Scholars' Bank :: Browsing by Author "Voelker-Morris, Robert J., 1969-"

Browsing by Author "Voelker-Morris, Robert J., 1969-"

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Open Access
Copyright concerns and digital technology in museums: rights, reproductions, intellectual property protection and fair use
(2003-06) Voelker-Morris, Robert J., 1969-
Copyright and museum collection access issues related to digital technologies were the focus of this literature review and document analysis. The review focused on policies regarding reproductions of paintings put into digital form on the World Wide Web. An examination of policies in selected museum rights and reproduction departments was made.
Open Access
CultureWork ; Special Topic Issue : 2007 : [1] : Do It Yourself?
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2007) Miller, Wendy; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-
Reflections on an arts exhibition in Portland, Oregon that was "independently" produced by the artists it showcased (with a little help from their peers, neighbors, patrons, lovers and the Whitney Museum of American Art)
Open Access
CultureWork ; Special Topic Issue : 2007 : [2] : Zines and Do-It-Yourself Democracy : Witness This Moment
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2007) Blandy, Doug; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-
Zines and Do-It-Yourself Democracy represents the explorations of the students and faculty associated with the Zines and Do-It-Yourself Democracy freshman seminar at the University of Oregon. This exhibit features examples of zines created by zinesters from around the United States as well as by students in the seminar. This exhibit is an online interpretation of a Spring 2005 University of Oregon Knight Library exhibit of the same title.
Open Access
CultureWork ; Special Topic Issue : 2007 : [3] : Second Life : Virtual DIY (Do-it-yourself)
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2007) Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-
The third piece in our ongoing special topic series on DIY (Do-it-yourself) arts and culture moves into the world of online virtual worlds. Under consideration are ways in which organizations can utilize virtual spaces as locations for low-overhead international outreach. We are highlighting a specific organization, The Heron Sanctuary (THS), using a Second Life (http://secondlife.com/) platform. Of particular interest is that THS works with, and is administered by, people with disabilities (physical, mental, and emotional) using digital arts as forms of personal expression. What follows is an interview with THS co-founder Gentle Heron and artworks and poems by co-founder SuperQuiet Heron.
Open Access
CultureWork ; Vol. 08, No. 04
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2004-06) Carpenter, Gaylene; Voelker-Morris, Robert J., 1969-; Finison, Maria F.
Open Access
CultureWork ; Vol. 09, No. 04
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2005-10) Hoffman, Elizabeth; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-
Open Access
CultureWork ; Vol. 10, No. 01
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2006-02) Krier, Patricia; Connolly, Thomas; Parman, Alice; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-
Open Access
CultureWork ; Vol. 10, No. 02
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2006-05) Kushins, Jodi; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-
Open Access
CultureWork ; Vol. 10, No. 03
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2006-08) Saunders, Victoria J.; Frohnmayer, John; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-
Open Access
CultureWork ; Vol. 10, No. 04
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2006-12) Saunders, Victoria J.; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-
Open Access
CultureWork ; Vol. 11, No. 01
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2007-04) Craig, Ann Sorensen; Sanders, James H.; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-
Open Access
CultureWork ; Vol. 11, No. 02
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2007-07) Appe, Susan Marie; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-
Due to mass displacement caused by violent armed conflict — a war involving guerrilla groups, paramilitary militias, and drug trafficking — Colombia's capital city of Bogotá has a population over eight million. Despite its violent and political reality, Colombia's cultural sector is diverse, immense, and brilliant. It is producing high quality arts and cultural events that build community throughout the Capital District, paving the way for an active citizenry in Colombia. When I first wrote the proposal for my Fulbright research, I intended to examine if the Columbian National Culture Plan's goal of moving "towards democratic cultural citizens" was being fostered in Bogotá, Colombia (Colombian Ministry of Culture, 2002). The study has modified a bit; I found that I needed to look at a slice of the cultural sector -- nongovernmental organizations and their relationship to the Colombian State. By looking at this relationship, I have been able to derive recommendations that might help further the plan's overarching goal of creating democratic cultural citizens. This paper presents select results taken from the larger research project mentioned above. I argue that State intervention in the cultural sector should shift from direct intervention to synthesizism. To synthesize [synthesis] is "to combine parts or elements so as to form a whole."(1) In Colombia, the State's role in the cultural sector has become increasingly important for recognizing cultural diversity and strengthening information flow and availability. Miller & Yudice (2002) stated that Colombia is "riven by armed conflict among guerrillas, paramilitary groups, narcotrafficers, and the military, as part of the US-financed war on drugs. Mediating diversity is thus a life and death issue" (p. 138). In addition to the armed conflict, Colombia is characterized by "regional diversity"; as a country Colombia has begun to honor cultural "claims of indigenous and black groups" (p. 138). Colombian's diversity and the armed conflict have become key foundations and, at times, challenges to the formulation of cultural policies and the work of the cultural sector. Cultural dialogue has become a pillar in policy objectives to strengthen the cultural sector, particularly in the National Culture Plan.(2) It acknowledges such rights as cultural autonomy and fostering communication and information flow in languages and in ways appropriate for diverse cultural communities (Colombian Ministry of Culture, 2002). Synthesizism, as described above, needs to be further focused into a cultural synthesizim. Cultural synthesizism addresses two urgent trends in the cultural sector. The State's role must: 1) respond to the diversity of Colombia, as a whole and in its cultural sector; and 2) remedy challenges of information flow and availability within the sector. In Colombia, the government has taken initiatives to address these trends; for example, by aiming to increase participation in monitoring the spending of and fair distribution of public funds in culture and in the formation of cultural policy. In order to explore the levels of challenge and success for these initiatives, this article will focus on four key areas. First, I will give a brief introduction to State intervention in Colombia. Following this, I present examples derived from surveys of 47 nongovernmental administrators that highlight the state of the cultural nongovernmental sector (CNGS). Then, I will briefly introduce the two prevalent opinions of State intervention. Finally, I assert that the role of the State must shift from direct intervention to synthesizism introducing a third realm of State intervention, cultural synthesizism. I conclude by suggesting 3 steps that begin this process.
Open Access
CultureWork ; Vol. 11, No. 03
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2007-12) Saunders, Victoria J.; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-
In June 2007, Americans for the Arts (AFTA) (http://www.artsusa.org) asked me to convene two exploratory peer groups at their annual conference in Las Vegas for those conferees who identified themselves as being at “mid-career” in arts management. AFTA had already had success in previous years developing a peer group for young arts professionals called the Emerging Leaders Network (http://www.artsusa.org/services/ emerging_leaders/default.asp) which has provided important networking and support for those entering the arts management career field. This was an opportunity for AFTA to hear from another sector of the arts management field. Without providing chronological signifiers, AFTA allowed people to self-identify with the term mid-career. Not knowing what to expect, AFTA’s staff and I were pleased when over 30 people showed up on each Saturday and Sunday morning at 8:30 a.m. for an hour’s discussion about what being at mid-career meant to them. They described feeling understimulated, stretched between work and home life, lacking advancement opportunities within their organization, and needing more challenge. They also talked of their commitment to the field and their desire to find solutions to these concerns. It was apparent that the peer group participants were expressing something that was likely not isolated to the total 50+ people who attended these sessions, but probably reflective of a larger trend in the field.
Open Access
CultureWork ; Vol. 12, No. 01
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2008-03) Saunders, Victoria J.; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-
The focus of this article has been to address the needs of mid-career non-profit arts and culture workers to facilitate talent retention within organizations and support the backbone of our workforce. While the recommendations are aimed at supporting mid-careerists, the importance of using a variety of programs and listening skills to engage, energize, and retain valued staff at any career stage cannot be overstated.
Open Access
CultureWork ; Vol. 12, No. 02
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2008-07) Rinaldi, Tina; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-
In the spring of 2006, I was invited by Eugene, Oregon Mayor Kitty Piercy to chair a twenty-one-person Mayor’s Cultural Policy Review Committee, along with Vice-Chair David Kelly (out-going Eugene City Councilor). The Mayor’s Review Committee advised consultants, Marc Goldring and Claudia Bach of WolfBrown (http://www.wolfbrown.com/), as they conducted a comprehensive Cultural Policy Review on behalf of the City of Eugene. My appointment to the Mayor’s Committee was my first appointment to a citizen advisory committee charged with community cultural planning. At the time of my appointment, I was not working for a local community arts organization to which I had a particular allegiance, but I had previously worked as the Executive Director of the Jacobs Gallery. Because of this, I was well-positioned to understand the challenges facing Eugene’s cultural sector as a visual arts advocate with connections to the city bureaucracy.
Open Access
CultureWork ; Vol. 12, No. 03
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2008-10) Parman, Alice; Exhibitions -- Planning; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-
In my view, consultation should be a balance between responsibility and collaboration, listening and making recommendations. These illustrative examples are drawn from my experience as an exhibit planning consultant to museums.
Open Access
CultureWork ; Vol. 13, No. 01
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2009-01) Torrell, Laurie Dean; Voelker-Morris, Robert J., 1969-; Voelker-Morris, Julie L.
Those working in cultural organizations routinely collaborate with an extensive array of community partners. "We already collaborate, what more do they want from us?" is a common lament from those who feel they are being pressured into collaboration by funders without guiding models. Meanwhile the landscape is shifting dramatically, as captured in a recent James Irvine Foundation Working Paper (2006): There is now a serious imbalance: the current level of public participation and financial support is not sufficient for what the nonprofit arts sector needs to survive. As a result, increasing numbers of organizations are facing significant financial hardship . . . Inaction or "business as usual" is not a viable option. (pp. 5 & 6) The focus of this piece is to share the experience of CEPA Gallery, Just Buffalo Literary Center, and Big Orbit Gallery/Sound Lab (1) which have just completed a three-year Administrative Collaboration pilot project, supported in large part by The John R. Oishei Foundation. This article is intended to provide information for culture workers and others interested in considering administrative collaboration.
Open Access
CultureWork ; Vol. 13, No. 02
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2009-04) Fenn, John B., III; Voelker-Morris, Robert J., 1969-; Voelker-Morris, Julie L.
Open Access
CultureWork ; Vol. 13, No. 03
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2009-07) Furl, Jennifer; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-
My first introduction to community writing organizations was Write Around Portland’s reading event on a hot August day in 2007. About 200 people were crowded into a non-air-conditioned church hall to witness dozens of writers taking a two-minute turn at the podium to share their work. These readers, many of whom were living on low incomes or with disabilities, had recently completed an eight-week writing workshop with the nonprofit organization and were celebrating the publication of their work in an anthology. Watching people read their written pieces, which often dealt with the experiences of daily life, frequently moved the crowd to react, whether that meant sighing in sadness, laughing, or murmuring oohs and ahs. And as the writers left the podium amid enthusiastic applause, most of them looked as though they were truly proud of themselves. After that summer reading, I began volunteering with Write Around Portland and quickly learned that the reading was one of many occasions in which participants could experience positive validation for sharing their writing with others. The entire workshop experience is rooted in the idea that everyone is a writer and can benefit from writing and sharing with others. Write Around Portland is one of a handful of community writing organizations in the United States; other groups include InkTank in Cincinnati, the NY Writers Coalition in New York City, and the Neighborhood Writing Alliance in Chicago. While the organizations may differ in their workshop techniques, they all bring people together to write about their ideas and experiences and to share them with others.
Open Access
CultureWork ; Vol. 13, No. 04
(Institute for Community Arts Studies, Arts & Administration Program, University of Oregon, 2009-10) Pennell, Summer Melody; Slavick, Elin O'Hara; DeGuzmán, María; Voelker-Morris, Julie L.; Voelker-Morris, Robert J., 1969-
Creating & Performing Pinang & Ayu: A Love Story A Lesbian Shadow-Puppet Performance: I fell in love with wayang kulit (Indonesian shadow-puppet theater) in Jan Mrázek’s art history class in 2003. This love led to my own performance, 6 years later, as a graduate student at the University of Oregon. On May 7th, 2009 I performed Pinang and Ayu: A Love Story, for my Folklore MA. The performance was largely collaborative, as I was working with Gamelan Sari Pandhawa of Eugene, OR, and I owe director Qehn considerable thanks for his guidance. The creative and learning processes, and of course the performance itself, were unforgettable experiences -- The Bailout Biennial (January 15 until April 15, 2009): How can and do we respond to the economic, political, and social world around us as artists at a time of heightened frenzy and pending doom? Can art shed some light on the current situation or poke some holes in the dull screen of it all?