Artist Access Grant
Artist Access Grant
To compose, record and perform a musical collection of melodic guitar pieces.
Tara Makinen: executive director of Itasca Orchestra and Strings, musician; Moira Villiard: visual artist, cultural programming coordinator at American Indian Community Housing Organization; Amber Burns: choreographer, dancer, actor, middle school art teacher; Margaret Holmes: visual artist, poet, and former Children’s Theatre employee; Tammy Mattonen: visual artists, co-founder of Crescendo Youth Orchestra; Kayla Aubid: Native American craft artist, writer, employee at MacRostie Art Center; Ariana Daniel: mixed media artist, arts instructor; Kathy Neff: musician, Director, Fine Arts Academy at the University of Minnesota Duluth; Ron Piercy: jeweler, gallery owner; Emily Swanson: arts administrator at Oldenburg Arts and Cultural Community; Christina Nohre: writer and arts advocate.
Tara Makinen: executive director of Itasca Orchestra and Strings, musician; Amber Burns: choreographer, dancer, actor, middle school art teacher; Kayla Aubid: Native American craft artist, writer, employee at MacRostie Art Center; Kathy Neff: musician, director, Fine Arts Academy at the University of Minnesota Duluth; Ron Piercy: jeweler, gallery owner.
ACHF Arts Access ACHF Arts Education ACHF Cultural Heritage
Goals: Complete composition of sixteen short musical works for multiple stringed instruments, including acoustic and electric guitars, nylon string guitar, ukulele and bass. Record, mix and master these compositions using professional recording resources and personnel. Perform the compositions at one or several live events for the public. Seek placement of recordings in other media, including film and television. Outcomes: Composition of instrumental, non-vocal pieces; recording and production of compositions; live performance of compositions for audiences in Duluth and northern Minnesota. 6/1 Begin composition of pieces; 7/1 Finish composition phase. Begin recording and producing; 7/1-9/1 Recording of compositions; 9/1 Finish recording phase. Begin live performance preparation; 9/1-10/1 Live performance preparation; 10/1-12/1 Live performances of compositions. The most important Evaluation Points will be on 6/15, halfway through the composition phase, to determine if the writing is on schedule. Also 8/1, halfway through the recording period, again to determine if the recording is on schedule.
"This project culminated in:
1) Composition of 20 works for guitar and ensemble in summer 2019.
2) Recording 11 of those works in late summer 2019.
3) 5 performances throughout 2020 and 2021."