And thanks for hanging in.

Campaign Manager
Director of Special Events
External Relations Associate
Institute of Contemporary Art (Boston)

Collaborative Community Site Program Manager
Studio in a School (New York)

Communications & Marketing Associate
Program Associate
Harlem School of the Arts (New York)

Development Associate
National Alliance for Musical Theatre (New York)

Grant Writer/Development Specialist
New Dance Group (New York)

Graphics Assistant
York College/CUNY (New York)

Landscape Architecture, Fresh Kills NYC PlaNYC 2030 Project
City of New York/Parks & Recreation

Manager of Digital Learning
Museum of Arts and Design (New York)

MFA Fund Officer
Museum of Fine Arts (Boston)

Website Associate
Americans for the Arts (Washington, DC)

FUNDING
Cintas Fellowship Program (for creatives of Cuban Lineage)
Cintas Foundation
DEADLINE: January 14, 2008

EMPLOYERS: Send you FREE job listings to: info (at) codezonline (dot) com.

So what then is 'Art After White People' all about? The three different parts—Grove, A Personal History of Videography (APHOV), and The Semen Pictures—each examine an aspect of American culture. In Grove is "an exploration of the social, psychological, and environmental consequences of human willfulness." A landscape eerily natural and artificial, a garden of palm trees covered in white paint glows in the dark room, filled with white tarps and boxes. The whiteness connotes both presence as well as void. Following Grove is APHOV, an examination at both performance and politics. The room is filled with an assortment of furniture surrounding a screen, with the image of a man in a Donald Rumsfeld Mask weeping blood—"a cinematic performance of performance, in a video about video." The exhibition ends with The Semen Pictures—collages of celebrity "portraits" interspersed with images of semen and hair, creating "veils" of both image and ultimately medium. Pope.L's commentary is patently conceptual, and at times obtuse, but ultimately it is that same curiosity that makes it so engaging.

'Art After White People: Time, Trees, & Celluloid…' is at the Santa Monica Museum of Art through December 23.

Exhibition curator Richard William Hill mentions imagining Soviet Supermen and killer rabbits, but what is really Alice-in-Wonderland are headless aristocrats donned in pseudo African fabric and present-day Queen Nanny icons. Exhibit artists to highlight include mixed-media artist and photographer Renee Cox and fine artist Yinka Shonibare. Cox's self-portraits include her self-portrayals through alter egos such Raje, a cultural ambassador clad in a liberation onesie and Queen Mammy of the Maroons, Jamaica's sole national female hero, an 18th century Maroon leader. With overt satire and seriousness, Cox's portraits portray herself-symbolic of what she is, was, strives to be and is expected to be, as a gently assimilated black woman. Turner Prize-nominee recognized for his fabrications of royalty, Yinka Shonibare uses "African" fabric, purchased in a London market, to create models of the British royal guard engaging in "common" behavior. Shonibare's use of fabric and postures seek to demonstrate that culture is a mere artificial construct-as is his work headless royalty on a unicycle. Albeit the unsavory social and political climate, 'World Upside Down' is a testament that real can really does recognize real.

World Upside Down, curated by Richard William Hill, is organized by the Walter Phillips Gallery, The Banff Center and in collaboration with the Agnes Etherington Art Centre, Art Gallery of Greater Victoria, and the Musée d'art de Joliette. 'World Upside Down' runs through February 17, 2008.

Assistant Professor, Video Production
Department of Communication Arts
University of Washington-Madison

Campaign Manager
Director of Special Events
Institute of Contemporary Art Boston
http://www.icaboston.org

Media Educator (New York)
Global Action Project, Inc.

New Music / Video Opportunity
Vox Novus

Rights and Reproduction Administrator
Seattle Art Museum

CALL FOR ENTRY
11th Cine Las Americas International Film Festival
Deadline: December 21, 2007

RESIDENCY
2008 Around the Coyote Spring Artist-in-Residence Program
Around the Coyote
Deadline: November 1, 2007

What is Demetrius Oliver's work about? Think of his shots as if peering through Captain Nemo's telescopes on the Nautilus. Or maybe its what is under one of Frankenstein's microscopes? That is the thing with Oliver's images, half the time is spent deciphering the subject of the image and the latter identifying how to feel about the subject, image or sentiment in general. No, Oliver's work is not abstract, disconnected or intentionally meandering, but rather complex. And as a result, compelling. Light bulbs on a jacket considered art? Yes, bling of course. Thus the reason why it is difficult to look away? Words from art aficionados note that although the press failed to warm to Oliver's work at the Studio Museum of Harlem as they did to Wardell Milan's own personal Jesus-a must-respected and received piece-we are hoping the Yale community will provide more acknowledgement. For more of Oliver's complexities, check here and when you have finished pondering the five W's and H, check 'Making Do'.

Titus Kaphar’s works paints and conjures history while modeling after classic eighteen-century portraitist. Wardell Milan II cuts and pastes; using digital C-prints, magazine cutouts, as well as charcoal drawings, his work evokes a sentiment of yesterday-tomorrow and then today. Demetrius Oliver time travels using photography, sculpture as well as science, in relation to his objects and materials. Or yes, bacon and a tea kettle in “Almanac”.

All three artists’ recurrent dreams address and reflect upon history, race and the delicate notion of time and place. The three artists’ creation growth or expression is demonstrated in twenty-five works in drawing, mixed media, painting, photography and sculpture. “Midnight’s Daydream is at the Studio Museum of Harlem in New York through October 28.

Assistant Professor, Video/Media Production
Program in Film and Media Culture
Middlebury College

Events Coordinator
Seattle Art Museum

Administrative Assistant
The Boston Museum

Web Designer
Center for History and New Media ( Washington DC)

Communications Coordinator
Whitney Museum of American Art

Education Program Coordinator
Museum of the African Diaspora (San Francisco)

Research Assistant
The Museum of Modern Art

FELLOWSHIP
MacDowell Fellowship
Deadline: See website for more information

CALL FOR ENTRIES
2008 Langston Hughes African American Film Festival

EMPLOYERS: Send you FREE job listings to: info (at) codezonline (dot) com.

The Turner Prize, an annual prize presented to a British artist, is organized by the Tate Gallery and has evolved into the Britain’s most prestigiously-publicized award. In addition to the prestige and £40,000 cash award, potential awardees' works are oftentimes subversive, testing the boundaries and raising the question of what is art and who decides. The 2007 deciders include Thelma Golden, Director and Chief Curator of the Studio Museum, Harlem; Fiona Bradley, Director of the Fruitmarket Gallery, Edinburgh; Michael Bracewell, critic and writer and Miranda Sawyer, writer and broadcaster.

Nominees, such as Zarina Bhimji, a Ugandan photographer and filmmaker, draw particular attention to the conversation of what is British art. Bhimji’s 'Out of Blue', documents images of Uganda’s lush greenery and splendor coupled with its history of expulsion and exile as a background. Bhimji’s film and other works address political and social strife, in the form of emotions, or lack of. Her work is expressive and melancholic, including ambitious themes of redemption for self and society. As a Tate nominee, Bhimji’s historical context and imagery meld appropriately within Britain’s historical and social fabric, as many expelled Ugandans immigrated to Britain in the early 1970s. With or without the award, artists and judges alike gain substantial attention and recognition on the strength of their involvement in the process.

"Making Public Buildings" invites the American audiences to experience several of Adjaye's works from concept to conception through full-scale schematic models and renderings, noting how he draws inspiration from African architecture and capital cities as platforms, or sentiments for public space. Adjaye's models, often accompanied by an analogous African image, model or sculpture, demonstrate reference points for his buildings-simple at the initial glance, but continuous and dimensional upon further examination. Adjaye’s ability to translate a client’s concept from idea to institution, while working within the environmental context is the force that deems him a desirable candidate for public commissions exhibited within the exhibit, as well as private homes and studios.

The exhibit displays recent projects like the Bernie Grant Arts Centre in Tottenham, Rivington Place in London and the Stephen Lawrence Centre in Deptford, noting a shift in Britain honors diversity. All three highlighted structures possess an African-British component explicit within its purpose, mission and even architect-Daid Adjaye. Although Adjaye refuses to allow his recently acquired commissions to pigeonhole him into tokenism, the lack of competition merits acknowledging the absence of diversity and evaluating how diversity can be demonstrated within public space.

“Making Public Buildings” continues at the Studio Museum of Harlem through October 28. Adjaye’s first American public space, the Museum of Contemporary Art Denver is open for the public on October 28.

Hearing this adds a new level of understanding to his new play, Till the Break of Dawn (playing through Oct. 21st at the Abrons Art Center in Manhattan). On the surface, Till the Break of Dawn is the story of six activists from different walks of life who go to Cuba for an international hip hop conference and meet up with a fugitive former Panther; but looking even deeper, Till the Break of Dawn is a complex analysis of the issues facing activists today. “As an artist and an activist myself,” he says “I had done a fair amount of organizing with friends of mine from the 90s moving into this decade, and there was a lot of dissatisfaction and contradiction coming up that I felt were all at once powerful, indescribable, and worth addressing.”

Hoch addresses these issues insightfully, presenting his characters with an enthusiasm that is as genuine as it proves to be naïve. As these characters find themselves struggling to navigate their way through a Cuba that fails to live up to their utopian expectations, they seem to find that their entire notion of activism and revolution is flawed. Or is it? While the “dissatisfaction and contradiction” within the characters revolutionary inclinations provide a difficult foil for their initial plans, Hoch’s message is a positive one; eventually the group starts to turn pages and everything falls into place.

Curatorial Assistant
New Museum of Contemporary Art (New York)

Development/Admin Associate
Black Women Playwright's Group (Washington, DC)

Development Director
The Shunpike (Seattle)

Digital Arts Program Manager
Pearson Foundation (Boston)

Events Manager
Exit Art (New York)

Executive Director
Flushing Town Hall (Queens)

Folklore and Public Culture Program Professor (tenure-track)
Department of Anthropology
University of Texas, Austin

Full-time position with e-flux
e-flux (New York)

Volunteer Program Manager
Arts & Business Council of Chicago

Youth Arts Education Coordinator
Inquilinos Boricuas en Accion (Boston)

FELLOWSHIP
JNBC Fellowship Program, John Nicholas Brown Center
Brown University
Deadline: See website

FUNDING
Global Perspectives Project (For independent filmmakers)
Independent Television Service
Deadline: January 11, 2008

RESIDENCY
2008 Master Artists-in-Residence Program
Atlantic Center for the Arts
Deadline: Ranges from October 19, 2007 to May 23, 2008

EMPLOYERS: Send your FREE job listings to: info (at) codezonline (dot) com.

Millett’s miniature ochre-inspired structures employ space as a vehicle for memory and familiarity through the use of light, curious elements (an ax, chair and potato sack) and domesticity that welcomes viewers to the world of magic realism and reflection. Using the concept of home, Millett’s dollhouses of premonition challenges “the weight of our assumptions”. Models influenced draw from her stepfather’s architectural, Millett uses models with photography to create a theatrical set, positioning the audience as actors within the work, as well as spectators peering into a window. The UC-Berkley graduate’s exhibit highlights her demonstrated ability to create conceptual, subtle pieces with social undercurrents, encouraging personal reflection and dialogue. Drawing on the sentiments of Kerry James Marshall, Millett’ speaks about what she knows and is comfortable with-home, in all its comfort, fear, nostalgia and desire.

As a Studio Museum of Harlem artist-in-residence recipient 2001-2002 and Whitney Museum Independent Study Program participant, Millett’s installations continue to widen the scope of the space between and invite viewers to enter their happy, hidden place.

“Blind Premonition” continues at the Mixed Greens Gallery through October 6.

Grants Intern
Interactive Web Designer
Brooklyn Academy of Music (New York)

Museum Educator for Group Tours & Docent Programs
Seattle Art Museum (Seattle)

Production Manager
Metropolitan Museum of Art (New York)

Theatre Faculty Position, Department of Communication Arts
Georgia Southern University (Statesboro, GA)

Visitor Assistant
New Museum of Contemporary Art (New York)

Writer-Editor
Library of Congress (Washington, DC)

EMPLOYERS: Send your FREE job listings to: info (at) codezonline (dot) com.

Be sure not to sleep on "Silent Choices", a film by Faith Pennick. A strong black woman without a hint of B.S. compromises, Faith puts image to video dealing with the rough, double-binds some black women have to endure when thinking about abortion. Faith's previous short documentary about a company that paid drug addicts to give up their reproductive rights was wrenching so we here at Code Z have no doubt "Silent Choices" is golden. We are truly rooting for Tokumbo Bodunde's short "Black Girls Face: R. Kelly" to make plain the confusion that is the black popular response to R. Kelly. But no matter what your cinematic yin, if you like good film, women, or Brooklyn, you need to get over to the Reel Sisters come this Thursday.

For more information and film schedule, visit Reel Sisters or BAM.