| Category | Amount | Net Investment Income | Adjusted Net Income | Disbursements for Charitable Purposes |
|---|---|---|---|---|
| ACCOUNTING FEES | 12,680 | 0 | 0 | 15,900 |
| Identifier | Return Reference | Explanation |
|---|---|---|
| PROGRAM DESCRIPTIONS FOR CHARITABLE ACTIVITIES | FORM 990PF, PART IX-A, SUMMARY OF DIRECT CHARITABLE ACTIVITIES | THE CAMARGO FOUNDATION, FOUNDED BY ARTIST AND PHILANTHROPIST JEROME HILL AND LOCATED IN CASSIS, FRANCE, IS A RESIDENTIAL CENTER OFFERING PROGRAMMING IN THE HUMANITIES AND THE ARTS. IT PROVIDES TIME AND SPACE IN A CONTEMPLATIVE ENVIRONMENT TO THINK, CREATE, AND CONNECT. THE FOUNDATION ENCOURAGES THE VISIONARY WORK OF SCHOLARS, ARTISTS, AND LEADING THINKERS IN THE ARTS AND HUMANITIES.CAMARGO FOUNDATION HOSTS CULTURAL EVENTS AND MEETINGS FOR ITS REGIONAL COMMUNITY, WHICH INCLUDES MARSEILLE, FRANCE'S LARGEST CITY, TWO MILES AWAY. THE FOUNDATION ALSO PARTNERS WITH ARTS AND HUMANITIES ORGANIZATIONS TO BRING PROGRAMMING TO ITS CAMPUS.IN ACCORDANCE WITH THE CAMARGO FOUNDATION MISSION STATEMENT, THE CORE PROGRAM PROVIDES RESIDENCIES OF FOUR TO ELEVEN WEEKS TO ARTISTS, SCHOLARS, AND LEADING THINKERS/INTELLECTUALS TO SUPPORT VISIONARY WORK. FOR SCHOLARS AND THINKERS, THEIR PROPOSED PROJECT/AREA OF INQUIRY SHOULD BE IN FRENCH AND/OR FRANCOPHONE CULTURES, INCLUDING CROSS-CULTURAL STUDIES THAT ENGAGE THE CULTURES AND INFLUENCES OF THE MEDITERRANEAN REGION. ARTISTS FROM ANY DISCIPLINE ARE WELCOMED, AS LONG AS THEY ARE PRIMARY CREATORS OF NEW WORKS. EQUAL NUMBERS OF ARTISTS AND SCHOLARS/THINKERS ARE SELECTED IN EACH PROGRAM YEAR.THE CAMARGO FELLOWSHIP PROGRAM IS OPEN TO APPLICANTS OF ANY NATIONALITY. SELECTION CRITERIA ARE THE QUALITY OF THE PROJECT/WORK/AREA OF INQUIRY, THE QUALITY AND SIGNIFICANCE OF THE PROFESSIONAL ACCOMPLISHMENTS OF THE APPLICANT, THE RELEVANCY OF COMING TO THE PROVENCE REGION, THE IMPORTANCE OF RECEIVING A RESIDENCY AT THIS STAGE OF HIS/HER CAREER, AND AN INCLUSIVE ENVIRONMENT FOR WORK AND EXCHANGE. IN 2014, THE CALL FOR APPLICATIONS WAS RELEASED INTERNATIONALLY. CAMARGO RECEIVED 626 APPLICATIONS. INDEPENDENT AND EXPERT PANELS CHOSE NINE ARTISTS AND NINE SCHOLARS FOR RESIDENCIES IN THE FALL OF 2014 AND THE WINTER/SPRING OF 2015. FOLLOWING THIS SUMMARY IS AN ABSTRACT OF THE FELLOWS AND THEIR PROJECTS IN THE FALL OF 2014.IN 2014, THE CAMARGO FOUNDATION PARTNERED WITH THE BREAD LOAF WRITERS' CONFERENCE, ONE OF AMERICA'S MOST VALUABLE LITERARY INSTITUTIONS. FOR THE PAST 89 YEARS, WORKSHOPS, LECTURES, AND CLASSES, HELD IN THE SHADOW OF THE GREEN MOUNTAINS, HAVE INTRODUCED GENERATIONS OF PARTICIPANTS TO RIGOROUS PRACTICAL AND THEORETICAL APPROACHES TO THE CRAFT OF WRITING, AND GIVEN AMERICA ITSELF PROVEN MODELS OF LITERARY INSTRUCTION. A JOINT FELLOWSHIP PROGRAM WITH CAMARGO GIVES FORMER BREAD LOAF WRITERS' CONFERENCE ATTENDEES A MONTH-LONG RESIDENCY STAY AT THE FOUNDATION, PROVIDING THE OPPORTUNITY FOR INTENSIVE AND UNDIVIDED ATTENTION TO THEIR WORK WITHIN A FOCUSED AND SERIOUS COMMUNITY OF FELLOW WRITERS. EIGHT FELLOWS PLUS A RESIDENCY COORDINATOR AND GUEST ARTISTS WERE IN RESIDENCE AT CAMARGO FOR THE MONTH OF MAY. THE RESIDENCY WAS SUCCESSFUL; ALL SELECTED WRITERS GAVE POSITIVE FEEDBACK AND BREAD LOAF STAFF WAS ALSO VERY POSITIVE. IN 2014, THE FOUNDATION WELCOMED, ON CONTRACT, THE BAU INSTITUTE, NEW YORK, AND ITS COMPETITIVELY SELECTED ARTIST FELLOWS WORKING IN THE FIELDS OF VISUAL ARTS, CREATIVE WRITING, MUSIC, THEATER, AND PERFORMANCE ART. THE RESIDENCY PERIOD WAS ONE MONTH DURING THE SUMMER, AND SERVED 25 ARTISTS. THE BAU INSTITUTE'S RESIDENCIES AND PROGRAMS HAVE PROVIDED FOR UP TO 300 ARTISTS AND STUDENTS AND RELATED PROFESSIONALS TO CREATE NEW WORK. BAU INSTITUTE WAS FOUNDED IN 2004 AND BECAME A NON PROFIT IN 2012. THE BAU/CAMARGO RESIDENCY PROVIDED RESIDENCY FELLOWSHIPS AT NO COST TO VISUAL ARTISTS, WRITERS AND OTHER CREATIVE PROFESSIONALS.THE GOETHE INSTITUTE IS THE FEDERAL REPUBLIC OF GERMANY'S CULTURAL INSTITUTION OPERATING WORLDWIDE. IT PROMOTES THE STUDY OF GERMAN ABROAD AND ENCOURAGES INTERNATIONAL CULTURAL EXCHANGE. IT ALSO FOSTERS KNOWLEDGE ABOUT GERMANY BY PROVIDING INFORMATION ON ITS CULTURE, SOCIETY AND POLITICS. THE GOETHE INSTITUT OPENED AN OFFICE IN MARSEILLE ON THE OCCASION OF THE CAPITAL OF CULTURE IN 2013 AND WILL FURTHER DEVELOP CULTURAL ACTIVITIES IN THE YEARS TO COME.CAMARGO FOUNDATION PARTNERED WITH THE GOETHE INSTITUT ON A ONE-MONTH LONG RESIDENCY AT CAMARGO FOR A GROUP OF UP TO FOUR PERSONS. CONCEIVED AS A FOLLOW-UP TO THE PROJECTS CONDUCTED DURING MARSEILLE PROVENCE 2013, THE JOINT RESIDENCY FOCUSED ON ART IN PUBLIC SPACES, URBAN DEVELOPMENT, ARCHITECTURE, SUSTAINABILITY, SITE-SPECIFIC PROJECTS, PERFORMANCE, INTERACTIVE INSTALLATIONS, LIGHT AND SOUND INSTALLATIONS AND PARTICIPATIVE PROJECTS. A LINK TO THE MEDITERRANEAN WAS ENCOURAGED. THE CALL TOOK PLACE IN MAY 2014, 50 PROJECTS WERE RECEIVED, TWICE AS MANY AS EXPECTED. THE SELECTION COMMITTEE APPOINTED BY BOTH ORGANIZATIONS SELECTED A PROJECT CALLED GATED COMMUNITIES IN MARSEILLE. A TEAM OF SCHOLARS AND AN ARTIST - ELISABETH DORIER, THE RESEARCHER HEADING THIS RESEARCH TOPIC AT AIX-MARSEILLE UNIVERSITY, TWO ASSISTANT RESEARCHERS, AND ANKE DOBERAUER, GERMAN PAINTER, PROPOSED IT. THE PROJECT PRODUCED JOINT WORK BETWEEN THE ARTIST AND SCHOLARS AND WILL PRESENT THE OUTCOMES THROUGH EXHIBITIONS AND A PUBLICATION. ANKE DOBERAUER WAS IN RESIDENCY FROM MID-AUGUT TO MID-SEPTEMBER; ELISABETH DORIER CAME FOR SHORTER PERIODS IN SEPTEMBER AND THE END OF OCTOBER 2014. TWO PRESENTATIONS WERE ORGANIZED FOR PROFESSIONALS (VISUAL ARTS, RESEARCH INSTITUTES, PUBLISHING HOUSES). THE PUBLISHING HOUSE PARENTHESES IS INTERESTED AND VARIOUS MEETINGS ARE IN PROCESS WITH MAJOR VISUAL ARTS VENUES IN MARSEILLE.LABEXMED IS A LARGE RESEARCH PROGRAM COORDINATED BY THE MMSH - CENTER FOR MEDITERRANEAN STUDIES. IT AIMS TO ENCOURAGE INTERDISCIPLINARY RESEARCH ON THE MEDITERRANEAN, BUILDING ON THE STRENGTHS OF THE DIFFERENT LABEX MED MEMBER RESEARCH CENTERS (ARCHEOLOGY, HISTORY, ANTHROPOLOGY, SOCIOLOGY, GEOGRAPHY, POLITICAL SCIENCES, ECONOMY, LAW, PHILOSOPHY, EPISTEMOLOGY). CAMARGO FOUNDATION DEVELOPED A JOINT RESIDENCY FOR A COLLECTIVE OF TWO TO GIVE PERSONS, INCLUDING BOTH ARTISTS AND SCHOLARS. THE CALL TOOK PLACE IN JULY 2014. EIGHTEEN PROJECTS WERE SUBMITTED. THE SELECTION COMMITTEE WAS APPOINTED BY BOTH ORGANIZATIONS AND MET EARLY IN JULY TO SELECT A TEAM WORKING ON STUDIES IN THE MARSEILLE AREA; IT IS COMPOSED OF FIVE PEOPLE: THREE PEOPLE FROM THE AREA: A URBAN PLANNER, AN ARTIST SPECIALIZING IN HIKING AS AN ART FORM, A WRITER, ONE SOCIOLOGIST, AND ONE VIDEO ARTIST. THE FIRST THREE WERE IN RESIDENCE AT CAMARGO FOR THREE DAYS IN DECEMBER 2014. THE ENTIRE TEAM WILL COME FOR THREE WEEKS IN JANUARY 2015. THE NATIONAL CENTER FOR DANCE CND, ESTABLISHED IN 1998, IS A UNIQUE VENUE FOR DANSE IN PANTIN (NEXT TO PARIS) AS WELL AS IN LYON. THE MISSION OF CND IS TO TRAIN AND SUPPORT PROFESSIONALS, CONTRIBUTE TO REPERTORY AND DANCE HISTORY, AND SUPPORT NEW CREATIONS. THE VENUE HAS 12 STUDIOS AMONG WHICH THREE CAN RECEIVE AUDIENCE FOR PERFORMANCES, A LARGE DOCUMENTATION CENTER, AND OTHER SPACES. EVERY YEAR, THE CND WORKS WITH THE FESTIVAL CONCORDANSE IN MARCH/APRIL. THE FESTIVAL BRINGS TOGETHER A DUO OF A CHOREOGRAPHER AND A WRITER FOR A MONTH LONG RESIDENCY. THE WORK IS THEN PRESENTED IN PERFORMING ART VENUES, CONTEMPORARY ART CENTERS, LIBRARIES AND BOOKSHOPS.IN 2015, CONCORDANSE WILL WORK WITH FIVE DUOS. THE DUO JONAH BOKAER (US CHOREOGRAPHER) AND ANTOINE DUFEU (FRENCH WRITER) AS WELL AS THE DUO YANN LHEUREUX AND FRANCOIS BEAUNE WILL BE HOSTED IN CREATIVE RESIDENCIES AT THE CAMARGO FOUNDATION. BOTH DUOS CAME TO CAMARGO FOR A WEEK TO INITIATE THEIR COLLABORATIONS. THEY WILL THEN PARTICIPATE IN A THREE-WEEK RESIDENCY IN A CHOREOGRAPHIC CENTER IN FRANCE.THE FOUNDATION WELCOMED WRITER HAMZA MAHFOUD, MORROCO, FOR A ONE-MONTH WRITING RESIDENCY IN THE SUMMER OF 2014.IN SEPTEMBER 2014, CAMARGO HOSTED A RESIDENCY AND PEER EXCHANGE WITH FOUR ARTISTS AND CULTURAL LEADERS FROM MINNEAPOLIS SAINT PAUL AND ARTISTS AND CULTURAL LEADERS FROM MARSEILLE-PROVENCE. THIS WAS A PREPARATORY RESIDENCY THAT ACCOMPLISHED OBJECTIVES OF ITS OWN WHILE ALSO SEEDING A LARGER CULTURAL EXCHANGE IN THE FUTURE. CONCEIVED BY CULTURAL CONSULTANT TOM BORRUP, IT AIMS TO BRING ARTISTS, CULTURAL/COMMUNITY DEVELOPMENT MANAGERS, AND CITY PLANNERS FROM MINNEAPOLIS/SAINT PAUL TO MEET WITH PEERS WHO HAVE BEEN INVOLVED IN MARSEILLE PROVENCE 2013 EUROPEAN CAPITAL OF CULTURE. THE INITIAL VISIT WAS VERY SUCCESSFUL. FURTHER TALKS ARE TO TAKE PLACE TO DEVELOP A TWO WEEK PROGRAM THAT WILL BE RELEVANT FOR BOTH THE US AND MARSEILLE AREA.CAMARGO FOUNDATION ALSO SUPPORTED AND HOSTED SHORTER DURATION EVENTS AND MEETINGS PERTINENT TO ITS MISSION. CAMARGO ORGANIZED A JOINT EVENT WITH 60 PEOPLE INCLUDING MEMBERS OF MAABN, THE ANGLO-AMERICAN BUSINESS ASSOCIATION IN MARSEILLE, AND THE NEWLY ARRIVED AMERICAN GENERAL CONSUL. IT WAS VERY SUCCESSFUL. IN 2014, THE NATIONAL TEAM WORKING FOR THE FUTURE AIX-MARSEILLE-PROVENCE METROPOLE MET ON THE CAMARGO CAMPUS. THE FOUNDATION ALSO HOSTED MEETINGS FOR THE GMEM, LABEX MED, KOMM'N ACT, FESTIVAL D'AIX AND THE REGIONAL AGENCY FOR BOOKS, WHICH CONVENED REPRESENTATIVES OF REGIONAL WRITERS' RESIDENCIES AND THE BOOK SECTOR.IN MAY 2014, CAMARGO HOSTED A PIANO CONCERT BY RENCONTRES MUSICALES DE CASSIS, FEATURING A YOUNG PIANIST PREPARING FOR THE CHOPIN INTERNATIONAL COMPETITION. THE ROTARY AUBAGNE WORKED WITH CAMARGO ON A CONCERT IN THE MUSIC AND CONFERENCE ROOM.IN 2014, CAMARGO HOSTED, IN COLLABORATION WITH CASSIS, THE JAZZ FESTIVAL. PERFORMANCES WERE PRESENTED OVER TWO EVENINGS IN THE AMPHITHEATER ON CAMPUS.FOR THE PAST 26 YEARS, CAMARGO FOUNDATION HAS HOSTED THE PRINTEMPS DU LIVRE, A LITERATURE FESTIVAL, IN COLLABORATION WITH THE TOWN OF CASSIS. OPEN TO THE PUBLIC, THESE EVENTS DRAW LARGE CROWDS AND INCLUDE READINGS, DISCUSSIONS AND BOOKS. THIS CONSUMES TWO WEEKENDS IN LATE APRIL AND EARLY MAY. TWELVE NOTED WRITERS PRESENTED PANEL DISCUSSIONS. CAMARGO ALSO HOSTED AN EVENT FOR YOUNG (STUDENT) WRITERS FROM THE AREA. DURING 2014, MOSTLY IN THE SUMMER, CAMARGO FOUNDATION |
| RESTRICTIONS | FORM 990PF, PART XV, SUPPLEMENTAL INFORMATION, LINE 2D | THE FOUNDATION'S PRIMARY PROGRAM CONSISTS OF INDIVIDUAL FELLOWSHIP RESIDENCIES OF FOUR TO ELEVEN WEEKS. THE FOUNDATION'S CAMPUS INCLUDES TWELVE FURNISHED APARTMENTS, A REFERENCE LIBRARY, A MUSIC/CONFERENCE ROOM, AN OPEN-AIR THEATER, AN ARTIST'S STUDIO WITH DARKROOM AND A COMPOSER'S STUDIO. THE FOUNDATION WELCOMES SCHOLARS AND ARTISTS FROM ALL COUNTRIES AND NATIONALITIES AS WELL AS ALL CAREER LEVELS. THE FOUNDATION WELCOMES APPLICANTS FROM INDIVIDUALS IN THE FOLLOWING AREAS: - SCHOLARS WORKING IN FRENCH AND FRANCOPHONE CULUTRES, INCLUDING CROSS-CULTURAL STUDIES THAT ENGAGE THE CULTURES AND INFLUENCES OF THE MEDITERRANEAN REGION. -VISUAL ARTISTS, CREATIVE WRITERS, FILM/VIDEO/NEW MEDIA DIRECTORS, PLAYWRIGHTS, COMPOSERS, CHOREOGRAPHERS, AND MULTIDISCIPLINARY ARTISTS. APPLICANTS TO THE CARMARGO FOUNDATION MAY INCLUDE:-MEMBERS OF UNIVERSITY AND COLLEGE FACULTIES WHO WISH TO PURSUE SPECIAL STUDIES WHILE ON LEAVE FROM THEIR INSTITUTIONS;-INDEPENDENT SCHOLARS AND PROFESSORS EMERITI WORKING ON SPECIFIC PROJECTS;-TEACHERS IN SECONDARY SCHOOLS, PUBLIC OR PRIVATE, BENEFITING FROM A LEAVE OF ABSENCE IN ORDER TO WORK ON SOME PEDAGOGICAL OR SCHOLARLY PROJECT; -GRADUATE STUDENTS WHOSE ACADEMIC RESIDENCE AND GENERAL REQUIREMENTS HAVE BEEN MET AND FOR WHOM A STAY IN FRANCE WOULD BE BENEFICIAL IN COMPLETING THE DISSERTATION REQUIRED FOR THEIR DEGREE;-COMPOSERS, CREATIVE WRITERS, CHOREOGRAPHERS, FILM/VIDEO/NEW MEDIA DIRECTORS, VISUAL ARTISTS, PLAYWRIGHTS, AND MULTIDISCIPLINARY ARTISTS WORKING ON SPECIFIC PROJECTS OR SPECIFIED AREA OF CREATIVE INQUIRY. |
| RESTRICTIONS | FORM 990PF, PART XV, SUPPLEMENTAL INFORMATION, LINE 2D | CONDITIONS OF THE FELLOWSHIP:-THE CAMARGO FELLOWSHIP IS A RESIDENTIAL GRANT. FELLOWS WHO NEED ADDITIONAL FUNDS FOR LIVING OR RESEARCH EXPENSES SHOULD APPLY FOR THEM FROM OTHER SOURCES. FELLOWS MAY NOT ACCEPT GAINFUL EMPLOYMENT THAT COINCIDES WITH THEIR STAY AT CAMARGO. FEES FOR OCCASIONAL LECTURES OR PARTICIPATION IN SEMINARS ARE ALLOWED. -SPOUSES/ADULT PARTNERS AND DEPENDENT MINOR CHILDREN MAY ACCOMPANY FELLOWS FOR SHORT STAYS OR FOR THE DURATION OF THE RESIDENCY. BECAUSE OF PHYSICAL ARRANGEMENTS AT THE CAMARGO FOUNDATION, ACCOMPANYING CHILDREN MUST BE AT LEAST SIX YEARS OLD UPON ARRIVAL, AND ENROLLED IN AND ATTEND SCHOOL. ONLY THOSE WHOSE NAMES APPEAR ON THE APPLICATION FORM MAY BE IN RESIDENCE. -FELLOWS MUST ACTUALLY BE IN RESIDENCE AT THE FOUNDATION. THIS STIPULATION DOES NOT PRECLUDE ABSENCES DURING WEEKENDS AND RECESSES THAT COINCIDE WITH THOSE OF TEH FRENCH SCHOOLS IN THE MARSEILLE-AIX-CASSIS AREA. FREQUENT OR PROLONGED ABSENCES ARE UNACCEPTABLE. -THE TIME IN CASSIS MUST BE SPENT ON THE PROJECT PROPOSED TO AND ACCEPTED BY THE SELECTION COMMITTEE; I.E. THE PROJECT MAY NOT BE SUBSTANTIALLY ALTERED WITHOUT THE APPROVAL OF THE COMMITTEE. -PROJECT DISCUSSIONS ARE HELD ONCE A WEEK (EXCEPT DURING SEMESTER BREAKS) SO EACH FELLOW HAS AN OPPORTUNITY TO PRESENT THE PROJECT S/HE IS WORKING ON TO THE GROUP. THE PROJECT DSICUSSION SERVES AS A PROGRESS REPORT. ALL FELLOWS ARE REQUIRED TO BE PRESENT AT THESE DISCUSSIONS. A WRITTEN REPORT WILL BE REQUIRED AT THE END OF THE RESIDENCY. -FELLOWS ARE ASKED TO GIVE A COPY OF ANY COMPLETED WORK TO THE CAMARGO LIBRARY. ANY PUBLICATION, EXHIBIT, OR PERFORMANCE RESULTING FROM THE GRANT SHOULD GIVE CREDIT TO THE FOUNDATION. |
| ABSTRACT OF THE PROJECTS AND STAY AT CAMARGO FOUNDATION, FELLOWS FALL 2014 | FORM 990PF, PART IX-A, SUMMARY OF DIRECT CHARITABLE ACTIVITIES | ALICE KAPLAN, PROFESSEUR DE FRANCAIS - JOHN M. MUSSER - UNIVERSITE DE YALE, NEW HAVEN, CONNECTICUT, USAABSTRACT OF YOUR PROJECT:I CAME TO THE CAMARGO TO WRITE THE HISTORY OF CAMUS' FIRST AND BEST-LOVED NOVEL, THE STRANGER. MY BOOK BEGINS IN OCTOBER 1939, THE START OF THE WAR IN EUROPE, WHEN CAMUS, A THIRTY-SIX YEAR OLD UNEMPLOYED JOURNALIST STAYING AT HIS MOTHER'S APARTMENT IN ALGIERS, BURNED FIVE YEARS OF CORRESPONDENCE-LETTERS FROM FRIENDS, TEACHERS, LOVERS. WAS IT THE BONFIRE THAT STRIPPED HIM TO HIS ESSENCE AND ALLOWED HIM TO BEGIN WRITING, OR WAS IT THE WAR ITSELF-THE KNOWLEDGE OF A UNIVERSAL BONFIRE TO COME-THAT FREED HIS IMAGINATION? BY THE FOLLOWING MARCH, CAMUS WAS LIVING IN A MODEST HOTEL IN MONTMARTRE, WHERE HE WROTE THE FIRST DRAFT OF THE STRANGER IN A MATTER OF WEEKS. IN JUNE, THE NAZI ARMY INVADED PARIS AND CAMUS LEFT THE CITY FOR THE FREE ZONE, PART OF THE GREAT EXODUS OF JUNE 1940. OVER THE FOLLOWING YEAR AND A HALF, HIS MANUSCRIPT ZIG-ZAGGED BETWEEN ALGERIA AND FRANCE. CAMUS RESPONDED TO CRITIQUES FROM HIS MENTORS. THE STRANGER WAS RECOGNIZED IMMEDIATELY BY JEAN PAULHAN, E HIS EDITOR AT GALLIMARD, AS "FRANKLY BEAUTIFUL," "SERIOUSLY GOOD" AND "GRIPPING." WHEN THE NOVEL WAS FINALLY PUBLISHED IN APRIL 1942, CAMUS WAS ISOLATED IN ORAN, ON THE ALGERIAN COAST, STRUGGLING WITH A RELAPSE OF HIS TUBERCULOSIS. HE RECEIVED A SINGLE COPY OF HIS NOVEL, AND HE STILL HAD NO CONTRACT. IN THE MONTHS FOLLOWING PUBLICATION HE REACTED TO THE FIRST REVIEWS-THE GOOD, THE BAD, AND THE IDIOTIC. HE RETURNED TO FRANCE FOR TUBERCULOSIS TREATMENTS IN THE MASSIF CENTRAL, WHERE HE MADE CONTACT WITH THE RESISTANCE AND LOST ANY POSSIBILITY OF RETURNING TO ALGERIA WHEN THE ALLIES LANDED IN NORTH AFRICA IN NOVEMBER 1942. BY 1944, AT THE LIBERATION OF FRANCE, CAMUS WAS EDITOR IN CHIEF OF THE ESTEEMED UNDERGROUND NEWSPAPER, COMBAT. AND IN 1946, HE TRAVELED TO NEW YORK FOR THE ENGLISH-LANGUAGE PUBLICATION OF THE STRANGER, ALREADY CONSIDERED THE MOST IMPORTANT NEW NOVEL TO EMERGE FROM THE WAR. FROM INSPIRATION TO PUBLICATION, IT WAS AN EPIC JOURNEY. ON MY DESK IN THE CAMARGO LIBRARY: CAMUS' JOURNALISM (ESPECIALLY HIS ACCOUNTS OF THE TRIALS HE COVERED); HIS WORK-IN-PROGRESS NOTEBOOKS, HIS CORRESPONDENCE WITH HIS MENTORS (PASCAL PIA, HIS FELLOW EDITOR AND FRIEND; JEAN GRENIER, HIS PHILOSOPHY PROFESSOR, AND ANDRE MALRAUX, WHO TOOK CAMUS UNDER HIS WING AND USHERED HIM ONTO THE STAGE OF FRENCH LITERATURE); AND A THICK FILE OF REVIEWS. DURING MY RESIDENCY, I TRAVELED REGULARLY TO AIX. AT THE CENTRE DE DOCUMENTATION ALBERT CAMUS AT THE BIBLIOTHEQUE MEJANES, MARCELLE MAHASELA WAS A TRUSTED GUIDE FOR WORK WITH CAMUS MANUSCRIPTS AND LETTERS; AT THE ARCHIVES NATIONALES D'OUTRE MER, DANIEL HICK HELPED ME UNCOVER AN ARRAY OF DOCUMENTS ON LIFE IN ALGIERS, ORAN, AND BOUISSEVILLE BEACH DURING THE WAR YEARS.FINALLY, IN LOURMARIN, ON THE STREET WHERE CAMUS LIVED AT THE END OF HIS LIFE, CATHERINE CAMUS AND HER ASSISTANT ALEXANDRE ALAJBEGOVIC SHARED THEIR EXCEPTIONAL KNOWLEDGE AND RESOURCES WITH PATIENCE AND GENEROSITY.KEY WORDS: CAMUS, ALGERIA, WORLD WAR II, FRENCH NOVELS, INTELLECTUAL AND CULTURAL HISTORY, TWENTIETH CENTURY, POLITICS, TWENTIETH CENTURY, EXISTENTIALISM (NEW)FELIX DE LA CONCHA, PAINTER, INDEPENDENT ARTIST, IOWA CITY AND MADRID, USA AND SPAINABSTRACT OF YOUR PROJECT:PROJECT: CASSIS. AMONG SO MUCH BEAUTY IN THIS REGION I INSTEAD FOUND ATTRACTIVE SOME PROSAIC VIEWS THAT I PAINTED EN PLEIN-AIR.I WAS EVERY DAY WORKING IN THE STREETS OF CASSIS -FOR THE MOST A TOURISTIC AND SUNNY VILLAGE. BUT THE ADVANTAGE TO SPEND SOME LONGER TIME THAN A REGULAR TOURIST IS THAT THERE IS THE POSSIBILITY TO HAVE A DIFFERENT DIALOGUE WITH ITS SPACE AND INHABITANTS. AND DISCOVER OTHER ASPECTS, MORE ON THE SPIRIT OF THE PLACE.MY FIRST PAINTING WAS A SMALL VIEW OF THE CARROUSEL IN TOWN UNDER AN EARLY MORNING LIGHT. AND MY LAST ONE A LARGER PAINTING WITH THE SAME CARROUSEL MOTIVE BUT AT NIGHT. THE CARROUSEL IS GOING TO BECOME A SYMBOLIC ELEMENT. NOT ONLY BECAUSE STARTING AND FINISHING MY RESIDENCY PROJECT WITH IT COMPLETED A CIRCLE IN ITSELF, BUT ALSO BECAUSE BETWEEN THESE TWO WORKS THE REST WAS ALSO A DEVELOPMENT OF DIFFERENT CIRCLES.IN THE MORNING I DID A SERIES OF SMALL PAINTINGS AROUND A CYPRESS AT THE AVENUE DE LA VIGUERIE. IN THE AFTERNOON, INSTEAD TO MOVE MYSELF AROUND THIS CYPRESS I WAS ANCHORED IN THE SAME POINT. AND LOOKING FROM THERE AT IT I RECREATED ANOTHER CIRCLE AS I PAINTED THE PANORAMA WITH THE SURROUNDING ELEMENTS. I COMPLETED A CIRCULAR VISION OF THE STREET IN A COMPOSITION OF NINE PANELS. AVENUE DE LA VIGUERIE TURNED OUT TO BE A BUSIER STREET THAN I THOUGHT. I HAD TO DEAL WITH EVERYDAY LIFE AND FACING EVERY KIND OF ADVENTURES FROM THE MUNDANE. THIS MEANS TO HAVE TO NEGOTIATE SOMETIMES THE SPACE. THE STREET WAS UNDER CONSTRUCTION DURING ALL THESE PERIOD. AND ALTHOUGH MY SPOT WAS THE ENTRANCE OF A PRIVATE GARAGE AND NOT SUPPOSED TO HAVE ANY CARS PARKED IN FRONT, MANY USED IT AS A TEMPORARY REMEDY EITHER FOR DELIVERY OR AS FRANK, ANOTHER KIND OF PAINTER WHO WAS DOING REPAIRS IN THAT BUILDING.I NEEDED TO ASK FOR HELP EVEN TO JULIE, THE DIRECTOR OF CAMARGO, TO EXPLAIN TO HIM THAT WITH HIS CAR THERE WAS IMPOSSIBLE FOR ME TO COMPLETE THE PANORAMA. THESE DIPLOMATIC NEGOTIATIONS WERE ESSENTIAL TO CLOSE THIS "CIRCLE" SUCCESSFULLY.LUCKY ENOUGH FRANK THE PAINTER COULD FINALLY UNDERSTAND THE RELEVANCE OF MY WORK AND TOOK THE EFFORT OF PARKING SOMEWHERE ELSE. THIS ONLY HAPPENED BECAUSE STARTED TO SEE WITH SYMPATHY WHAT I WAS DOING. I OFTEN GET THE ADVANTAGE THAT IN GENERAL PEOPLE LIKE TO SEE ME PAINTING.ANOTHER STORY WILL BE IF I WAS "OCCUPYING THAT CORNER" WITH A DIFFERENT JOB. SELLCING CRACK, FOR INSTANCE... BUT NO PROBLEM WITH THE KIND OF DRUG ADDICTION THAT PAINTING IS FOR ME.ABOUT YOUR STAY:CAMARGO PROVIDED ME WITH A CONCENTRATED FORM OF THINKING. FOR THE REST, ONE THING I ENJOY IN RESIDENCIES IS THAT FELLOWS ARE ALWAYS NEUROTIC PEOPLE FUN TO BE AMONG.JOHN GIBSON, COMPOSITEUR, BLOOMINGTON, INDIANA, USAABSTRACT OF YOUR PROJECT:IN FLIGHT IS A COMPOSITION FOR CHORUS AND LIVE ELECTRONICS THAT ENGAGES THE MYTH OF ICARUS, IMAGINARY TRAVEL IN DREAMS, AND THE PRIVATE REFLECTIONS OF JET PASSENGERS. THE 30-MINUTE WORK FOR A CHORUS OF 24 SINGERS AND TWO LAPTOP PERFORMERS WILL BE PREMIERED BY THE NOTUS ENSEMBLE AT INDIANA UNIVERSITY IN THE FALL OF 2015.TEXTS BY WILLIAM CARLOS WILLIAMS, ELIZABETH BISHOP, MARGARET ATWOOD, AND OTHERS EXPLORE THE THEME OF FLIGHT IN MANY DIFFERENT MANIFESTATIONS. THE VARIED APPROACHES OF THE POETS ALLOWS FOR A WIDE RANGE OF TONE AND AFFECT, FROM WILLIAMS' GENTLE NARRATIVE OF ICARUS' DOWNFALL TO BISHOP'S ACCOUNT OF A NIGHT FLIGHT ABOVE AN URBAN LANDSCAPE, DURING WHICH THE PASSENGER IMAGINES TERRIFYING VIOLENCE AND DECAY.THE LAPTOPS RUN SOFTWARE OF MY OWN DESIGN THAT CREATES A WIDE VARIETY OF SOUNDS THAT COMPLEMENT THE SINGERS' PERFORMANCE. THE SINGERS USE HANDHELD MOBILE DEVICES TO INFLUENCE THE COMPUTER-GENERATED SOUND, BY WAVING THE DEVICES AROUND, SHAKING THEM, AND TAPPING THE TOUCH SCREENS. THIS SETUP IS MEANT TO UPDATE A COMMON PERFORMANCE PRACTICE IN WHICH CHORAL SINGERS PLAY WINE GLASSES OR SMALL PERCUSSION INSTRUMENTS WHILE SINGING.DURING MY CAMARGO RESIDENCY I DEVELOPED SOFTWARE FOR SEVERAL PROTOTYPES OF THE MOBILE DEVICE-CONTROLLED ELECTRONIC SOUND. I ALSO COMPLETED TWO MOVEMENTS OF THE PIECE: A SETTING OF THE WILLIAMS TEXT, AND A SETTING OF A POEM ABOUT BIRD FLIGHT BY LINDA ALLARDT. THE WILLIAMS POEM FOCUSES ON AN UNUSUAL PAINTING BY BRUEGEL THAT PLACES THE ICARUS MYTH IN THE CONTEXT OF 16TH CENTURY NORTHERN EUROPEAN PASTORAL LIFE.THE FARMERS IN THE FOREGROUND OF THE PAINTING SEEM UNCONCERNED WITH ICARUS TUMBLING INTO THE SEA IN THE MIDDLE GROUND.MY SETTING USES A BLEND OF HOCKETING, WORDLESS VOICES AND COMPUTER-GENERATED SOUND-WASHES TO CREATE AN IMAGE OF THE SEA, GLINTING IN THE SUNLIGHT, WHILE A TENOR SOLO DESCRIBES THE SCENE LEADING UP TO ICARUS' PLUNGE, AS WELL AS THE CASUAL REACTION OF THE FARMERS. THE VIEW OF THE MEDITERRANEAN JUST OUTSIDE MY STUDIO MADE IT EASY TO IMAGINE HOW THIS SHOULD SOUND.THE ALLARDT POEM, ABOUT THE RAPID FLIGHT OF A GOLDFINCH, PROVIDES AN OPPORTUNITY FOR THE SINGERS TO ALTERNATE BETWEEN A STRAIGHTFORWARD DECLAMATION OF THE TEXT AND MORE UNUSUAL, NOISY VOCAL PRODUCTION, WHILE SIMULTANEOUSLY USING THE MOBILE DEVICES TO INVOKE SYNTHETIC BIRDSONG AND LEAF-RUSTLING. KEYWORDS: A CAPELLA CHORUS, COMPUTER MUSIC, ELECTROACOUSTIC, MUSIC COMPOSITION, MUSIC AND POETRY, REAL-TIME ELECTRONICS, SOUND SYNTHESISABOUT YOUR STAYIT'S HARD TO IMAGINE A MORE DELIGHTFUL SETTING FOR MAKING NEW WORK AND THINKING DEEPLY ABOUT WHAT YOU'RE DOING.THE COMPOSER'S STUDIO IN LA LEQUE LOOKS OUT OVER THE MEDITERRANEAN. I SAT AT A STEINWAY BABY GRAND AND IMPROVISED WHILE WATCHING THE SUN AND SAILBOATS. JUST OUTSIDE IS A BEAUTIFUL GARDEN AND THE CHINESE TERRACE, ALL PERCHED JUST ABOVE THE SPOT WHERE THE SEA HITS THE RETAINING WALL. TO THE LEFT, I HAD A STUNNING VIEW OF THE PORT OF CASSIS. THE LARGE STUDIO ITSELF HAS A STRIKING ARCHED BRICK CEILING, A HUGE FIREPLACE, A COMFY SOFA, AND GOOD SOUND-ISOLATING WINDOWS. IT'S JUST A GREAT PLACE TO MAKE MUSIC.WHEN I TIRED OF BEING BY MYSELF, I LIKED HANGING OUT WITH MY FRIENDLY AND STIMULATING COLLEAGUES. IT'S GOOD FOR COMPOSERS TO GET AWAY FROM OUR SPECIFIC CONCERNS AND INTERACT WITH PEOPLE FROM DIFFERENT DISCIPLINES. I OFTEN FOUND THAT THE EXCHANGES IN THE WEEKLY PROJECT DISCUSSIONS WOULD FEED BACK INTO MY OWN WORK.ABOVE ALL, I ENJOYED HAVING LONG BLOCKS OF UNSCHEDULED TIME TO WORK. AND IT WAS GREAT TO BE ABLE TO DECIDE, A |
| Name of Bond | End of Year Book Value | End of Year Fair Market Value |
|---|---|---|
| VANGUARD TOTAL BOND MARKET INDEX FUND (NON-USGO PORTION) | 823,792 | 823,792 |
| VANGUARD INTERMEDIATE-TERM INV GRADE FUND (NON-USGO PORTION) | 750,271 | 750,271 |
| VANGUARD SHORT-TERM INV GRADE FUND (NON-USGO PORTION) | 450,861 | 450,861 |
| Name of Stock | End of Year Book Value | End of Year Fair Market Value |
|---|---|---|
| VANGUARD MID-CAP GROWTH FUND | 413,225 | 413,225 |
| VANGUARD WINDSOR II FUND ADMIRAL | 949,872 | 949,872 |
| VANGUARD STRATEGIC EQUITY FUND | 419,462 | 419,462 |
| VANGUARD TOTAL STOCK MARKET INDEX FUND INST | 3,351,315 | 3,351,315 |
| VANGUARD GROWTH INDEX FUND INSTITUTIONAL | 966,283 | 966,283 |
| VANGUARD REIT INDEX FUND INST | 645,452 | 645,452 |
| VANGUARD INTERNATIONAL GROWTH FUND ADMIRAL | 489,901 | 489,901 |
| VANGUARD INTERNATIONAL VALUE FUND | 481,581 | 481,581 |
| VANGUARD FTSE ALL-WORLD EX-US INDEX FND INST | 971,219 | 971,219 |
| Category / Item | Cost / Other Basis | Accumulated Depreciation | Book Value | End of Year Fair Market Value |
|---|---|---|---|---|
| LAND | 411,669 | 0 | 411,669 | 411,669 |
| BUILDINGS | 2,273,995 | 1,305,064 | 968,931 | 968,931 |
| IMPROVEMENTS | 474,957 | 341,835 | 133,122 | 133,122 |
| FURNITURE AND FIXTURES | 189,326 | 181,292 | 8,034 | 8,034 |
| VEHICLES | 22,041 | 272 | 21,769 | 21,769 |
| LIBRARY HOLDINGS | 122,484 | 122,484 | 0 |
| Category | Amount | Net Investment Income | Adjusted Net Income | Disbursements for Charitable Purposes |
|---|---|---|---|---|
| LEGAL FEES | 3,069 | 0 | 0 | 3,069 |
| Description | Beginning of Year - Book Value | End of Year - Book Value | End of Year - Fair Market Value |
|---|---|---|---|
| CURRENCY TRANSLATION ALLOWANCE | 123,342 | 171,188 | 171,188 |
| Description | Revenue and Expenses per Books | Net Investment Income | Adjusted Net Income | Disbursements for Charitable Purposes |
|---|---|---|---|---|
| OFFICE EXPENSES | 1,522 | 1,251 | 0 | 273 |
| INSURANCE | 10,745 | 0 | 0 | 11,050 |
| COMMUNICATIONS | 10,659 | 0 | 0 | 10,659 |
| PROGRAM/PROMOTION EXPENSES | 44,220 | 0 | 0 | 44,220 |
| Description | Revenue And Expenses Per Books | Net Investment Income | Adjusted Net Income |
|---|---|---|---|
| FOREIGN EXCHANGE GAIN | 15,539 | 15,539 | |
| MISCELLANEOUS | 3,768 | 3,768 |
| Description | Amount |
|---|---|
| Category | Amount | Net Investment Income | Adjusted Net Income | Disbursements for Charitable Purposes |
|---|---|---|---|---|
| CONSULTING FEES | 1,336 | 0 | 0 | 2,465 |
| INVESTMENT FEES | 22,790 | 22,790 | 22,790 | 0 |