Award winning international architect Alison Brooks to lecture at PI – #BuildWR

Living in Waterloo Region does present gems… very soon, we will be introduced to one of the most important architects in the world. Alison Brooks is lecturing at the PI on July 30th from 7:30 – 10:00 for free – as a part of Building Waterloo Region.

Brooks finished her studies in architecture at the University of Waterloo in 1988 when she soon after moved to the UK to work with Ron Arad. She became a partner in Ron Arad Associates. Brooks established her own practice in London UK in 1996. Showing spectacular design and innovation, she has won several awards.

Being fond of architecture, but not the most educated about the names of the people who create spaces that matter, I had to look into her more. Among the several exquisitely designed spaces I found this:

Alison Brooks - Tribeca

Alison Brooks – Tribeca: from http://www.alisonbrooksarchitects.com/

There is such a challenge in taking on the old, and building around it. The older structures must be respected, and shown in all their beauty. Complicated window casings, interesting roofline, and even flourishing details that matched the aesthetic sensibilities of the time. Brooks takes on an incredible challenge in creating new buildings in a modern aesthetic.

There is the challenge of respecting a pre-existing space with all the voices and histories, but also adding a new voice. Much like any language, the visual language is tricky – relying deeply on metaphors, impressions and cues. It would be so easy to create buildings that ignore their surroundings. The countless cinder-block rectangles in every city speak to this laziness in design. This grouping in Tribeca, however, maybe be in an updated, even avant-garde language, but the voice of the new buildings speak in a common tongue. The older building in the centre is sharply accentuated by buildings of a similar feel. The flourish doesn’t exist in the modern buildings, but their roofline draw attention to the old, showcasing it. The older building is turned into the equivalent of a gemstone in a stunningly tasteful surround – where nothing is garish but all working in harmony.

Beyond building design, Brooks has designed density housing. Using design to focus on healthy lives in dense spaces, Brooks’s spaces receive accolades for being spaces in which grass-roots communities thrive. The neighbourhoods encourage pedestrian movement an interaction between neighbours. The streets are often used for street socials. These are safe, lived-in, and practical spaces designed around the needs of community.

Waterloo Region could use a dose of her design.

Photoblog – Downton Abbey to That Seventies Show: Fashion, architecture and design collide #BuildWR

Street Style

The Waterloo Region Museum (with partners Fashion History Museum) is currently exhibiting Street Style –  focusing on fashion and architecture in the Region of Waterloo. The exhibit is on of the many shows presented as a part of Building Waterloo Region – a festival focusing on architecture and design excellence.

The floor opens with a show film, morphing a dancing from decade to decade, changing the music, fashion and architecture behind them. The style of dance is also made to match the decade of design.

Following is a lineup of mannequins dressed in costume from La Belle Epoque to The Trench.

Compositionally, the exhibit is exquisite, featuring clothing design juxtaposed with architectural design. In spaces that would normally serve as negative space, the gallery wall images of Waterloo Region buildings echo the structure in the costumes themselves. The result is uncanny: a concert of geometries and flourishes orchestrated in symphonic harmony. Even if you are uninterested in women’s fashion or architecture throughout the decades, this exhibit presents some tantalizing eye-candy for the lover of design.

Fabric swatchesThe opposite wall of the exhibit has a timeline, contextualizing women’s fashion, architecture, art movements, world events – drawing parallels between radical changes and design itself. Someone the later leading the former. Also for the tactile types, there are mounted swatches of fabric for the express purpose of touching.

Now wait for it: There are also shoes.

The image below are presented in an order – first are general images of the costumes, second are images of juxtapositions that I found particularly interesting. Finally… there are shoes.

Details down to the complex undergarments

Details down to the complex undergarments

La Belle Epoque etais belle

La Belle Epoque etais belle

Regal coats and bustles

Regal coats and bustles

Trains and geometrics

Trains and geometrics

Glamorous gowns, and hats.  Elaborate design.

Glamorous gowns, and hats. Elaborate design.

Details down to gloves, umbrellas, hats and shoes.

Details down to gloves, umbrellas, hats and shoes.

A last breath of bombastic Edwardian matched with downtown fronts

A breath of bombastic Edwardian matched with downtown fronts

Downtown ladies. Laces, velvets, frills.

Downtown ladies. Laces, velvets, frills.

The Late Edwardian lady - simplicity with stunning detail.

The Late Edwardian lady – simplicity with stunning detail.

Decades of transition. Late Edwardian, First World War to 20s Swinging.

Decades of transition. Late Edwardian, First World War to 20s Swinging. In a few decades, hemlines went up. Emphasis on gender goes down.

Simple 30s Depression to the Second World War working woman.

Simple 30s Depression to the Second World War working woman. I need to re-photograph this one… Apologies for the poor quality. It may be my favourite transition.

Wartime simplicity. Austerity and heavy geometries.

Wartime simplicity. Austerity and heavy geometries.

Forties and Fifties formalities and frivolities.

Forties and Fifties formalities and frivolities.

Clean lines, sharp design.

Clean lines, sharp design.

Lovely late Fifties and Sweet Sixties colours and lengths.

Lovely late Fifties and Sweet Sixties colours and lengths.

60s minidress polyester crimplene and heavy geometrics.

60s minidress polyester crimplene and heavy geometrics.

Patchwork peasant Seventies.

Patchwork peasant Seventies.

The Trench. And a slick silk.

The Trench. And a slick silk.

The following are photographed considering the negative space with the costumed mannequins. 

IMG_20140619_154515 IMG_20140619_154527 IMG_20140619_154609 IMG_20140619_154617 IMG_20140619_154631 IMG_20140619_154659 IMG_20140619_154719 IMG_20140619_154727 IMG_20140619_154743 IMG_20140619_154758 IMG_20140619_154808 IMG_20140619_154821 IMG_20140619_154834 IMG_20140619_154851 IMG_20140619_154933 IMG_20140619_154942

 

And finally… Shoes.

IMG_20140619_154207 IMG_20140619_154040 IMG_20140619_154220 IMG_20140619_154235 IMG_20140619_154307 IMG_20140619_154326 IMG_20140619_154335 IMG_20140619_154312 IMG_20140619_154244 IMG_20140619_154227 IMG_20140619_154156

 

Those of you who made it this far deserve a final treat. Detail from the Late Edwardian lace bodice and the back of the lace Edwardian coat. These is are exquisite pieces.

Late Edwardian Bodice -Lace Detail

Late Edwardian Bodice -Lace Detail

IMG_20140619_153720

Building excellence. Building Waterloo Region.

If you follow me on Twitter, you will notice that I have been raving lately about a new festival this year.

Waterloo Region has a demonstrated excellence in architecture. With several award-winning buildings, to a strong history of reuse and settlement, this Region tends to be more of a gem than how it’s generally perceived. Building Waterloo Region hopes to change this and cast a spotlight on architecture and design excellence through a series of events.

The calendar is ambitious. From walking tours, to a grand list of participating venues, you can engage in the festival for the entire summer. Certainly I have some highlights:

  • First builders is a walking tour that will wind us through the 10,000 years of settlement in Waterloo Region. It culminates with three sites that all have displays about different building styles in the Region focusing on the Longhouse, the traditional settler building, and modern eco-sustainable techniques.
  • Ex Industria is a particular tear at the heartstrings. If you go up to the top floor of Kitchener City Hall – into the cafe, you can see up to a dozen factories in the city centre. Ex Industria is an exhibit that focuses on the industrial development of Waterloo Region using maps, drawings, models and digital reconstructions. This one will be at Design at Riverside/Ideas Exchange.
  • No Small Plans: Award winning buildings in Waterloo Region 1982-2014 will take a look at award-winning buildings in Waterloo Region. The site says it best: “Waterloo Region is home to more major award-winning buildings than any other municipality in Canada save the three largest metropolitan centres: Toronto, Vancouver and Montreal. This concentration of design excellence is one of the hallmarks of the Region and is increasingly important in maintaining its position as an attractive community with an active culture, a lively urban environment and an excellent quality of life.”

The best things is that you can walk into just about every museum or cultural space in the Region and they will have some offering. The festival will also be bringing speakers and lectures including renown architect, Alison Brooks.

Their calendar features events throughout the summer, including ones for the kids. Even if you don’t try to make it to this festival, you are likely to stumble upon it somewhere. However, I do emphatically recommend getting to their Gaukel Street hub: A Christie Digital projection will feature a special exhibit on the virtual plane – and from what I hear, it will be exceptional.

More than music and sound, Open Ears is a full calendar of art

My favourite festivals are soon to start. We are right around the corner from CAFKA and Open Ears.

I will be running photos and reviews about the art of CAFKA as I stumble upon it in my journeys through downtown.

Open Ears is a less simple event to describe before seeing. When I try to talk about it, I like to describe it as a full orchestra of intrigue presented in a calendar of events related by brilliant curation.

Sound is all around us. From the droning of in-building HVAC and fans, to outdoor constancy of cars, wildlife, winds, we are constantly tuning out by being constantly tuned in.

From June 5 – 15 we will be asked to open our ears and tune back in. The full calendar will include a trio of new Canadian operas. Think of it… when was the last time you heard a new opera.

Another highlight is a presentation of White Rabbit, Red Rabbit. This play was written by Iranian author Nassim Soleimonpour. Up until recently, he had never seen the play that he had written. This play is presented in a novel format: The readers of the play are not given the script until they are ready to go on stage. There they see it for the first time as they read it live. The nature of this transcends the disconnect of a playwright who for years was never able to see his creation. The echo of the unrehearsed voice mirroring the voice of the censored writer… a truly revolutionary piece of theatre.

Open Ears will be presenting it read by Majdi Bou Matar – multi-talented artistic director of the MT Space, Nora YoungCBC tech culture personality, Mike Farwell – radio host, Kitchener Rangers announcer and local philanthropist, and Grace Lynn Kungactor from the cult film Hypercube, and starred in Being Erica and InSecurity.

I will leave you with a final highlight. What is sure to be a pleasing presentation is by artist Shary Boyle. This outstanding artist was featured at the 2013 Venice Biennale. Boyle will be bringing new work to Open Ears, but here’s a taste of a previous work.

Open your mind at Open Ears

Tim Grier and I caught up with Gregory Oh – the artistic director from Open Ears. We had a wee chat with him about the upcoming festival.  Here’s a bit of a video. As for the written content of this blog post, I do think Oh describes the experience of the festival best in his own words.

“I think we walk around on any given day and we’re not even aware of the sounds we hear. We hear sounds of construction and cars and we learn to tune things out …we learn to almost stop listening, because there’s so much happening in the world, and if you try to listen to everything you become oversaturated.

“But the danger there is that you close off your world to some very beautiful things, like church bells, or the sound of nature… I gotta say I love the sound of traffic and of people bustling around and of random conversations in the street.

“I think Open Ears is about always keeping yourself open to new experiences, always learning, always creating and …the world is an amazing place and you can just find things if you’ll just open up your ears….”

Cultures clash between mother and son in comedy Brimful of Asha

Brimful of Asha

Image from http://theatrewhynot.org/brimful/

Brimful of Asha by Why Not Theatre comes recommended by several sources – with high ratings from national and international critics. Within the first minutes of curtain it’s easy to see why.

We are welcomed into the Studio at Centre in the Square by friendly ushers who inform us that we should make sure we are ready to sit for 80 minutes without an intermission – those who leave will not be able to re-enter the theatre. This becomes important. In this production, not a single line, quip, or anecdote is extraneous, and the production itself is deeply immersive. They all weave together in a tapestry to create a big-picture story about an Indian son and his mother.

Asha (the mother) was born in India. She moved to Canada to be with her husband in the context of an arranged marriage. (Important – In Jainism, parents arrange marriages based on data about the individuals and their families… but the marriage does not happen unless both of the people to marry agree.) Her two sons are born in Canada, and the story unfolds to show not only how cultures cross with differences between Canadian and Indian expectations around marriage, but also how the characters are also prone to generational expectations in rapidly changing times.

Asha is not an actor (she tells us), but her son – theatre creator Ravi most definitely is. As he tells a story, he welcomes his mother to contribute her angle on the circumstance of marriage, and when she and Ravi’s father attempted to arrange a marriage for Ravi. Asha is not shy. Throughout the storytelling, she interjects and clarifies details according to her perspective and reckoning.

The set is minimal. An iridescent curtain of lush Indian fabric drapes the back drop, a digital display which serves the purpose of display of information hangs mid-way down the curtain. And finally, a table decorated with a cloth, set with tea and samosas complete the set. Upon entering, you are greeted by Ravi and Asha, offered a homemade samosa, and then welcomed to sit. This simple act has the effect of transporting the audience away from a theatre, and into Asha’s kitchen.

As the story is told, the display takes the form of a laptop: Showing bio-data for match-making of potential marriage partners, Facebook profiles, videos and photomontage of the family. The effect is clever and suits the immersive quality of the show. The fourth wall is non-existent.

Brimful of Asha is co-presented by the MT Space – a local theatre company that focuses on multiculturalism. One of most interesting aspects of this piece is how plural identities collide within a single Indian-Canadian family. Both characters find themselves clashing with their own identities as much as with each other. When it isn’t geographical, religious, traditional culture related, it’s generational.

The layers of depth beneath the light-hearted comedy left this audience member thinking deeply about the implications of assimilation, identity, progress, the things we have gained, and what we have lost – and how much we are willing to compromise.

The show runs at Centre in the Square until Saturday the 3rd of May, 2014.

Waterloo Region, It Should Always Be This Way

Brandon Vickerd satelliteIn 2009, I stumbled upon a satellite that had tumbled out of the sky, tracing a dirt patch across the grass in the middle of Victoria Park. What conspired to have this man-made celestial body land in the middle Kitchener of all places? And more importantly, how come no news source was warning people about this object? Where were the RCMP or the FBI or whatever government body in charge of marshalling such instances? The situation seemed perfectly and completely out of control through the calmness surrounding what should be a big event. Turns out that the satellite was an installed sculpture by Brandon Vickerd called Satellite. No panic necessary.

CAFKA transforms the city into a landscape where art happens. Or… where one happens upon art. From a perfect replica of a shopping cart calmly floating about in Victoria Park lake (what shopping cart floats?) to ephemeral projected graffiti on the side of Kitchener City Hall, the streets, alleys, parks, public buildings shift away from the mundanity of everyday and turn into a journey through the unusual in our own backyard.

This year, CAFKA’s theme is “It Should Always Be This Way”. This theme absolutely endorses this artist run festival in its position as a beloved cultural event that has profoundly affected the community. The calibre of the art, the surreal presentation in the element of surprise in seeing a usual landscape made unusual, and the innovative offerings that encourage the mind to meander provides great escape, even if only over a lunch break from work.

This year, CAFKA is joining forces with Open Ears and a new festival of architecture called Building Waterloo Region. The three are joining forces to create a culmination of activity through May and June. This collaboration is pushing new boundaries in the unification of exhibit-based events combined with the performative nature of sound and music.

Open Ears has collaborated in the past with CAFKA with installation based sound events. The building of musical and sound experience through the drawing of talent from all over the world marries perfectly with the installations placed by CAFKA. In the period of a few days, Open Ears will open our minds and palates within the possibilities of sound. The sense of hearing – the one that alerts us to danger, coos us into love affairs, and provides soundtrack to our lives is profoundly transformed in a space of exploration and experimentation. Sound is one of the few senses that can never be turned off. Even when we try to remove sound, it can still be felt through the vibrations it creates. Open Ears plays in this space by building moments in which we can indulge in being present, alert, and in tune with this most captive, and taken for granted sense.

Building Waterloo Region is a naturally positioned festival celebrating development and innovation in the ever evolving liveable cities that are part of the Region. This festival will be located at several institutions and in surprising locations throughout the Region. More details will be released soon, and I can’t wait to explore the schedule being presented by this new endeavour in culture.

You can support CAFKA this in its pursuit of bringing excellent art to the Region of Waterloo in an Indiegogo campaign.

Staging Sustainability – my likely schedule

This isn’t an absolute but a projection of what I am going to attend during Staging Sustainability. It’s safe to assume that I will be at keynotes and plenary events, but here’s my breakout schedule.

Monday, 10:15
How do arts organization integrate and balance sustainability as a core value?

The afternoon breakouts I am attending will be the Sustainability and Production stream.

Monday, 1:15
How is sustainable thinking changing the way we make and tech shows?
Monday, 3:00
How do managers and production staff integrate sustainable practice into performance and events?

Tuesday, 10:00
How are the social aspects of sustainability being considered in new work and the communities in which it is being made?
Tuesday, 1:00
How do you integrate sustainability into the audience experience? How do we communicate with them about what you are doing?

I am also always looking to make new friends and connections. Aside from in person at the conference, you can find me on Twitter.

Breaking the barrier: 10 things learned in going from amateur to professional in the arts

It isn't about the great outfits. It's about having grit.

It isn’t about the great outfits. It’s about having grit.

In pushing past the line of amateur into becoming a professional in the arts, there are several things to consider. Here’s a list of 10. The list isn’t definitive. It’s a start.

  1. Be stubborn. 
    From parents to gatekeepers – there is a world of people who will pressure you to not move from the weekend warrior hobbyist position in the arts. Some of the reasons are valid – money is tight, time becomes scant and the world will treat you like an ignorant special snowflake. To get through the gate, you have to find the latch. In the tangled world of art, it takes time and perseverance. Buckle down. Become as permanent as the installations you wish to build.
  2. Live and breathe art. 
    Let your practice become your life. Go to galleries. Go to openings. Go to shows. Let most of your thoughts be about art. Talk about art with you arts colleagues. Go to conferences and talks about art. Talk to community leaders about art. Make it not only your practice, but part of your service back to the community. Immerse yourself in ideas.
  3. Build a community around your practice to increase sustainability. 
    Practice art in the community. Talk about what you are building, and form a community around your practice. Get on Twitter, Instagram, Facebook and talk about your work. Talk to others about their work. Support your colleagues by attending their opening nights and shows. Your community will push you to that next level with their support. They will also support you when things become difficult. Make your community diverse and as geographically large as you can.
  4. Never give in to laziness. 
    Art is iterative. The reliance on process: on doing something over and over again until it’s mastered – the repetition, the rehearsal. The act of mastering anything can never be lazy. Be tireless. In your process there are no shortcuts, there are only ways to hone and fine-tune through hard work. Don’t sidestep in the pursuit of excellence, and your goal in being an artist has to be reaching beyond the mediocre, even if your work is to illustrate the mediocre.
  5. Have no exit strategy. 
    If you are entering the life of an artist, it must be the only acceptable life. There is no space for a Plan B. Times will get tough, and your eye must always be on your practice, your process and your outcomes.
  6. You can die from exposure.

    You can die from exposure. Don’t create your own droughts.

    Find a way to survive. 
    As an artist, you may need other sources of income – especially in the beginning. Teach art lessons. Be an acting coach. Write freelance. Or find a skill that you can apply to earning money. Learn how to make a good espresso and work in a cafe. Do something that doesn’t destroy your creativity, and is flexible enough to allow you to dive completely into your practice when you need to. Seasonal work can be particularly good for this. As are contracts.

  7. Cut the fat out of your budget.
    An artist income is below the national average. Learn to live with less. Waste less. Buy less. It can feel like an ascetic life sometimes, but it is a good and fulfilling life – and unlike monks and anchorites, you don’t have to give up sex. Know what you are willing to give up financially, and do so. You may no longer be on the bleeding edge of current fashion, but as an artist, you set the trends.
  8. Share resources. 
    Share a studio. Share an apartment. Share your internet connection. Organise group buying. And if you have a valuable resource, share it with other artists. Don’t be afraid to approach others in your community to ask them to share as well. This is another way that a sustainable community is built.
  9. Take risks and always be ready to try something different. 
    Write that grant. And if it fails, change it and write it again. Be ready to gamble and pivot. Don’t get stuck in a rut. Fall in love with your ideas, but be willing to express them differently if need be.
  10. You can die from exposure. 
    Do not work for free for institutions. They are supposed to support the arts community, not exploit it. Choose very carefully where you will put your free labour. As an artist, there can be a trade-off between being known and getting paid. Just make sure you do not become the artist who is known for not getting paid. Instead support organisations that support building up the arts (Arts Build Ontario, arts councils or arts funds –Region of Waterloo Arts Fund, organisations like Artscape).

And a couple bonuses:

  • Take idle days. 
    Stop every now and then. Waste that extra $20 on a half litre of wine and play with your friends. Remember that your brain needs time to recover so you don’t burn out. You need to push, but you also need time for the mind to rest to come up with new and brilliant ideas.
  • If you get a grant, don’t call it “winning”. 
    You worked hard for that. You did your research and you wrote an excellent application. Your idea is novel, meritorious and good enough to be considered for funding by a jury of your peers. That is not like a lottery ticket, or a door prize. Our own words set up expectations. If we “win” – it seems like chance. With grants, there is very little left to chance. Make sure you recognise that with your words, so others view your work as valid as well. You EARNED a grant.

What is a sustainable arts organization?

Sustainability is such a big word. When speaking of sustainability when it comes to arts practices, this word explodes to mean many things.

Google defines “sustainable” as such:

sus·tain·a·ble
adjective
  1. able to be maintained at a certain rate or level.
  2. able to be upheld or defended.

sustainability

Certainly with regards to the organizations I have worked with, and with respect to my own practice, “sustainability” has primarily meant maintaining a level of funding to keep the practice alive and performing at a standard set by the integrity of the practice. The communities that support the arts come to rely on this integrity, and also work towards making their beloved organizations sustainable.

But what if sustainability is a concept that goes further than this?

Fundraising and keeping an organization or practice alive is critical to the practice, but does this go far enough for the community that supports it? Or even more so, the total community this organization can serve?

Sustainability is also about growth. The creativity that sparked the genesis of our organizations and practices was never meant to be kept in a nutshell, and even if the organization is in a fixed building – bound by bricks and mortar – the notion of growth must be seen in every aspect of keeping our arts culture alive. It’s about reaching new audiences, generating new ideas, exploring concepts that challenge, and presenting it to a community. It’s about stretching past the bricks and mortar, the reach of our cultural groups, and pulling new people into new ideas. Diversity is key to innovation.

Sustainability is also about responsibility – the making defensible and upholdable. Arts organizations are at the vanguard of new ideas and problematizing the old and in this role they must also be stewards setting examples for the communities they serve. Arts organizations require resources given to them by communities, and must be responsible to those community resources. From consumption to getting the message out about change and new ideas, arts organizations must work within their mandate to communicate. Part of this communication, whether implicit in their practices, or explicit within their messages, must be about the broader world and community.

I am not stating that artists must be on the forefront of the political. Neil Young and others have chosen to add their voices to the indigenous communities about respecting treaties around oil sands and pipelines. Not all artists need to be spokespersons about issues. Indeed for some, it may be damaging to their careers. But this doesn’t mean that there aren’t things we can do as a broad artistic community to further meaningful change (or preservation!).

Sustainability is also about how we behave within our practices. Can we reduce our own footprints? Certainly small organization and practices are thrifty, frugal and reuse as much as they can – dictated by their budgets. Larger organizations who have bigger budgets are also bound by their bottoms lines with regards to consumption, and therefore, waste. But there is more we can do than just consider our own place in the cycle of consumption.

Do I have the answers to any of this? Not at all. In fact, these are questions and problems that have troubled me. How can I build more, grow more, and be a responsible citizen within the creative economy?

At the Staging Sustainability conference – in Toronto Feb 2-5 – these questions, and many more will be addressed.

We make work, but we want to reach new audiences. Tours are expensive, and require some of the most taxing resources. How do we shift an entire cast, some crew, and everything that makes a show in the least harmful ways? From New York, Broadway Green Alliance is an organization that works to educate and motivate environmentally conscious practices in all aspects of theatre. Working on Broadway, their influence stretches from the most famous theatre district in the world, across to several allies all over the planet. Their co-chair, Charlie Deull, will be presenting in a session on how to move and tour work more sustainably – on February 4th.

Another speaker that has me excited is Marie Zimmerman – the artistic director of Hillside Festival. For locals, I don’t need to say much here. Hillside is known for its all-star lineup combined with heavy hitting new talent, and a deep commitment to maintaining high environmental standards in a large festival setting. She is presenting in two sessions: the first on the 3rd of February is about how programmers are thinking about sustainability, and on the 4th, she is talking about how to integrate sustainability into audience experience – how to communicate.

And to move away from ecological questions in arts, and dive into building arts ecosystems, Fractured Atlas‘s Tim Cynova is coming to us from New York. As a mission, Fractured Atlas indicates that “empowers artists, arts organizations, and other cultural sector stakeholders by eliminating practical barriers to artistic expression, so as to foster a more agile and resilient cultural ecosystem.” They state this as the “unsexy stuff” and yet, these are the foundational pieces of making a healthy arts cluster… and something that me and my Waterloo Region colleagues could likely use help with. Cynova will be speaking on how to integrate sustainability as a core value in artistic practice. Read a blog post of his here: 7 ways to build a sustainable art career this year

Theatre is resource heavy in the arts. It requires a community of people to create anything, and budgets to match. With the crystallizing of my career around creating theatre, this conference seems like a great way to broaden my practice into deeper consideration. Certainly, with presenters like these, I will be given plenty of food for thought on my own practice, and how to more deeply engage the broader community.