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Sali Ann Kriegsman

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ENTERTAINMENT
September 1, 1990
Douglas Sadownick's July 21 article ("Artists Out to Kick-Start L.A. Dance Scene") gave an erroneous rationale for the fact that Los Angeles is not one of four cities included in "A Choreographers' Study," which is being conducted by Arts Producers Inc. in cooperation with the National Endowment for the Arts. This is a study of working conditions of individual choreographers. At no time and in no way was artistic caliber or "distinctiveness" of choreography in a particular city or region a factor in selecting the cities.
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ENTERTAINMENT
January 2, 1997 | LEWIS SEGAL, TIMES DANCE CRITIC
Nobody in American dance has been closer than Sali Ann Kriegsman to all the power centers of the art, whether artistic, governmental or journalistic. The executive director of the prestigious Jacob's Pillow Dance Festival in Massachusetts (a festival founded by modern dance pioneer Ted Shawn), Kriegsman was from 1986 to 1995 the director of the dance program at the National Endowment for the Arts, the largest dance funder in the nation, with an average annual budget during her tenure of $8.
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ENTERTAINMENT
January 2, 1997 | LEWIS SEGAL, TIMES DANCE CRITIC
Nobody in American dance has been closer than Sali Ann Kriegsman to all the power centers of the art, whether artistic, governmental or journalistic. The executive director of the prestigious Jacob's Pillow Dance Festival in Massachusetts (a festival founded by modern dance pioneer Ted Shawn), Kriegsman was from 1986 to 1995 the director of the dance program at the National Endowment for the Arts, the largest dance funder in the nation, with an average annual budget during her tenure of $8.
ENTERTAINMENT
September 1, 1990
Douglas Sadownick's July 21 article ("Artists Out to Kick-Start L.A. Dance Scene") gave an erroneous rationale for the fact that Los Angeles is not one of four cities included in "A Choreographers' Study," which is being conducted by Arts Producers Inc. in cooperation with the National Endowment for the Arts. This is a study of working conditions of individual choreographers. At no time and in no way was artistic caliber or "distinctiveness" of choreography in a particular city or region a factor in selecting the cities.
ENTERTAINMENT
August 12, 1986 | From Associated Press
Sali Ann Kriegsman was recently named director of the dance program of the National Endowment for the Arts. In this position, she will oversee operations of the dance program, which has a 1986 budget of $9 million allocated to provide support for professional choreographers, dance companies and organizations that present and serve dance.
ENTERTAINMENT
September 16, 1998 | LEWIS SEGAL, TIMES DANCE CRITIC
Tap phenomenon Savion Glover and dancers from the Broadway revival of "Chicago" graced Bill Clinton's second inaugural gala and they return tonight at a very different moment in his presidency for "In Performance at the White House," an invigorating hourlong dance special on PBS. Taped May 9 in the East Room, the telecast finds President and Mrs.
ENTERTAINMENT
March 28, 1987 | JUDITH MICHAELSON, Times Staff Writer
"How are dancers in companies doing?" the congressman wondered, noting that for a while they had been earning, on average, $7,000 a year. "Twelve-and-a-half a year ($12,500)," the dance program director for the National Endowment for the Arts responded, a bit relieved. "Can they live on that?" asked Rep. Sidney R. Yates (D-Ill.), chairman of the House Appropriations Interior subcommittee in mid-hearing on the arts budget for the coming fiscal year. (The U.S.
ENTERTAINMENT
March 9, 1997 | Lewis Segal, Lewis Segal is The Times' dance critic
Funded with $3.9 million from the Pew Charitable Trusts, a new, bicoastal, four-year multidisciplinary project is addressing the ways media technologies can safeguard dance's past achievements and expand its potential audience.
ENTERTAINMENT
December 30, 1996 | CHRISTOPHER KNIGHT, TIMES ART CRITIC
In the late 1960s and 1970s, after destroying all the abstract paintings he had made since the 1950s, John Baldessari began using words, photographs, charts, maps, film and video to question American culture's established expectations about art. His work was pivotal to the international emergence of Conceptualism, the movement in which an emphasis on art as a language of ideas replaced the traditional importance of art as a material object.
ENTERTAINMENT
December 31, 1996 | KENNETH TURAN, TIMES FILM CRITIC
As chairman of the Walt Disney Studios, Joe Roth is responsible for production, marketing and distribution of Walt Disney, Touchstone and Hollywood Pictures, but there is more. Roth also oversees Miramax Films, the mighty monarch of the independent world, which means he is the person Harvey Weinstein talks to when he wants to spend $20-something million to make "The English Patient." Roth, 48, has even directed a few films himself, most notably "Coup de Ville."
ENTERTAINMENT
January 1, 1997 | LAURIE WINER, TIMES THEATER CRITIC
Larry Gelbart is a triple-crown writer of comedy and social satire; his success in television ("Caesar's Hour," "MASH," "Barbarians at the Gate"), film ("Tootsie," with Murray Schisgal) and theater ("A Funny Thing Happened on the Way to the Forum," with Burt Shevelove, "City of Angels") spans four decades. One of the finest comic voices of our time, the 68-year-old Gelbart has a sharp, precise wit that can be both lethal and astonishingly lovely.
ENTERTAINMENT
December 26, 1996 | MARK SWED, TIMES MUSIC CRITIC
Peter Sellars lives surrounded by books and water. His bungalow on the Venice canals is, every room of it, a library. And prominent among the mile-high pile on his dining room table are tomes on China, since he has begun work with composer Tan Dun on an opera based on the classic Chinese novel "The Peony Pavilion," which will have its premiere at the Vienna Festival in 1998 and later travel to Lincoln Center and Berkeley.
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