of Las Vegas Art Museum, Nevada, USA


Prepared by Rodney Chang, MA, MSEd, PhD

April 15, 1998



(seek some sort of "accreditation" later?)



I Artist-In-Residence and the Artist-In-CyberResidence Programs

II Special Events Programs

III LVAM Internet (or Web) Gallery

IV Classroom Programs

V Networking and Resources Program



I Artist-In-Residence and the Artist-In-CyberResidence Programs (the latter- an innovative virtual residency on the Internet at the LVAM Web site) and respective scholarships or grants (May 1998)


Artist-In-Residence Program -annual selection of an artists to work at the museum's school during the summer when the Classroom Program is in session. Duration can be 1-3 months (or longer at the artist's expense; but a percent of tuition for any classes initiated and conducted by him/her).


Benefits to the artist- solo exhibition with documentation in LVAM Internet Gallery; work with museum computers and other local resources; prestigious appointment in museum program (with ceremonial certificate award); scholarship financial aid for tenure; opportunity to teach, sell his/her art (gallery exhibition and in bookstore); make connections in the Las Vegas area; and use publication capabilities of school for such items as invitation, brochure, postcard, etc.; provide the opportunity to make future income and gain more recognition as artist from results of such a residency through the

Visiting Cyberartist Program and Online Presentation Program as explained below.


Benefits to the museum- offer the opportunity for the staff, member association and community to meet, become acquainted and experience the works of master digital artists; accomplish the musuem goal to be part of the cutting edge of new digital art directions and the Internet, by association and collaboration with such artists; build an international reputation as a museum-friendly hotbed for digital and Web art; provide for the curator and staff leading artists of the Web as mentors to keep them informed and involved with the "new art frontier" of the Internet (a built-in in-house continuing education staff program that is free; keeping in mind that the museum staff can limit their time and learning to whatever their priorities and interests are)


Benefits to the school- stream of available experts and artists on digital and art movements on the Internet; speakers for lectures, workshops, seminars and courses of the school; advise and updating of the school's and Braithwaite Web site content; reputation builder for bringing in leaders in the field; source for professional level exhibitions of digital art in the "student" gallery; leads for expansion of technological capabilities; establish a continuing growing source of income through the Visiting Artist Program and Online Presentation Program (see below).



The Artist-In-CyberResidence Program - an innovative first not just for the Web but for the Internet; artistic activity sponsored by the school to create work specifically for the LVAM Web sites (LVAM Homepage and the Braithwaite Internet & the Arts School); a creative support source for "commissioned" online work/effort by digital or Cyberartists. (another "first" for the museum-online artist working relationship for the building of Web global cyberculture). Each tenure is 1-2 years. Scholarship fund available but amount much less than that for Artist-In-Residence grant (as first cyberresident, I would donate my grant for signs for the school and gallery, with "signs donated by Pygoya" in fine text at the bottom of the signs). The first artist is already in "residency" on line and producing work for the virtual "CyberStudio" pages (Pygoya, a.k.a. Rodney Chang). Copyright of works remain with the artist but permission is granted by the artist for the use of reproductions of such produced works to be used online and offline to promote the works and derive income which is shared by both artist and the museum. Production costs for the creation of such reproductions, such as postcards or limited edition of signed prints must be arranged between artist and museum on a case-by-case basis. Note that this arrangement provides a constant source of top level digital art (that received world exposure online) as sell items for the museum gift shop( which it may decline to produce and market), on and offline, and also a potential source of income for the artist after his active participation with the museum (may put an expiration date to acting agent role of the museum in behalf of the artist, limited only to those works produced and displayed at the Web site during his online tenure).


II Special Events Programs (lst event opening -end of summer 1998)


First art event - Art After PostModernism III or Exhibiting in Multiple Realities, August/September 1998 (? - after Riola telephone conversation), now possibly later in the year


Curator did earlier suggest that December, my originally proposed date, could be too late for his museum to beat New York in making Web history) in collaboration with the R2001 Web Art Ring (Alternative Museum and New York Arts Magazine already have pages with R2001 and thereby are well positioned to announce the next historic step)


Goals of program-


1. Assist the museum in providing the Las Vegas community the opportunity for first hand cultural experience with high technology cultural evolution; building its reputation as a city with access to leading edge events and artists of the Internet art frontier


2. Use museum resources to produce significant exhibitions and events for the Internet global community


3. Provide a platform for visiting artists and artists-in-residence to make historic esthetic statements that showcase their concepts and talents


4. Serve as a vehicle for collaborative projects with other institutions and artists involved with the Internet


5. Build an institution reputation so that when a digital artist "shows" here, it is more significant than exhibiting at a more traditional yet famous museum such as The Metropolitan Museum of Modern Art in New York City



III LVAM Internet (or Web) Gallery (opening in August 1998)

Designated exhibit space for student shows, artist-in-residence exhibit and visiting artists' work and available digital/Web traveling shows


Possible location of "pertpetual" monitor presentations of the Braithwaite and LVAM Web sites, whether online or directly from the internal hard drives


Practical solution to permitting student and uncurated digital work to be exhibited at the museum without necessary validation and selection by the museum Curator or incorporation into the museum's regular schedule of exhibitions (which at LVAM is not digital or Web related at this time)


IV Classroom Programs (to start in the summer of 1999)


Lectures - guest speakers, including artists, critics, experts on Web cyberculture

Workshops- hands on experience with programs

Courses- like the workshops, can be held by artist-in-residence or paid teachers

Online tutoring- selected good digital artist that submitted course objectives and outlines

Lectures Abroad - through the Visiting Cyberartist Program (see below)

Presentations Online - the online version of content of the Visiting Cyberartist Program (see below)



Areas of Study - (certificate awarded for successful completion of these areas)


1. Internet Skills for all Artists

2. Digital Art I - Technological Skills Development

3. Digital Art II - Theory, Advance Tools and Studio/Practice

4. Web Art and Cybercultural Studies and Research


Optional Diploma program -


1. Introduction to the Internet for Artists- programs, linking, submitting urls, site management, online references and resources

2. Web Skills -create one's own homepage and site; learn editing and Web page design

3. Basic Graphic Program Mastery- for example, Photoshop and Fractal Painter

4. History of Art, the Web and its Cyberculture, and Digital Art and Technology

5. Student Art Show- can be a group show



Possible courses- can be offered in the classroom or online



Fractal Painter

3D software

Virtual reality software

Electronic music and sound


Web page publishing and editing

Art history

Digital art history

Web art history

Survey of traditional art media for digital art students-with studio time -may be the only opportunity in life these computer artists to get their hands dirty with paint or clay and draw from a live model

Studio time and critique (for credit)

Directed Research- historical or software development or theory

Website design


Internet as artist's resource - search engines, directories, bulletin boards, chat, statistics, linking, affiliations, art rings, 3D environments, sound, latest technology (such as Java applets), online art institutions and other resources, electronic libraries, archival art projects, cybercultural studies in esthetics, sociology and psychology of online communities

Apprenticeship with online cyberartists



V Networking and Resources Program - includes the LVAM Web site, Braithwaite Web site, the museum in-house monitor slide show presentation for both sites, and a library for software and hardware manuals , museum publications, archived exhibits and art history



Maintenance in perpetuity of the Braithwaite Web site, liason to the museum's permanent collection of Braithwaite works, the stored works, works for sale in galleries and gift shop, works for sale online at Web site.


Publication resources for invitations, postcards, flyers, brochures, etc.


Possible later IRIS printing capacity for production of limited edition fine arts quality prints at reasonable price for artists and students


Place to archive shows and other history of the school through the years- electronic and hardcopy versions


Visiting Cyberartist Program - produce the basic presentation aids for the artist such as summary of residency, color copy of thumbnails of art in the exhibit, a brochure of the school's residency programs with the artist's name inserted, business cards of the school with the artist's name as contact. Of course any speaking engagement resulting from the artist's own efforts does not include the need of a donation to the school.


Online Presentation Program- artists of artist-in-residence program creates Web pages which summarize his work during his residency; these historic and educational events are accessible online through a fee to the school (after payment, password sent to access these Web pages)


Special note to Joan- here you have the opportunity to create these summarial Web pages with the assistance of the artist, each a mini-site package in itself that as CDs, slowly build into a beautiful and historical collection of early Web art events at the museum and online. In a sense this becomes the source for a future "art history book" by Joan Haller- you retain copyright of the Web pages but not the art; work out something with the artists. The artist is responsible to fill out some sort of form that summarizes his show and residency to make the Web publishing job easier, more automated. I can see the way of this becoming a means to pay yourself back through the endowment as an independent Web publihsing contractor. And it's what you enjoy doing and can be done at home. OK, I'm am trying to get you do start a business at "this time of life", but in something you enjoy doing, am already involved with and trained in, at home, and beneficial to the entire project.





1. The Braitwaite Endowment-

$20,000 for set up/establishment of school programs in 1998 and the 1998 historic art installation/performance/exhibition of "Art After PostModernism III"; lst artist-in-residence accepts this lst "special project" as his or her objective for the residency and scholarship besides the solo artist's show

2. $5000 per year thereafter through the endowment

3. Tuition and fees for courses, seminars, workshops, lectures

4. Sales from art and souvenirs from galleries, gift shop and online mail order store

5. Fund raisers

6. Solicited donations

7. Graphic services -in-house publishing

8. Later- professional IRIS limited edition printmaking- reasonable costs for artists; museum members and student discounts

9. With accumulated knowledge and direct experience of involvement with Web art projects, the staff (and advisors such as Joan Braithwaite and Rodney Chang) are acknowledged experts of this new art field and should be speakers for fees in demand; each art event at the museum should be "packaged" for future formal presentation as a lecture abroad

10. Visiting Cyberartists Program- the school becomes agent for previous artist-in-residence in the effort to assist the artist to give presentations for fees at other institutions or organizations, thereby earning income after his/her museum tenure and assisting to support the school by "donating" a percent of fees to the school; in essence the school is a speaker's agent

11.Online Presentation Program- artists of artist-in-residence program (or Joan Braithwaite Haller) creates Web pages (or mail order CDs) which summarize his work during his residency; these documented historic and educational events are accessible online through a fee to the school (after payment, password sent to access these Web pages) or as mail order CDs.






1. Classroom furnishings

2. Computer equipment and software

3. Internet access and server for school's Web site

4. Scholarship or grant for artist-in-residence and artist-in-cyberresidence programs

5. Compensation to "host families" for artist-in-residents and visiting artists and dignitaries

6. Insurance and legal service considerations -liability, computer service contracts, etc.

7. Repairs, supplies, postages, other miscellaneous things necessary to run school like a small business

8. Publication, certificates, prouduce support material for presentations, etc.

9. Promotions, public relations, brochures, etc.

10.Speaker fees

11.Instructor fees

12. Accounting and record keeping

13. Production of products to sell - mat and framing art, postcards, t-shirts, bumper stickers, decal, school pin, etc.

14. Fixed operational costs

15. Variable operational costs

16. Production/packaging of Artist-in-Residence tenure results and other art events at the museum as CDs for sale.



1. classroom furnishings-table, chairs, desklamps

2. gallery partitions, track lights

3. wall sign for both of the above

4. file cabinet

5. computer disks and CD storage

6. bookshelf

7. telephone outlet installation, multisockets

8. 4 computer systems, 2 DOS and 2 MACs

9. scanner

10. ink jet printer

11.still camera

12. video camera (later?)

13. slide projector and screen

14. 2 extra 17" monitors for permanent display of Web sites slideshows

15. fax/telephone/printer combo (optional)

16. miscellaneous

17. photoalbum books






1. securing instructors

2. finding guest speakers

3. press releases

4. hosting and preparing show receptions

5. collection tuition and record keeping

6. scheduling classes

7. accounting and tax records

8. school history archives

9. coordinate artists -accomodations, equipment, host, etc. to visitors/potential patrons/students with other arts organization for publicity, students, teachers

12.install exhibits with artists- hanging art, labels, list of works program, invitation, opening, refreshments, coordinate with other programs of museum, publicity, etc. directorship

14.maintain equipment and secure services

15. maintain supplies

16.overall program planning and expansion

17.police diploma program, student records

18. student advisor and counselor

19. fund raiser

20. liason to Curator, museum staff, external advisors such as Joan Braithwaite Haller and Rodney Chang

21. school library and personal on site CD collection (cannot be lent out and risk pirated copies)

22. managing and marketing ( I envision a nice brochure of these CDs in the gift shop and also online) presentation packages or "units" for Online Presentation Program

23. administrate no. 22 online



(As outlined, severely threatened if delayed according to Riola. Bear in mind, however,

there is hope for these time frames since they were determined through a series to talks

with the Curator, not Riola. I trust your diplomatic skills and believe, if necessary, you can

convince her to commit also to these dates suggested by her boss. I hope to find myself

at a Vegas meeting in 3 weeks max, which would keep these dates realistic.)



1. April 1998- complete this proposal to bring to meeting with museum

2. April 1998- set meeting date with museum and confirm art event dates at museum

3.April 1998- announce to R2001 membership and start collaborative planning to meet opening date

4. May 1998- meeting at museum, designate space for school classroom and gallery; art event, computers for use by school and office staff (you should verify this available resource during Riola's upcoming call)

5. May 1998- selection of Artist-In- Residence to coordinate art event with Curatorial Assistant and present lst exhibit in school art gallery (among candidates maybe ready to go - Bill Russell, John Rixon, Aleski Aaltonen, or how about Yola Witta-publisher's assistant of NY Arts Magazine- the perfect place for her to be covering this event exclusively for her publication; guarantee for East Coast arts community coverage for LVAM and the school)

6. June 1998- technician, Allan Ing, arrives and start setup of school, computers, furnishings, etc., computers installed, staff training in using and maintain computer equipment starts

7. July 1998- Artist-In-Residence arrives and starts work on his show, logistical layout and details of art event, works (with curatorial inclusions by curator) on catalog of show as editor, tutoring of Curator and Curatorial Assistant about digital art and the Internet

8.August 1998 - Completion of installation of art event, publication completion of catalog of show for preshow and opening sale availability and artists' autographs as they arrive and take their turn in the "web studio" of the art event

8. September 1998- art event opening, officially opening a program and the gallery of the school, thereby opening the school; active performance-event to last not more than l week but the exhibition can be kept in the Web gallery for a few months.

10. During the course of the months prior to summer 1999, may have guest lecturers and visiting artists showing in digital gallery (not artist-in-residence with scholarship money)-fund raising

11. This time also for planning the specifics of each course and securing instructors

12. Summer 1999- first classroom instruction

13. End of Summer 1999- first student gallery show, 2nd artist-in-residence and solo exhibit, first certificates of course completion granted

14. Possible hiring a part-time secretary of manager to run the duties of the school for 1999-2000

15. A special event to welcome year 2000, (with traditional Chinese dragon dance?) possibly in collaboration with R2001 again

16. Collaboration with R2001 on their much anticipated grand 2001 Festival, sure to include other institutions around the world (obvious future networking contacts for future inter-institutional collaborations with LVAM, a great start for it and the school at the beginning of the next millenium)