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The Board of Trustees of the Fine Arts Work Center is responsible
for the overall governance of the Work Center and its programs. To assist them in their job, the Trustees appoint a Board of Advisors and solicit opinions and recommendations on ways to improve and strengthen all Work Center programs. At their July 2002 meeting, the Board of Trustees elected the following four people to the Board of Trustees for three-year terms beginning in October 2002: James McClennen, Elizabeth McCracken, Richard McCann, and Marty Epp. Ike Williams was elected Chair-Elect beginning in October 2003. |
 | James McClennen was born in Cambridge, Massachusetts, and raised in Bloomington, Indiana, where his stepfather was an art historian and collector. Educated at Harvard College and Harvard Business School, his entire professional career was spent as an investment advisor with Cooke and Bieler, Inc., a Philadelphia-based investment counsel firm. He was President of the firm from 1970-1987, then Senior Partner, and is now semi-retired. Currently he is the owner of the Wequassett Inn in Chatham, Massachusetts. He has served as trustee on several private school boards, and as trustee and treasurer of the Millay Art Colony from 1989-2000. He is presently vice president and treasurer of the New Museum of Contemporary Art in New York. |
 | Elizabeth McCracken's book of short stories Here's Your Hat, What's Your Hurry? was an American Library Association Notable Book of 1993. Her first novel, The Giant's House, was a 1996 National Book Award finalist and won the Harold Vursell Award from the American Academy of Arts and Letters. Her new novel, Niagara Falls All Over Again, was published by the Dial Press in 2001. A former Fellow at the Fine Arts Work Center, she serves on the Work Center's Writing Committee. |
 | Richard McCann is the author of Dream the Traveler, Nights of 1990, and Ghost Letters, which received the 1993 Capricorn Poetry Award and the 1994 Beatrice Hawley Award. His fiction, poetry, and essays have appeared in the Atlantic, Esquire, and numerous anthologies, including The Penguin Book of Gay Short Stories, and he is co-editor of Things Shaped in Passing, an anthology of poems responding to the AIDS pandemic (Persea). He is the recipient of Fellowships from the Fine Arts Work Center, the NEA, and the Fulbright and the Rockefeller Foundations, and currently co-directs the graduate program in Creative Writing at American University. His
fictionalized memoir, Mother of Sorrows, will be published by Pantheon. |
 | Marty Epp is a painter and printmaker who divides her time between Provincetown and Boston. She graduated with distinction and departmental honors from the Massachusetts College of Art in 1994, and is a member of The Boston Printmakers and the United South End Artists. Epp has shown her paintings and prints in galleries around the U.S.; most recently she was included in a group show at the Silas-Kenyon Gallery in Provincetown and Making a Mark: Artists from the Boston Drawing Project at the Danforth Museum of Art in Framingham, Massachusetts. Epp has also been asked to be one of 8 artists representing the United States in the Sixth Triennale Mondiale D'Estampes Petit Format 2003, in Chamalieres, France. She was awarded a New England Foundation for the Arts award for work on paper in 1998 and taught printmaking at the DeCordova Museum School of Art from 1997 to 1999.
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In July 2002, the Board of Trustees hosted a dinner for the Board of Advisors. Executive Director Hunter O'Hanian reviewed the Work Center's recent progress and solicited
comments and feedback from the members of both Boards. Highlights are listed below:
• Over the past five years, the Work Center has strengthened all of its programs. This past year we had the largest number of applicants for the Winter Fellowship Program, over 1,300. We have been able to offer each Fellow a monthly stipend of $650. Writing and Visual Arts Committee budgets have gone from $4000 to $12,000 for visiting writers, artists, and juries.
• The Summer Workshop Program completed a successful eighth season, with close to 800 students attending 84 classes. The program is now accredited by 3 colleges. The Fall Weekend Workshop Program has also received favorable reviews, with 18 classes offered this past year. The Fall Workshop Program is part of the Campus Provincetown effort to stimulate the local economy in the off-season through education, the arts, and the environment. In addition to these educational programs, the Work Center has promoted a year-round schedule of readings, lectures, and gallery exhibitions. There were more than 100 of these events this past year, with more than 5000 people attending.
• Other programs are also doing well. The Long-Term Residency Program provides four apartments to former Fellows at below-market rents for up to three years. Five more live/work spaces are planned for late 2003 in the Meadows Motel Project. The Returning Residency Program is operating at full capacity, with more than thirty former Fellows staying for week- to month-long periods in May, June and September. The Collaborative Residency Program is well underway as the Work Center strives to connect with arts organizations around the country and abroad. This past year we collaborated on residencies with the Maryland Institute, College of Art; the Ohio Arts Council; the Copley Society of Boston; the Providence Art Club; the HISK Foundation from Belgium; and the Phoenix Charitable Foundation of Boston, which funds residencies at the Fine Arts Work Center for artists from Cuba. We also participate in off-site residency management with the GAEA Foundation in Provincetown.
As an organization, the Fine Arts Work Center has also accomplished the following over the past few years:
• Operated in the black, with operating surpluses for the last five years.
• Acquired the Brewster Street building, which allows us to house all of the Fellows and to provide spaces for the Long-term Residency Program.
• Grown the endowment from $450,000 to over one million dollars by adding more than $300,000 in additional principle in the last five years.
• Invested more than $250,000 in long-needed building and capital repairs and refurbishments. In addition, we have upgraded our internet and computer access, making the Work Center's web presence as strong as possible.
• Generated greater name recognition and good will, not only within the community, but also nationally. The name of the Fine Arts Work Center is now known throughout the country as a leader in artists' colonies.
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