Teaching facilities include up- to- date production and post-production and presentation facilities for sound, video animation, graphic and film projects. Those include analog and digital video camcorders, analog and digital sound recording and editing equipment, animation workstations, 16 mm film camera, portable and studio lighting and small and large format video presentation equipment (see below). http://art20.art.utexas.edu/facilities.html

Express yourself! We’re Austin’s museum of art at The Art School —where you can tap into your inner artist in a wide array of classes for all ages. The Art School of the Austin Museum of Art is located on the 12-acre Lake Austin site of historic Laguna Gloria, a natural setting conducive to the creation of art. Our studios have direct access to the out-of-doors, and we encourage you to explore the grounds while working on class projects. Our goal is to foster your creativity, enhance your visual awareness, and improve your technical skills in your chosen medium. Our small classes increase your interactions with our credentialed and talented faculty members.

The Art School strives to maintain the highest standards of educational excellence, offering you the added bonus of experiencing changing exhibitions at two locations. The Friends of Laguna Gloria and Museum membership give you tuition discounts, preferential registration, invitations to openings, and other benefits. There are so many ways to enjoy The Art School and our campus at the beautiful Austin Museum of Art--Laguna Gloria. So whether you are a beginning student, a serious amateur, or a returning artist, we invite you to enroll.

http://www.austinchronicle.com/issues/dispatch/2004-02-20/arts_string.html
These were going to transform the center of the city into a cultural wonderland: nine new or newly renovated museums, two new performing arts organization headquarters, one newly renovated theatre and one new theatre, and a center containing three performing arts spaces. What's more, almost all of them would be clustered within a couple of square miles in the heart of the city, and they would all be complete by the end of 2003.

Of course, that was then, this is now. The dot-coms and the prosperity they represented are long gone, and the cultural makeover of Austin is far from complete. Actually, almost half of the proposed projects are finished, and another one is under construction. But those success stories tend to get lost in the shadow of the more ambitious, higher profile projects that have stumbled along since the bust. The Long Center for the Performing Arts and Austin Museum of Art downtown facility were the two biggest projects and have suffered because of it. Ambitious designs inflated the original construction costs, and both got just beyond the halfway marks in their capital campaigns when fundraising stalled, ultimately leading both organizations to discard their architectural plans. What form these facilities will finally take and how long it will take them to be built can only be guessed at.

A cursory glance at the projects listed below shows that the ones which were finished were either among the smallest to be proposed or benefited from state money. The ones that are in limbo are the ambitious projects that counted on private money to fund construction. That suggests that Austin may be able to dream big about the arts but isn't yet able to generate the substantial financial support to see those big dreams through. Proponents of the boldest projects are now talking about scaling back their visions and building more modest facilities when or if they move forward with their plans. It's been a humbling lesson for our cultural community, and the lesson may not be finished yet.


Fine Arts Work Center in Provincetown
In 1968, a group of eminent artists and writers, recognizing the need to support talented individuals at the outset of their careers, established the Fine Arts Work Center in Provincetown. Since that time the Center, whose founders include Robert Motherwell, Myron Stout, Jack Tworkov, Alan Dugan, and Stanley Kunitz, has provided housing and stipends to over 500 emerging artists from the United States and abroad.

The Center is unique in its focus on the crucial early years of an artistic career, offering Fellows an opportunity for investigation and growth in their chosen field. Each year eight writers and eight visual artists are offered seven-month residencies, including living and working space and a monthly stipend for expenses. In addition, two former Fellows from each group may be asked to return for a second and final year.
Reviewed by a jury of professionals, selection is based solely on the quality of work and the 'emerging artists' criteria. Past jurors include Luis Cruz Azaceta, Louise Bourgeois and Martin Puryear for visual arts and Michael Harper, Mark Strand and Grace Paley for writing.

Distinguished artists and writers visit the Center throughout the year, presenting readings and lectures to the public and working with the Fellows in informal workshops and consultations. Shankpainter, the Center's literary review, is published by the Fellows and provides a showcase for current and former residents, including work by visual artists. Fellows are in no way directed or supervised during their stay; both solitude and a diverse cultural community are available

Since the turn of the century, artists have found a cultural haven in Provincetown. The Work Center property plays a key role in that heritage. Before the Center acquired the site, artists such as Motherwell, Stout, Helen Frankenthaler and Hans Hofmann rented studio space on the grounds of what was then Days' Lumber Yard. Since purchasing the property in 1972, the Center has contributed to that history with such names as Louise Glück, Tama Janowitz, Denis Johnson, Michael Cunningham, Ellen Driscoll, Sam Messer, Jim Peters, and Paul Bowen.

The Fine Arts Work Center, founded in 1968, is a direct descendant of this rich cultural history. The Center is a nonprofit institution devoted to encouraging and supporting young artists and is built on the belief that freedom and community are the best means and natural conditions for artistic growth. The facilities of the Fine Arts Work Center have a unique and rich place in the history of modern American art and the Work Center Program carries on in this tradition.

Since 1968, the Fine Arts Work Center has worked to provide time and space for emerging artists and writers at critical moments in their creative development. Thanks to the help of countless friends and patrons, over the past few years we've strengthened our Winter Fellowship, Summer Workshop, and Fall Workshop Programs, each of which brings a diversity of emerging writers and artists to Provincetown to live and work.

There's still much more to be done. We're not able to complete our mission without your much-appreciated support. Donations by individuals make up 10% of the Work Center's overall operating costs and more than one third of the expenses for the Winter Fellowship program. Each Winter Fellowship costs more than $20,000 annually.

Visual Arts Fellows are provided with apartments and separate working studios of approximately 400 square feet of floor space. Additional facilities include a basic woodshop, a print shop with etching press, and a darkroom with basic equipment.