CEP Intern

Finding New Meanings in American History and Culture

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In her doctoral research at the University of Hull, aspiring curator Elizabeth (Lizzie) Rogers has typically focused on researching the collections amassed by women in the eighteenth century England. But this past summer, Lizzie had the opportunity to expand her understanding of collections by interning at Stratford Hall, a historic American house museum in Virginia. During her internship at Stratford Hall, Lizzie worked extensively on the Margaret Law collection, researching its origins, re-cataloguing it through object research and photography, and creating an online exhibition that included pieces from the collection.

Beyond her research, the location of Lizzie’s internship gave her a unique insight into how collections and historic homes are preserved in the United States, an often contentious topic as the U.S. reflects on the figures and practices of its history. Stratford Hall was the home of the Lee family of Virginia and the birthplace of Robert E. Lee, commander of the Confederate States Army during the American Civil War. Interning at Stratford Hall led Lizzie to consider how American history and the diversity of the American people intersect, as well as the debates surrounding the presentation of historical culture. “[Museums] have such an important role to play in considering how things should be preserved and how messages perpetuated by monuments and places change over time,” she explains.

We caught up with Elizabeth to hear more about her experience at Stratford Hall and how her internship inspired her new career path as a curator.

What impact has your exchange experience had on your life and your career?

Being able to undertake a curatorial internship in the U.S. has had a big impact on my life and future career aspirations. It gave me the chance to travel and explore new places, which, as I was on my own and meeting people for the first time, really built my confidence and also taught me how much I enjoy it. I realised very quickly I want to work towards a career in curatorship and public history – being able to be so hands on with historic objects was so interesting, and I was able to gain experience in putting together exhibitions both in physical spaces and online. The way history is communicated to the public and the opportunities made available for public engagement are so important, and gaining experience in these areas at Stratford has helped me to focus my career goals.

What was your favorite memory from your exchange experience?

My exchange program is certainly one I will never forget – I had such a great time that it is difficult pick one favourite memory! I loved helping to put together an exhibition on the Stuart family at Stratford Hall – it was really fun helping to get the space ready and getting the objects in place, including dressing a mannequin with a dress from the early 1900s. I loved visiting Jamestown – I have always wanted to visit, so was really excited when I found out I was spending ten weeks in Virginia and knew I had to go. In the end, I went twice, which was so fun! I should also probably mention the weather – I think I only experienced about a week’s worth of rain in the whole time I was there, which was so nice for someone who is used to British summertime! It was also amazing to spend time visiting the museums and galleries in Washington, DC, Boston, and New York when I finished – as well as trying all the food and drinks. My new favourite place is Georgetown Cupcake, so I’m really sad we don’t have one in the UK!

What was your favorite thing to do in Stratford?

I was lucky enough that my internship covered Stratford Hall’s Wine and Oyster Festival, which was held in mid-September. It was such a great weekend trying local food and wine, alongside perusing the stalls from local artisans and listening to local musicians play.

What advice can you offer to future exchange visitors coming to the United States? 

I think my biggest piece of advice would definitely be to take advantage of all the opportunities presented to you. I wanted to make sure I tried lots of new things, from foods to going to my first ever baseball game (which was great fun – I would definitely go again!), as well as trying to visit as many places as possible.

What does cultural exchange mean to you?

I think cultural exchange means the chance to surround yourself with new people and learn from them and their experiences, as well as taking in the history, culture, and heritage of the place you are staying in. I think it also means the chance to share things from your own culture, discuss how things are different or similar and learn from each other. It is so important to ask questions of the friends you make, learn where you can and enjoy immersing yourself in a different place.

 

To read more from Lizzie, check out her blog, connect with her on Twitter, or follow her on Instagram! 

Behind the Scenes of “Little Evil” with Alex Campbell

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Filmmaker Alex Campbell has developed an impressive international career that spans film, television, commercials, theater, and photography. Based in London, the young writer and director was awarded the inaugural Sundance Ignite fellowship after his film Journey Home won the Sundance Ignite “What’s Next” challenge in 2016. Alex’s most recent short film HUSH premiered at the British Film Institute and has since gone on to win awards at film festivals in North Africa and Europe. His films Journey Home, The Trench, and HUSH have also been screened at a number of prestigious International Festivals around the world, including the Africa International Film Festival, the Encounters Film Festival, and the Aesthetica Film Festival.

Last year, Alex participated in IA&A’s J-1 Exchange Visitor Program and spent five months as a film production trainee on the set of Little Evil, an American horror-comedy film that was recently released on Netflix. In the movie, a recently married man named Gary (played by Adam Scott) wants to bond with his stepson, who seems to be a bit unusual. Soon, Gary begins to fear that the boy might be the anti-Christ and chaos (naturally!) ensues. As a trainee, Alex spent his days with the film’s production team, shadowing the director and learning the in-and-outs of post-production.

To get in the spirit of Halloween, we caught up with Alex to hear more about his experience working on the set of Little Evil and how his exchange helped advance his filmmaking career back in London.

What was it like to work on the movie’s set?

I started my traineeship in the film’s “prep week”. During this first week, I had the opportunity to take part in table reads, assist during storyboard review sessions, and sit in on major production meetings between the director, director of photography, and other heads of department. This was a great opportunity to really meet and get to know the crew, and allowed me to get great time shadowing and interacting with key members of the production team as they ran test shoots and made final preparations for the start of the production.My responsibilities and duties changed and adapted over the duration of the traineeship due to the ever-changing nature of a film production. As we moved into production, I received mentorship on how to make the frame surrounding the main action feel alive and natural for when directing background and extras. I also had the chance to shadow the director and production team during shooting and assist them with day-to-day tasks of all kinds whilst receiving on-the-job training and guidance.

The duration of my traineeship was spent deeply integrated in the Assistant Director’s (AD) department. The AD department works with all members of the production team and was the ideal place to gain an overview of the entire production as they work and liaise daily with the camera, lighting, grip, electric, hair, and makeup departments. There is never a dull day on set, with so many locations and set ups, from monster truck stunts to household interiors. Every day was energetic and different with each posing its own challenges and rewards!

How has your on-set production training advanced your career as a filmmaker?

Since my traineeship, I have learnt so much through shadowing and working alongside numerous members of the production team for the entire shoot. The placement has given me a chance to gain an understanding of the style and process of the key creatives involved in bringing Little Evil to life. From their techniques and craft, to how they shoot a scene, and to an insight into how Eli, the film’s director, directs actors and his crew to achieve his vision.I felt as though I had undertaken a complete crash course in the rules, rights, and wrongs of making a mid-budget feature and gained a greater understanding of how an independent film is made, both on- and off-set in the United States.

Since returning from the United States, I’ve continued working as a director back in the UK, most recently completing a documentary called Voices of Britain commissioned by the British Film Institute for broadcast by the BBC. I have also recently taken a position in the creative production department at the London School of Fashion where I work directing content for their internal and external clients.

What does cultural exchange mean to you?

Having spent time in Cleveland, OH, and Los Angeles, CA, I’ve experienced different ways of life, different cultures, and the different interests, passions, and work that creatives in America are exploring today. I gained a greater understanding, empathy, and interest in the American film and arts culture, along with a set of friends, teachers, and mentors who I hope to spend time with and collaborate with for a very long time to come.From visiting LACMA and The Broad, to roller skating and big sporting events, to seeing film premieres and being invited into artist’s personal studios, to meeting with filmmakers at the Sundance Film Festival, this opportunity has given me the best insight I could have imagined into the “American Experience” and how that differs from what I grew up with in the UK.

I think the ability to share with those that I met along the way my experiences and perspectives from growing up in the UK, and to hear their stories, is at the heart of what cultural exchange really means to me.

 

To see more of Alex’s work, check out his website, connect with him on Twitter, or follow him on Instagram! 

Gohar Dashti: Here & There, Then & Now

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Gohar Dashti works at the intersection of art and society. The Iranian artist has spent more than twelve years navigating the various social issues of the world through photography, bringing sensitivity and empathy to the art form. Trained at the Fine Art University of Tehran, Gohar often draws on personal life events in order to build bridges between the personal, universal, real, and political. Her work is inspired by her surroundings, her memory, and her personal perceptions, and it sparks important dialogues about conflict, citizenship, and civility.

International Arts & Artists (IA&A) is proud to have supported Gohar in her early career as a participant in IA&A’s ArtBridge program. In 2008, Gohar was part of a group of six emerging and mid-career Iranian photographers who visited the United States to participate in ArtBridge (pol-e honari, in Persian), a unique exchange program coordinated by IA&A’s Cultural Exchange Programs. The aim of this one-of-a-kind exchange was to establish relationships and networking opportunities between American and Iranian visual artists and arts professionals, and to promote mutual knowledge and cultural awareness in the two countries. A principal focus of ArtBridge was to explore the role of the arts in local communities in the United States and Iran.

Before her visit to the United States, Gohar told IA&A:

Growing up in the period that there were no relationships between Iran and U.S. made us (as a new Iranian generation) curious to know what [it’s] like to go and experience life in [the] U.S. As a photographer, I have always been interested in different cultures and the influences that one can affect from his/her culture.

During their three-week visit to the United States, the group attended workshops that examined the history of art in cultural hubs, held roundtable discussions, and went on visits to artists’ studios, galleries, museums, universities, and other cultural organizations. The program culminated in The Burden of Representation: Contemporary Iranian Photography, an exhibition of the artists’ work at IA&A at Hillyer (previously Hillyer Art Space). The ArtBridge exchange proved to be a visit full of dynamic interactions, new experiences, and exposure to varying perspectives.

Since her participation in ArtBridge, Gohar has become an internationally-acclaimed photographer with exhibitions at prominent museums and galleries around the world including the Victoria and Albert Museum (London), the Mori Art Museum (Japan), the Museum of Fine Arts (Boston), and the Contemporary Art Museum (Tehran), to name a few. She has participated in multiple artist residencies and has received numerous awards and scholarships, including the MacDowell Colony fellowship (Peterborough, NH), the DAAD award (Berlin), and the Visiting Arts award, 1Mile2Project (London). Her work has been featured in various media outlets such as the Boston Globe, the Guardian, and the Huffington Post, with Forbes’ Jonathan Keats characterizing Gohar’s images of Iranian civil society as “a deep psychological truth.”

Gohar Dashti, “Today’s Life and War”, 2008. Image courtesy of the artist.

IA&A was honored to collaborate with Gohar on Urban Mapping, a new exhibition at IA&A at Hillyer featuring work by ten Iranian photographers and video artists. In her curator’s statement, Gohar explains:

Public spaces have long been the nurturers of urban life, economic and political transformations, and citizens’ social communications. When we utilize the public space composition, it means that we are considering the close relationship between the private space and the public space. People are always moving between these two spaces and the relations governing the two, bringing out fears and ties. The severity of these crises is revealed when the two grow further apart.

Urban Mapping reveals the impact of political and social transformations of pubic space on the collective experience of Iranian citizens. The exhibition uses photography and video as a tool for reflecting upon these public spaces’ new meanings. Urban Mapping will be on view at IA&A at Hillyer from September 1 to October 29, 2017.

A selection of work from Urban Mapping. Clockwise from top left: Arash Fayez, “Ramblings of a Flâneur”, 2008. Ghazaleh Hedayat, “Snake and Ladder”, 2012. Rana Javadi, “Enghelab Street, Tehran”, 1978. Saba Alizadeh, “Light and Soil”, 2011. Behnam Sadighi, “Ekbatan, west of Tehran”, 2004-2008. Mehran Mohajer, “Between & Non-Between”, 2017. All images courtesy of the artist.

From Tehran to Washington, DC, Gohar continues to create work that connects audiences through a shared humanity and promotes cross-cultural understanding. IA&A is amazed to see the incredible achievements Gohar has accomplished since participating in ArtBridge in 2008 and looks forward to seeing what she does next!

Art in Context: Iran

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On October 11, 2017, International Arts & Artist (IA&A) hosted Art in Context: Iran, a discussion on Iranian culture, identity, and the broader conditions impacting creative work and partnerships. The discussion was held in conjunction with Urban Mapping, an exhibition of photography and video art on view at IA&A at Hillyer (formerly Hillyer Art Space). Curated by Gohar Dashti, Urban Mapping examines the concept of “public space” from the perspective of ten contemporary Iranian artists.

The conversation, which was moderated by Nazila Fathi, reporter and author of The Lonely War: One Woman’s Account of the Struggle for Modern Iran, featured voices from the arts, media, and nonprofit worlds, including Bahar Jalehmahmoudi, an Iranian-American installation artist and sculptor, and Shahrooz Shekaraubi, Founder and President of the Aftab Committee, a Washington, DC-based nonprofit organization that supports Iranian-American artists and their works.

During the discussion, panelists reflected on how shifting social and political conditions have shaped successive generations in Iran and the diaspora leading to different forms of creative resistance and new developments in the Iranian art market. Panelists discussed their contrasting interpretations of works featured in Urban Mapping, from the hyperpolitical to the uniquely personal. Shekaraubi and Jalehmahmoudi noted that many Iranian and Iranian-American artists experience an undue burden of representing their entire culture to viewers. On the issues of censorship and resistance, Jalehmahmoudi and Fathi highlighted various ways in which artists, filmmakers, and writers working in Iran contend with limits on free expression. Shekaraubi identified challenges particular to the Iranian context, including the concentration of galleries in Tehran, the political conditions impeding international exchange, and the influence of art collectors seeking work that aligns with stereotypical views of Iran.

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A project of IA&A’s Cultural Exchange Programs, the International Partnership Initiative champions international work between American arts institutions and their counterparts abroad by creating a forum for discussion and discovery among leaders in the artistic, academic, diplomatic, and policy communities. The Initiative’s research and programming facilitates cross-cultural understanding and builds stronger ties through global partnerships in the arts.

Alumni Update: Hyppolite Speaks at One Young World

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“At a very young age, my eyes have seen what no child should see; my ears have heard what no child should hear. That’s why I work with young people to halt the intergenerational transmission of hate for a much more peaceful future.”

#J1Alum Hyppolite Ntigurirwa recently delivered a powerful address at the One Young World summit in Bogotá. As part of the “Peace and Reconciliation” plenary session, Hyppolite shared with the audience how he is spreading his message of peace, using theater as a tool for healing, reconciliation, and peacebuilding in post-conflict communities both in Rwanda and abroad.

In 2016, Hyppolite participated in IA&A’s J-1 Exchange Visitor Program as the first international young leader to be selected for Arts Connect International’s Artist-in-Residence program. During his program, Hyppolite connected with other artists and social activists, acquired key arts management skills, and further developed his artistic body of work. He continues that work today through his Be the Peace Initiative.

Watch his speech below and read more about his exchange experience here.

Puppet Love: Pulling on NYC’s Heartstrings

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Emily Whittingham’s unique internship experience is a fantastic example of the opportunities available through the J-1 Exchange Visitor Program! Challenging the stereotypical idea of an internship, Emily used the opportunity to follow her dream of becoming a puppet maker and hone her craft in New York. She landed an apprenticeship with Puppet Kitchen Productionsand spent this past winter working alongside some of the best puppet makers in the business.

Each apprentice at Puppet Kitchen Productions also has the opportunity to work on a project of their own during their program. For her project, Emily created a puppet of the Carpenter from Lewis Carroll’s poem The Walrus and the Carpenter. After hearing more about her time in New York, we can’t help but compare her J-1 experience to a Wonderland-like experience!

What impact has your exchange experience had on your life and your career?

It’s been a life-long dream to live and work in the United States. I adore the variety of culture, environments, people (and food!) that America has, and the animation and puppetry scene is incredible. My J-1 experience has given me the chance to taste both life and work as a puppet maker in New York City, one of the most famous and bustling cities in the world! I have learnt so much in both puppet making and living in a new country, and I feel I am ready to take on the world!

What was your favorite memory from your exchange experience?

In December, I helped at a sock reindeer workshop in Bryant Park. It was so amazing to see the amount of people eager and excited to make reindeers, even the freezing cold didn’t stop us from having a great morning! And to add to that, my mum visited that week and she made a reindeer too!

What was your favorite thing to do in New York?

New York City is a world of its own, and it’s so diverse with so much to offer, especially at Christmas, where everywhere is lit up and decorated so beautifully! I love just being able to step outside and find something new each day. Particular highlights for me have been the American Museum of Natural History, ice skating in Bryant Park on Christmas Eve and seeing the Macy’s Thanksgiving Day Parade first hand!

What advice can you offer to future exchange visitors coming to the United States? 

Don’t hesitate and just go for it! You won’t regret it.

What does cultural exchange mean to you?

To me, cultural exchange means taking the step outside of your own home and culture to live in a new land and experience a new culture. And with somewhere as diverse as New York City, I feel that cultural exchanges happen almost every day!

To see more of Emily’s incredible work, check out her website, connect with her on Twitter, or follow her on Instagram!

Hitting the Right Notes at Music Festivals Across America

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This summer, IA&A’s Cultural Exchange Programs welcomed over forty exchange visitors to the United States as they began programs at three sensational music festivals: the Aspen Music Festival and School, Ravinia’s Steans Music Institute, and the Marlboro Music Festival. Each of these festivals has a rich history of musical excellence, creativity, and support for cultural exchange. The programs offered by these festivals have been invaluable in the artistic and professional development of our exchange visitors, who leave prepared to become the creative leaders of tomorrow.

Since being founded in 1951, Marlboro Music Festival has transformed the world of chamber music and continues to play a vital role in cultivating new generations of musical talent. The annual festival is held in Marlboro, Vermont over a seven-week period, during which musicians have the unique opportunity to study and perform a vast repertoire of chamber music. It is a chance for artists to step away from the normal demands of their profession and to dedicate themselves entirely to fostering new skills and techniques in a stunning environment.

For our exchange visitors, participating in Marlboro’s program has also provided opportunities for cultural discovery. As J-1 intern Kei told us, “At festivals in Europe or Japan, the concerts are already fixed and they rehearse for their performances . . . here in Marlboro we focus on the rehearsal process and understanding the pieces without time restrictions.” The festival also brings together artists from a wide array of experience levels. “Having the opportunity to collaborate with world-renowned artists inspires me in all kinds of ways,” explains J-1 intern Rose. “I learned how to be a better chamber musician, which will benefit me when I am back in the UK playing chamber music with my fellow colleagues.”

Moving west, we arrive at Ravinia’s Steans Music Institute in Illinois, where several of our exchange visitors spent the summer at America’s oldest music festival. Each season, Ravinia provides young musicians from around the world the opportunity to learn alongside its roster of renowned faculty members. With three exciting programs (jazz, piano, and strings) to choose from, exchange visitors are able to participate in master classes, receiving solo and ensemble coaching, and perform alongside fellow musicians.

Not only do students benefit from the exceptional standards held by Ravinia, they are also inspired to retain these lessons throughout their careers. Such is the case with J-1 trainee Benjamin, who writes, “Every concert I play as a musician is a step in my development, so the experiences and coaching I have received here will have a lasting effect in how I make music and rehearse chamber music when I am back home in the UK and traveling the world. “ Students at Ravinia’s Steans Music Institute are also able to draw inspiration from the festival’s alumni, many of whom have gone on to headline concert halls, opera houses, and orchestras around the world.

The last stop on our summer music festival tour is the Aspen Music Festival and School, named for its setting in beautiful Aspen, Colorado. Founded in 1949, Aspen is considered one of the top classical music festivals in the United States. Each season, Aspen offers an extensive program of concert performances by an eclectic array of world-class musicians. As president Alan Fletcher explains, “The Festival in Aspen offers an unusual opportunity to experience a myriad of works—some new, some favorites, some rediscovered, some revisited—in a way that makes each fresh again.” J-1 trainee Kathleen echoed this sentiment, telling us “It​ ​was​ ​a​ ​supportive​ ​and​ ​educational​ ​environment.​ ​I​ ​was​ ​constantly​ ​learning​ ​from​ ​my​ ​teacher​ ​and watching​ ​others​ ​perform.”

With an emphasis on learning and performance, it is no surprise that our exchange visitors’ experiences at the Aspen Music Festival and School are formative and memorable moments in their artistic careers and personal lives. “Now that I’ve studied in Aspen, I have started to feel more and more comfortable playing in an orchestra,” said J-1 intern Ming, adding, “It is not difficult for me to talk with other friends here because I believe that music is the connection. Through music, I’ve made a lot of new friends this summer.” The power of music to forge connections between exchange visitors is part of what makes the Aspen experience so incredible.

It’s clear that the various music festivals our exchange visitors attended this summer were rich with vision, creativity, and opportunities for cultural exchange. These experiences demonstrate the importance of investing in international educational and cultural exchange programs. Not only do exchange visitors hone their musicianship and performance skills, but they also develop critical leadership characteristics that will benefit them in their future creative careers.

Learn more about IA&A’s Cultural Exchange Programs and opportunities for musicians and performing artists here.

Art in Context: Korea

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On July 12, 2017, IA&A hosted Art in Context: Korea, a discussion with Julia Kwon, a visual artist whose exhibition Like Any Other was on view at IA&A’s Hillyer Art Space, Tom Vick, Curator of Film at the Smithsonian Institution’s Freer and Sackler Galleries, and Adam Wojciechowicz, Public Affairs Specialist at the Korean Cultural Center in Washington, DC. The conversation was moderated by Allison Nance, Director of Hillyer Art Space.

The discussion opened with the question, “How do the arts convey what it means to be Korean?” Kwon responded by describing the nature of her work and explaining how she does not want to use it to define what it is to be Korean. Instead, she wants to challenge stereotypes that are used to profile Korean people by incorporating cultural signifiers and identity expression in her art. Kwon’s explanation of her art appeals to themes echoed by the other panelists: cultural diversity and hybridity, the non-singularity of Korean art, and variation in art over time.

During the conversation, Kwon elaborated on the artistic process behind her exhibition Like Any Other, which took three years to complete. Most of her pieces involve physically wrapping objects with textiles, covering figures, painting, and framing pieces to imbue a sense of societal expectation. Kwon also explained that she uses textiles “to talk about the objectification of the figure.” The textiles themselves are also more varied than a cursory glance might suggest; the swatches range from Korean to Japanese to Chinese, and all add to the entrenched hybridity in her Korean identity.

The concept of a Korean identity is also central to the work of Wojciechowicz and the Korean Cultural Center, the cultural and public affairs arm of the Embassy of Korea. Wojciechowicz explained how the arts have been used to express the social, economic, historical, and political challenges faced by Koreans. On Kwon’s exhibition, Wojciechowicz commented that while the materials used may evoke traditional cultural practices, they are being repurposed in a contemporary way. This multidimensionality is also found in the art displayed at the Korean Cultural Center, Wojciechowicz said.

Each panelist acknowledged the growing popularity of Korean culture, especially in Korean entertainment. From global success of PSY’s “Gangnam Style” to the critical and box office acclaim found by directors like Park Chan-wook, Korean culture seems to be everywhere. When discussing the immense popularity of the Korean film industry, Vick explained that many Korean filmmakers grew up seeing American films, and that these films influenced the choices and techniques they eventually used in their work. Additionally, there are many Korean filmmakers that are interested in purposefully creating movies for an international audience, such Bong Joon-ho’s latest Okja.

Wojciechowicz added that from a policy perspective, the Korean government is actively engaged in reaching an international audience by promoting Korean art and culture. There is a growing interest in and appreciation of Korean culture in the twenty-first century. This has also manifested in the educational system, with a growing number of university students choosing to study abroad in Korea. Moreover, the arts are gaining traction among youth looking to explore fields outside the traditional STEM or business fields, creating a new generation of cultural producers poised to revolutionize the art scene in Korea.

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A project of IA&A’s Cultural Exchange Programs, the International Partnership Initiative champions international work between American arts institutions and their counterparts abroad by creating a forum for discussion and discovery among leaders in the artistic, academic, diplomatic, and policy communities. The Initiative’s research and programming facilitates cross-cultural understanding and builds stronger ties through global partnerships in the arts.

Art in Context: Italy

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On February 24, 2017, IA&A hosted Art in Context: Italy, a discussion on contemporary Italian culture, identity, and the broader socio-economic conditions impacting creative work. The event was held at IA&A’s Hillyer Art Space as part of the exhibition MARCO BAGNOLI, DOMENICO BIANCHI, REMO SALVADOR: From the Olnick Spanu Collection.

The event included a discussion with panelists Renato Miracco, Cultural Attaché at the Embassy of Italy, Cianne Fragione, artist, educator, and second-generation Italian American, and Manuela, former Event Coordinator at the Italian Cultural Society of Washington, DC, and current Youth-to-Youth Steering Committee Co-Chair at the World Bank Group. Each panelist provided thoughtful insights about the intersection between contemporary Italian art and identity. Allison Nance, Director of Hillyer Art Space, moderated the dynamic discussion between panelists and audience members.

The discussion covered a range of topics, but began with the daunting task of defining what it means to be “Italian” today. There was a consensus from Renato, Cianne, and Manuela that there is a certain pride one feels when being Italian or Italian-American. Italian culture, and by association heritage, has a strong connotation with beauty. According to Manuela, being Italian in America is like “being an ambassador of beauty abroad . . . growing up Italian is growing up in a culture of beauty.”

Italy’s rich cultural history can, in some instances, act as a barrier rather than a resource. There is a vast repertoire of work proceeding contemporary Italian artists that it can be challenging to define a modern identity. The panelists agreed that it is important to look back at history in order to modernize and bring it forward. “There is a burden of history,” notes Cianne, “[Artists] don’t all want to be Michelangelo.” This may be part of the reason why Italian artists seek opportunities abroad opposed to in their home country. Renato explained that many artists find it easier to achieve recognition abroad before gaining the same reputation in their home country.

Towards the end of the conversation, the panelists discussed how society can better support the arts as a whole. Cianne, an artist and arts educator, stressed that there needs to be a shift in how the arts and other creative fields are viewed. American society places more worth on STEM fields, an emphasis that discourages students from pursuing careers in the arts or creative industries.

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A project of IA&A’s Cultural Exchange Programs, the International Partnership Initiative champions international work between American arts institutions and their counterparts abroad by creating a forum for discussion and discovery among leaders in the artistic, academic, diplomatic, and policy communities. The Initiative’s research and programming facilitates cross-cultural understanding and builds stronger ties through global partnerships in the arts.

Meet Stina-Laura, Our J-1 Intern from Estonia

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Did you know that International Arts & Artists hosts J-1 interns at our office in Washington, DC? We know #WhyHostingMatters and were lucky enough to have Stina-Laura Parg, an art history student from Estonia, join us for nine months to learn the ins and outs of arts management! During her program, Stina-Laura interned with IA&A’s Hillyer Art Space, our contemporary exhibition space that shows both local and international artists. She also spent time working alongside the team in IA&A’s Traveling Exhibition Service, where she researched and archived pieces from the Hechinger Collection.

While interning with IA&A, Stina-Laura was able to apply her arts management knowledge in a new context, assisting with exhibition preparation, installation, and promotion. She recalls that her favorite memories are from the installation weeks, “when we had one week to un-install the old exhibition and install a new one . . . at the end of the week we got to celebrate our hard work with First Friday exhibition opening with the artists and gallery visitors.” The exhibition openings were a great opportunity for Stina-Laura to interact with members from the DC arts community, including artists, collectors, and art aficionados!

Gohar Dashti, “Today’s Life and War”, 2008. Image courtesy of the artist.

Interning in the heart of a bustling city like Washington, DC, also offered many perks! Stina-Laura immersed herself in the city’s arts community, frequenting numerous exhibitions and panel discussions throughout her stay. The Smithsonian Institution museums in particular stood out as a highlight to Stina-Laura. “There is something for every taste,” she told us. Stina-Laura was also able to join IA&A for “Museum Morning”, our quarterly outing with our DC-based J-1 exchange visitors. Together with other interns from Cyprus, Singapore, and the United States, IA&A visited the newly-renovated East Building of the National Gallery of Art and the Library of Congress. Looking back on her exchange experience, Stina-Laura has some words of wisdom for future exchange visitors. “Do as much as you can and visit as many places as possible. The exchange time will end unexpectedly fast so don’t waste your time.”

A selection of work from Urban Mapping. Clockwise from top left: Arash Fayez, “Ramblings of a Flâneur”, 2008. Ghazaleh Hedayat, “Snake and Ladder”, 2012. Rana Javadi, “Enghelab Street, Tehran”, 1978. Saba Alizadeh, “Light and Soil”, 2011. Behnam Sadighi, “Ekbatan, west of Tehran”, 2004-2008. Mehran Mohajer, “Between & Non-Between”, 2017. All images courtesy of the artist.

Exchanges are a wonderful opportunity to learn more about a different culture, both as a participant and as a host organization! “This experience has been a wonderful chance to explore a culture very different from my own,” Stina-Laura told us. “For me, cultural exchange means the readiness to knowingly explore and learn about a new culture and its nuances from the culture and the people in it, not through someone or something else; and in turn, offer knowledge about my own culture.”

We loved having Stina-Laura with us and look forward to seeing what this next chapter holds for her! Are you interested in interning with IA&A? Check out the various opportunities available to gain hands-on gallery and arts management experience with IA&A’s Hillyer Art Space.