,” Kushner’s honors also include an Emmy Award, two Tony Awards and three Obies. In addition to his two-part epic, “Angels In America: A Gay Fantasia on National Themes,” Kushner’s plays include “A Bright Room Called Day,” “Homebody/ Kabul” and the musical “Caroline, or Change.”

In a free 8 a.m. event preceding Arts Summit meetings, Governor Kate Brown will present 2017 Oregon Governor’s Arts Awards to two artists and three organizations as recipients of the 2017 Governor’s Arts Awards. Portland artist Arvie Smith and Yoncalla artist Esther Stutzman will be honored with Lifetime Achievement Awards. Organization honorees include Crow’s Shadow Institute of the Arts, Portland Opera and The James F. and Marion L. Miller Foundation.
Other featured speakers for the 2017 Arts Summit include slam-poet and musician Mic Crenshaw, Oregon Symphony Music Director Carlos Kalmar and Randy Cohen of Americans for the Arts, speaking on the Arts & Economic Prosperity 5 study. Scheduled performances include Poet Laureate Elizabeth Woody, jazz artist Darrell Grant, singer Edna Vazquez, BRAVO Youth Orchestras and the PHAME Choir-with special guest Excellence in Theatre Education Tony Award-winning teacher Rachel Harry. Breakout sessions will focus on equity, economic impact, education and creativity.
Hosted by the Oregon Arts Commission, the Arts Summit is a forum of learning and shared resources for arts organizations, arts associations, elected officials, individual artists and arts professionals from around the state. The 2017 Oregon Arts Summit is funded in part by The Oregon Community Foundation, The James F. and Marion L. Miller Foundation and the Harold & Arlene Schnitzer Care Foundation. Kushner’s appearance was made possible by the Harold & Arlene Schnitzer Care Foundation.
Registration for the Oregon Arts Summit is $95. Scholarships are available; the deadline to apply for Arts Summit scholarships is Friday, Sept. 29. Student tickets are available for $25. Apply for a scholarship, register or learn more about the Arts Summit here.

Ashland New Plays Festival Announces ANPF 2017 Fall Festival Full Schedule

Ashland New Plays Festival Announces ANPF 2017 Fall Festival Full Schedule

Ashland, Ore – Ashland New Plays Festival today announced the full schedule for its 26th annual Fall Festival, which takes place October 18-22, 2017, at the Unitarian Center, 87 4th Street in Ashland.

The four winning playwrights, whose plays were selected in blind readings of 400 submissions from around the world, will have their plays produced as dramatic readings by world-class actors and directors in matinee and evening performances.

Each year, more than 50 hard-working volunteers read, debate and score every play submitted to the festival. Artistic Director Kyle Haden selects the four winners from the readers’ 12 highest-scoring plays.

“This year, Kyle had the luxury of choosing the four plays — the top 1 percent — from a very strong field. ANPF 2017 will feature new work by Emily Feldman, Blake Hackler, Callie Kimball and Don Zolidis, each of whom is an accomplished playwright with an impressive resumé,” says ANPF Board President James Pagliasotti.

The festival opens with a members-only reception where guests meet the playwrights, directors, and actors, and follows with a week of rehearsals, performances and a playwriting workshop.

The winning plays and playwrights are:

– A DARK SKY FULL OF STARS by Don Zolidis, whose plays for young people are among the most-produced in the world, having received more than 10,000 productions. Performance directed by Claudia Alick, Oregon Shakespeare Festival community producer, who produced The Every 28 Hours Plays nationally.

– GO. PLEASE. GO. by Emily Feldman, a member of The Working Farm at SPACE on Ryder Farm and a 2016 Alliance/Kendeda finalist. Performance directed by Jackie Apodaca, ANPF Associate Artistic Director and Southern Oregon University professor who also directed Island Shakespeare Festival’s 2017 production of SEAGULL as well as ANPF’s 2017 performance of CONSTELLATIONS.

– SOFONISBA by Callie Kimball, two-time winner of the Rita & Burton Goldberg Playwriting Award and former MacDowell Fellow. SOFONISBA was included in the 2016 Kilroy’s List of best under-produced plays by female playwrights. Performance directed by Stefanie Sertich, a New York-based director who is also Program Director and Associate Professor of Theatre in the Humanities Department at LaGaurdia Community College.

– WHAT WE WERE by Blake Hackler, actor, writer, and Fulbright Scholar with teaching positions at Yale University and Southern Methodist University. Performance directed by Holly Derr, writer, director, professor of theater, and feminist media critic, who directed KING OF THE YEES at last year’s ANPF Women’s Invitational.

The opening night performance is Wednesday, October 18, at 7:30 p.m., followed by matinee and evening performances at 1:30 p.m. and 7:30 p.m. Thursday, Friday, and Saturday, and closing with a 3:00 p.m. matinee on Sunday, October 22.

Each performance is followed by a talkback with Host Playwright Beth Kander, the playwrights, and cast. Kander, an award-winning playwright and novelist, was a winning playwright at ANPF 2015 and 2016.

Kander also will conduct a playwriting workshop, “Taking a Page from Their Playbooks”, Saturday, October 21, from 9 a.m. to 12 p.m. The workshop is $10 at the door, located at Headwaters Center, 84 Fourth Street, Ashland. To reserve a space, email [email protected]

A detailed schedule of the festival is attached.

Performances are $20 each, with tickets available online beginning September 7 at and also sold at the door, subject to availability.

ANPF’s mission is to assist playwrights in the development of new works through public readings and offer an educational forum to the community through discussions and workshops.

For community calendars:

Who: Ashland New Plays Festival
What: Annual Fall Festival ANPF 2017
When: October 18-22, 2017
Where: Unitarian Center, 87th Fourth Street, Ashland
Tickets: $20, online at and at the door, subject to availability


How to Help the Arts Community Affected by Hurricane Harvey

afta arts action fund logo

September 7, 2017

Americans for the Arts Action Fund expresses its deepest compassion for all those impacted by Hurricane Harvey and are very concerned for those in the path of Hurricane Irma. The devastation to life, property, livelihood, and cultural heritage has been, and will be, monumental. These disasters have impacted a wide range of cultural organizations, including the submerged Wharton County Historical Museum (as seen below) and the Houston Alley Theatre.

The destruction of physical property and financial resources has been devastating to nonprofit arts organizations along the Gulf Coast. This will also be an even greater challenge for self-employed artists, losing stability both at home and at work. As an organization of 350,000 individuals, Arts Action Fund members can help. We encourage you to make a charitable donation to some of these arts-specific recovery funds:

To stay informed, please regularly visit these websites:

We will continue to update you on disaster relief efforts for cultural organizations and artists.

How Houston Art Museums Prepared for Hurricane Harvey

How Houston Art Museums Prepared for Hurricane Harvey

…and how they plan to deal with the aftermath.

Over the past five days, Tropical Storm Harvey, the worst storm to hit the Houston, Texas, region in 50 years, has devastated the country’s fourth-largest city.

Along with being home to one of the most diverse populations in America, Houston and its surrounding areas also house a stunning accumulation of modern, contemporary and community-based art. How did museums throughout Houston and its surrounding area prepare for the Category 4 hurricane and the catastrophic flooding in its wake? And how are they dealing with, or preparing to deal with, its effects?

HuffPost reached out to a variety of art institutions in the area, who graciously took the time to describe how they readied themselves for Harvey and what they plan to do after the storm subsides.

Contemporary Arts Museum Houston

“We have a wonderful crew who prepared the museum and continued to monitor it during the storm,” Christina Brungardt, the deputy director of the Contemporary Arts Museum Houston, wrote to HuffPost in an email. “The building was braced for flooding with water barriers and sandbags. In addition, our registrar’s team de-installed our downstairs exhibition and moved it to the upstairs space.”

As of Wednesday, Brungardt reported that the museum does not appear to have experienced any flooding, though a crew is currently investigating the potential for any structural damage.

Buyenlarge via Getty Images
Currently on view at the CAMH is an exhibition featuring conceptual ceramics by Annabeth Rosen. Another show, titled “A Better Yesterday,” includes work by artists Jack Early, JooYoung Choi, and Lily van der Stokker.

The museum has experienced damage as a result of natural disaster in the past; a 1976 storm left nine feet of flooding in the museum’s lower level.

“Community support was immediate, as was the NEA emergency fund grant,” Brungardt said. “A fund drive for flood relief was held in 1977 to assist with damages and to upgrade our facilities for flood control, including adding a concrete water barrier at the top of one of our loading ramps and gas powered pumps to pull the water out.”

In 2001, Tropical Storm Allison similarly left three feet of water in the museum’s lower level. The facility was able to recover thanks to community support and emergency grants. In the storm’s aftermath, the museum invested in movable water barriers for targeted flood control.

Buyenlarge via Getty Images

The Museum of Fine Arts, Houston

The Museum of Fine Arts, Houston underwent a similar protocol for storm protection. “Our hurricane-preparedness team implemented all of our storm-planning measures to secure the buildings,” Mary Haus, the head of marketing and communications at the museum said.

“These are protocols we have long had in place, including sandbags, stationing emergency water pumps, floodgate activation for the buildings and the stationing of a 24/7 emergency team on site at the main campus to monitor everything for the duration of the storm. That team includes engineers, art handlers, IT and other staff. As part of advance planning, works of art that were in a potentially vulnerable location, such as by a window or under a skylight, were moved as needed.”

To Haus’ knowledge, there has been no damage to any artworks in any of the collections as of yet. That, thankfully, includes a temporary exhibition by Swiss multimedia artist Pipilotti Rist, which viewers experience while resting on beds inside the museum space.

Galveston Arts Center
Works being wrapped for storage at Galveston Arts Center. 

The Galveston Arts Center

The Galveston Arts Center, a space for contemporary art and educational programming located on the Gulf Coast, is also safe from major damage.

“We were preparing for an opening on Saturday, Aug. 26, featuring three Houston based artists ― Bradley Kerl, Angel Oloshove and Christopher Cascio,” Reese Darby, who does marketing for the center, wrote to HuffPost. “The decision had been made on Wednesday, Aug. 23, to start packing the art and moving it into storage upstairs.

“The building was originally a bank built in 1886, and we still retain three bank vaults which we use for storage. Items from ArtWorks, the museum store, were also stored in the vaults for safekeeping.”

At 131 years old, the GAC building has braced for floods in the past, including the 1900 Galveston hurricane, the deadliest natural disaster in U.S. history. And 2008′s Hurricane Ike, which brought around 13 feet of rain to the surrounding streets, left the GAC’s bottom floor ― and the Helen Altman exhibition displayed in it ― completely ruined. Subsequently, the space was renovated to better handle situations like Harvey.

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“Bryan Garcia, our head of operations, and our current Board President Doug McClean also have systems in place to board up the windows and building, and secure and package exhibiting artworks, in case a hurricane touches down on the Island,” Darby said. “We are a small staff of five, plus our Board President, who are all dedicated to the the security, safety and future of our organization.”

As of Monday, Darby was happy to report the space was “high and dry.”

Galveston Arts Center
Works in vault at Galveston Arts Center. 

Project Row Houses, the Rothko Chapel and The Menil Collection

In emails to HuffPost, representatives from Project Row Houses, the Rothko Chapel and The Menil Collection all reported no damage resulting from the flood.

“Since Friday, the Menil has maintained an around-the-clock security and maintenance presence at the museum making regular checks on our basements in the main building and Menil Drawing Institute construction site, and on the skylights in the main building and at the Cy Twombly Gallery,” Tommy Napier, assistant director of communications at the Menil, explained.

“Periodic checks are being made at our other buildings, which include the Dan Flavin Installation at Richmond Hall and the Byzantine Fresco Chapel. We have done preventative sandbagging at buildings that require it. At this time, and thankfully, our buildings have not been impacted by the storm. Our director, conservation and registration departments, which include art handling services, are receiving regular updates about building status.”

The Menil is currently celebrating its 30th anniversary with the exhibition “Thirty Works for Thirty Years,” featuring a selection of standout works culled from the approximately 10,000 works in the permanent collection.

Bob Levey via Getty Images

Rockport Center for the Arts

For the most part, museums throughout Houston were lucky enough to withstand major harm as a result of the storm. However, in a Facebook message, Luis Purón, the executive director of the Rockport Center for the Arts, located near Corpus Christi, shared it had suffered severe damage.

“From images I have been provided and third party accounts, it appears the building has sustained serious external damage,” Purón wrote. “One image demonstrates that the front porch is completely gone and a roof structure in the front of the building is exposed and thus compromised. It is entirely possible that additional damage to the roof exists, yet only an onsite inspection will reveal that. We are working on obtaining that information.”

The Rockport Center for the Arts is currently exhibiting an array of miniature paintings, drawings and found art assemblages by artist Tim Olson. The Center also offers art classes for children and families and hosts a variety of culturally-minded events throughout the year.

“The building is still standing as it has since 1983 a few feet from Aransas Bay,” Purón continued. “It remains unclear if all the sculptures in the Sculpture Garden collection survived the 130 miles-per-hour winds of Harvey’s category 4 direct impact to Rockport. We won’t know about internal damage until we are able to re-enter and inspect the building. The timeline for that is uncertain.”

Representatives for the Rockport Center have yet to respond to HuffPost’s request for comment.

Anadolu Agency via Getty Images

The arts institutions in contact with HuffPost all emphasized the supreme safety of their staff and community during this harrowing natural disaster. Many also expressed their hope that, after the flooding lets up, the museums and art centers can provide spaces for reflection, comfort and healing following the trauma of the storm.

As Alison Pruitt, director of operations at the Rothko Chapel, said, “The Chapel will reopen its doors as soon as it is safe for our staff and visitors, so that those in need of solace can gather and come together during the road to recovery ahead.”


National Arts in Education Week

Join us in celebration of National Arts In Education Week from September 10-16, 2017.