A

"Arts in Medicine (AIM)." Online. Internet.
http://www.artashealing.org/aim.htm

With divisions on programs, events, and people, this web site provides information on the Arts In Medicine Program at the University of Florida in Gainesville. Using a variety of media, the program involves artists, including an artist in residence, working with patients and families to promote healing through creativity.

C

Cri-Viff. "Cri-Viff. Centre de recherche interdisciplinaire sur la violence familiale et la violence faite au femmes." Online. Internet.
http://mistral.ere.umontreal.ca/~coutleed/criviff/

This site is part of a proposal by l'Association canadienne des professeurs d'université (ACPU) to create research centres on family violence and violence against women, a reaction to the tragedy that occurred when 14 women were killed at l'École polytechnique in Montreal in 1989. It contains information on projects undertaken by researchers, including the process of empowering victims of sexual violence, half-way houses for women victims of
violence, obstacles faced by lesbian victims of sexual violence, evaluation of projects for intervening against violence towards children, therapy for violent persons, and violent substance abusers in treatment.

G

Geer, Richard Owen. "Swamp gravy." High Performance 63 (1993): n. pag. Online. Internet. 11 May 1998.

Artist Richard Owen Geer describes the history and purpose of the community art project Swamp Gravy, begun in Colquitt, Georgia in 1991. Swamp Gravy brings together people of different racial backgrounds, producing a community performance while at the same time celebrating heritage and activating community change.

G

Goldbard, Arlene. "Postscript to the past: notes toward a history of
community arts." High Performance 64 (1993): n. pag. Online. Internet. 11 May 1998.

Goldbard aims in this article to present the history of community arts as part of a quest for legitimization, since such art work is seen as perpetually of the present and in need of definition. She begins with the point of definition, explaining that community art defies traditional art practice by placing authorship within a community rather than in the hands of an individual artist working alone. She then examines the public art programs that arose in the 1960's, using the San Francisco Neighborhood Arts Program as a central example, and discusses the history of funding. Goldbard then goes back to the history of community art, describing its germs in the public art programs of the 1930's, and following through to the 1980's.

K

Killacky, John R. "On cultural citizenship." High Performance 67 (1994): n. pag. Online. Internet. 11 May 1998.

Curator John Killacky, working for the Walker Art Centre, describes how public attack on certain of the Walker's performing arts programs and his dissatisfaction with political control over the arts led him to become a
"cultural citizen," involving himself in the community in order to effect change and increase communication between the art world and its audience. Working within the Democratic Farm Labor party, Killacky discovered that
very few political activists seemed concerned with cultural issues, and sought to change this through fundraising for arts-sympathetic political candidates, and by organizing debates.

L

Lisa B., and Carolyn P. Speranza. "‘End of the Line' Introduction and
Context." Online. Internet.
http://www.pittsburgh.net/End_of_the_Line/Project/ProjectIntro.html

The authors discuss community art projects in terms of how much artists today are expected to be social workers, how much they seek to take art out of gallery and museum space, and what happens to community when a project is over and the artist involved leaves. "End of the Line" is a community project that involves artistic collaboration of people in Pittsburgh neighbourhoods, exploring issues relevant to them. The project resulted in computer collages that were displayed on twenty PAT buses for one month. The site includes public responses to the project, the buses, the collages, project documentation, library workshops, press conference, archives, and information on related sites.

N

"NCADV." Online. Internet.
http://www.ncadv.org/about.htm

This site posted by the National Coalition Against Domestic Violence (NCADV) provides information on the coalition's objectives, resources, annual conference, and contacts. Their aim is to empower battered women and
children, and to eliminate domestic and societal violence, building coalitions at the local, state, and national levels, promoting public education, and providing information and referral services. The site also contains information on the problem of battered women (why men beat them, why women stay, barriers to leaving a violent relationship, predictors of domestic violence), how to get help, and possibilities for community response to violence.

S

Schwarzman, Mat. "It's about transformation: thoughts on arts as social action." High Performance 64 (1993): n. pag. Online. Internet. 11 May 1998.

In this article on public art the author addresses several misconceptions about art, such as the fact that the arts are intrinsically progressive, that their impact can be seen or measured, and that art is about objects, concluding that arts activists and political activists should be learning
from one another in a process of ongoing transformation.

W

Weber, Marion. "Who We Are. The Arts and Healing Network." Online.
http://www.artheals.org/mission/mission.html

This web site is intended as a forum for artists who see their work as healing, either to themselves, the community, or the environment, posting information and visuals for artists who wish to participate. In particular
it focuses on these aspects of art and healing: exhibitions and performances, workshops and classes, conferences and lectures, competitions, community projects, books, grants for healing artists, consultants, and related web site links.