Last Friday was the last day of work for Chris Weber, the program director and director of music at Consolidated Works for the past year and a half. Weber’s resignation came on the heels of what ConWorks visual art curator Dylan Neuwirth described recently as a “real blowout” between Weber and executive director Matthew Richter following ConWorks’ New Year’s Eve Heaven and Hell Ball. The three-part Consolidation Series now running at the multidisciplinary art venue “has been great,” Neuwirth said, “but behind the scenes it’s been a fucking nightmare.” Neuwirth, whose position is part-time and who worked closely with Weber, has now also submitted his resignation. It will be effective in the spring, once he’s finished his current curatorial projects.
As for Weber’s resignation, Richter described it as “about as mutual as things can be. We were both ready for that to happen.” Weber described it as a “friendly break,” and then added, “It wasn’t a good working environment for me, which is all I really want to say at this time.” According to Richter, artist John Sutton has already been chosen to replace Weber as program director. The program director is one of only three full-time positions at ConWorks. The job description is being rewritten by Richter and managing director Carol Bull. Sutton starts next week. CHRISTOPHER FRIZZELLE
Movie Madness!
For those misguided souls (ahem) who wondered if the Northwest Film Forum would be able to attract any big-name talent into its production fold, here’s an opportunity to eat crow: Guy Maddin, everyone’s favorite whacked-out Canadian filmmaker (second place: Cronenberg), is making his next film with NWFF and its production wing, the Film Company. The film, which will begin shooting on January 28, will be titled The Brand Upon the Brain! and its cast and crew will be made up entirely of Seattle talent. In a word: wow. BRADLEY STEINBACHER
Play Money
Seattle Fringe Theater Productions declared bankruptcy almost a year ago, but performers who filed claims against the organization are just beginning to recover some of their money. Artists have been getting checks for 10 percent of their 2003 festival earnings courtesy of the Fringe Artist Task Force, which raised $5,000–of its original $65,000 goal–through benefit performances and pleas for donations. Festival attorney Chris Weinmann said that when the court settles official bankruptcy claims in June or July, claimants can expect to receive anywhere between 10 to 50 cents on the dollar. Thirty-two theater companies make up more than half of the claims, averaging around $1,500 each, while other creditors include Qwest, Tablet, and Kinko’s.
The Empty Space moved its fundraising deadline back to January 30 and has raised $225,000 of its $350,000 goal. “We’re cautiously optimistic,” said managing director Steve Galatro. “It’s going to get down to the wire.” BRENDAN KILEY