"The Importance of Accuracy in Attendance Reporting"
"Systemic Capacity Building in Cultural Administration"
"The Performing Arts Value Chain"
"Entertainment Pirates: Determinants of Piracy in the Software, Music
and Movie Industries"
"Consumer Perception of Private Versus Public Sponsorship of the Arts"
"Structure of the Contemporary Art Market and the Profile of Italian
Artists"sf.edu.
Paul Sharpe premiered “Concertino” by Stuart Hinds, a piece for solo double bass and chamber orchestra, at the Murchison Performing Arts Center, University of North Texas, for the Texas Double Bass Symposium (October), and conducted a masterclass there. He has performed as guest artist at the Sixth Annual International Double Bass Encounter in Pirenopolis, Brazil, and at the Fairbanks (AL) Summer Arts Festival. In March, Sharpe performed Franz Schubert's “Trout Quintet” in Dallas for Chamber Music International with Paul Rosenthal, violin; Paul Coletti, viola; Nathaniel Rosen, cello; and John Nakamatsu, piano; and in May, he performed Bottesini's “Grand Duo Concertante for Violin and Double Bass” with John Gilbert at Anchorage and Fairbanks. Throughout the year, Paul regularly reviewed new publications and editions for Double Bassist Magazine (Orpheus Publications).
John A. Stinespring (FA A, 89) has retired from the faculty of the School of Art. Prior to this he published a review “A thing of beauty is a joy forever?” that examines D. Holt’s The search for aesthetic meaning in the visual arts: The need for the aesthetic tradition in contemporary art theory and education (Arts Education Policy Review 104/4: 38-39). An article written in 2001 has come to define a major position in debate over the social theory / visual culture approach to art education. Published in Arts Education Policy Review 102/4: 11-18, his “Preventing art education from becoming ‘a handmaiden to the social studies’” has been cited by, e.g., Peter Smith and Michelle Kamhi (loc cit. 102/4: 3-8; loc cit., 104/4: 9-12, respectively).
Organizer of the exhibition 1519/ One Reed Year: The Wonders of Aztec Mexico. Paintings by Scott & Stuart Gentling and Aztec Arts from their Collection, Carolyn Tate has edited and designed the catalogue for the exhibition that will be on view at the Buddy Holly Center in Lubbock from September 22 – November 15 of 2003. With the help of Landmark Arts Gallery Director Joe Arredondo, she wrote a powerpoint presentation on the topic for public school usage, and to accompany it, Tate has organized a symposium "The Aztec Capital: A Reinvention of Place and History" on October 30. In February, she presented a paper, “Ethnography as Demystification: the Case of the Were-Jaguar,” at the College Art Association annual meeting in New York.
In El Paso, a performance of the dance-band version of Gershwin’s Rhapsody in Blue began the summer for Paul Whitfield Horn Professor William Westney. He then sojourned as artist-in-residence at the Adamant (VT) Music School, appeared in recital in Pittsburgh with operatic mezzo-soprano Mimi Lerner, and was invited back for the third time by the Kennedy Center for the Performing Arts in Washington (DC), to give summer workshops for young orchestral musicians. Published by Amadeus Press, Westney’s first book – The Perfect Wrong Note – appears in fall 2003.
Peggy Willis-Aarnio published a book, Agrippina Vaganova (1879-1951)-Her Place in the History of Ballet and Her Impact