my super sweet zbo shrinky dink.
Thursday, December 1, 2011
Wednesday, November 16, 2011
David Lusk Review
This past week in my professional practices class we had Robert Hollingsworth come visit us from the David Lusk gallery. His visit was very important in informing us how to apply to a gallery. About a month ago, we submitted application packets to the David Lusk gallery for review. In this past week, Robert Hollingsworth returned them to us with notes as well as talked to our class and answered questions.
Overall, my packet was well received. I could have had an image list to go with my CD, but he thought my images were good and that was important to me. I did learn many things from his visit like how to talk with a gallery and the proper procedures to follow when applying to different galleries. Over and over again, he made a point that whomever you talk to, you should be nice. He also noted that in my cover letter I said “Thank you,” and that was important to him.
The questions he answered were very informative about how the gallery runs and what kind of works are accepted. He also made sure to tell us to research the galleries before applying to make sure that our works fit in well with the collection. The best part about his visit was when he looked over our artwork. It was nice to hear what he had to say about everyone’s pieces. I thought he would be a lot more intimidating, but it was a lot more casual.
All in all, Robert Hollingsworth’s visit was crucial to our education about learning how to submit to different galleries. He was very fun and interactive, and I look forward to speaking with him more in the future.
Overall, my packet was well received. I could have had an image list to go with my CD, but he thought my images were good and that was important to me. I did learn many things from his visit like how to talk with a gallery and the proper procedures to follow when applying to different galleries. Over and over again, he made a point that whomever you talk to, you should be nice. He also noted that in my cover letter I said “Thank you,” and that was important to him.
The questions he answered were very informative about how the gallery runs and what kind of works are accepted. He also made sure to tell us to research the galleries before applying to make sure that our works fit in well with the collection. The best part about his visit was when he looked over our artwork. It was nice to hear what he had to say about everyone’s pieces. I thought he would be a lot more intimidating, but it was a lot more casual.
All in all, Robert Hollingsworth’s visit was crucial to our education about learning how to submit to different galleries. He was very fun and interactive, and I look forward to speaking with him more in the future.
Wednesday, November 9, 2011
Grad School Cover Letter
Lena Kirk
LenaKirk.Blogspot.com
Dean of Admissions
Cranbrook Academy of Art
39221 Woodward Avenue
Bloomfield Hills, Michigan 48304
(248)-645-3300
To whom it may concern,
My name is Lena Kirk and I am applying to the Master of Fine Arts program because I believe that being well acquainted with many media will sky rocket me into art stardom at your school. I have recently graduated with my Bachelors of Fine Art in Sculpture from Memphis College of Art. Yes, my degree is in sculpture, but there is so much more to me, and my art. I am well versed in ceramics, which would be my field of study in your graduate program, but I am also a painter, printmaker, sculptor, and a metal smith all bundled in to one! What a deal!
My current works are about my self and my body. After going through an illness and having an organ removed I have been confronted with a new lifestyle, and the ups and downs that go with it. My work is about the struggle that I have been through with my body, and the strength to work through this issues by representing them through my work. You facilities will give me to ground to build more on my conceptual ideas, and have the inspiration of an establishment that housed Charles and Ray Eames.
I have been displayed in many exhibitions at the Memphis College of Art as well as the Guggenheim, MOCA, and The Getty. All of these exhibitions awarded me large grants to make giant sculptures that I donated to children in Africa.
Thank you so much for your time, and If you find my work of interest, I would be pleased to send additional visual materials and background information. You can also visit my web site at www.LenaKirk.Blogspot.com for my most current and up to date works, and writings. Thank you for your consideration, and I hope to hear from you soon.
Thanks,
Lena Kirk
LenaKirk.Blogspot.com
Dean of Admissions
Cranbrook Academy of Art
39221 Woodward Avenue
Bloomfield Hills, Michigan 48304
(248)-645-3300
To whom it may concern,
My name is Lena Kirk and I am applying to the Master of Fine Arts program because I believe that being well acquainted with many media will sky rocket me into art stardom at your school. I have recently graduated with my Bachelors of Fine Art in Sculpture from Memphis College of Art. Yes, my degree is in sculpture, but there is so much more to me, and my art. I am well versed in ceramics, which would be my field of study in your graduate program, but I am also a painter, printmaker, sculptor, and a metal smith all bundled in to one! What a deal!
My current works are about my self and my body. After going through an illness and having an organ removed I have been confronted with a new lifestyle, and the ups and downs that go with it. My work is about the struggle that I have been through with my body, and the strength to work through this issues by representing them through my work. You facilities will give me to ground to build more on my conceptual ideas, and have the inspiration of an establishment that housed Charles and Ray Eames.
I have been displayed in many exhibitions at the Memphis College of Art as well as the Guggenheim, MOCA, and The Getty. All of these exhibitions awarded me large grants to make giant sculptures that I donated to children in Africa.
Thank you so much for your time, and If you find my work of interest, I would be pleased to send additional visual materials and background information. You can also visit my web site at www.LenaKirk.Blogspot.com for my most current and up to date works, and writings. Thank you for your consideration, and I hope to hear from you soon.
Thanks,
Lena Kirk
Residency Cover Letter
Lena Kirk
LenaKirk.Blogspot.com
Skowhegan School of Painting & Sculpture
200 Park Avenue South, Suite 1116
New York, NY 10003-1503
tel 212.529.0505
fax 212.473.1342
To whom it may concern,
My name is Lena Kirk and I am applying to the Skowhegan Residency because I believe that being well acquainted with many media will broaden my horizons at your facility. I have recently graduated with my Bachelors of Fine Art in Sculpture from Memphis College of Art. I am well versed in ceramics, but I am also a painter, printmaker, sculptor, and a metal smith.
My current works are about my self and my body. After going through an illness and having an organ removed I have been confronted with a new lifestyle, and the ups and downs that go with it. My work is about the struggle that I have been through with my body, and the strength to work through this issues by representing them through my work.
You facilities will give me ground to build more on my conceptual ideas, and have the inspiration of an establishment that has housed so many brilliant artists in the past, and hopes to meet new emerging and existing artists to help my work grow for the future.
I have been displayed in many exhibitions at the Memphis College of Art as well as numerous small galleries throughout the southern United States.
Thank you so much for your time, and If you find my work of interest, I would be pleased to send additional visual materials and background information. You can also visit my web site at www.LenaKirk.Blogspot.com for my most current and up to date works, and writings. Thank you for your consideration, and I hope to hear from you soon.
Thanks,
Lena Kirk
LenaKirk.Blogspot.com
Skowhegan School of Painting & Sculpture
200 Park Avenue South, Suite 1116
New York, NY 10003-1503
tel 212.529.0505
fax 212.473.1342
To whom it may concern,
My name is Lena Kirk and I am applying to the Skowhegan Residency because I believe that being well acquainted with many media will broaden my horizons at your facility. I have recently graduated with my Bachelors of Fine Art in Sculpture from Memphis College of Art. I am well versed in ceramics, but I am also a painter, printmaker, sculptor, and a metal smith.
My current works are about my self and my body. After going through an illness and having an organ removed I have been confronted with a new lifestyle, and the ups and downs that go with it. My work is about the struggle that I have been through with my body, and the strength to work through this issues by representing them through my work.
You facilities will give me ground to build more on my conceptual ideas, and have the inspiration of an establishment that has housed so many brilliant artists in the past, and hopes to meet new emerging and existing artists to help my work grow for the future.
I have been displayed in many exhibitions at the Memphis College of Art as well as numerous small galleries throughout the southern United States.
Thank you so much for your time, and If you find my work of interest, I would be pleased to send additional visual materials and background information. You can also visit my web site at www.LenaKirk.Blogspot.com for my most current and up to date works, and writings. Thank you for your consideration, and I hope to hear from you soon.
Thanks,
Lena Kirk
Gallery Cover Letter (revision of original David Lusk cover letter)
Lena Kirk
LenaKirk.Blogspot.com
Robert Hollingsworth
4540 Poplar Avenue
Memphis, TN 38117
(901)-767-3800
Mr. Robert Hollingsworth,
I would first like to extend my appreciation at your willingness to review my art portfolio. My name is Lena Kirk and I am interested in submitting the following resume for representation in your gallery, which Dwayne Butcher encouraged me to apply. I am currently a senior at the Memphis College of Art, graduating in the spring of 2012. I have had a variety of my mediums displayed in exhibitions at the Memphis College of Art. I am truly a well rounded artist when it come to experimentation with a variety of media.My primary focus is sculpture, and while solid form is my preferred medium, I have chosen to include selections representative of my experience in painting and printmaking, as I feel these would be stronger suited for your gallery space.
I feel I would contribute well to the David Lusk Gallery given the intent behind my pieces and the approach I used to manifest them. I think that the collection I have provided will represent a set of emotions and conflicts that most people never experience, and will bring to them an understanding of my perception.
I hope you have a moment to peruse my collection of works and tell me your thoughts and opinions about it. Again, I very much appreciate your time. I hope to hear from you soon.
Regards,
Lena Kirk
LenaKirk.Blogspot.com
Robert Hollingsworth
4540 Poplar Avenue
Memphis, TN 38117
(901)-767-3800
Mr. Robert Hollingsworth,
I would first like to extend my appreciation at your willingness to review my art portfolio. My name is Lena Kirk and I am interested in submitting the following resume for representation in your gallery, which Dwayne Butcher encouraged me to apply. I am currently a senior at the Memphis College of Art, graduating in the spring of 2012. I have had a variety of my mediums displayed in exhibitions at the Memphis College of Art. I am truly a well rounded artist when it come to experimentation with a variety of media.My primary focus is sculpture, and while solid form is my preferred medium, I have chosen to include selections representative of my experience in painting and printmaking, as I feel these would be stronger suited for your gallery space.
I feel I would contribute well to the David Lusk Gallery given the intent behind my pieces and the approach I used to manifest them. I think that the collection I have provided will represent a set of emotions and conflicts that most people never experience, and will bring to them an understanding of my perception.
I hope you have a moment to peruse my collection of works and tell me your thoughts and opinions about it. Again, I very much appreciate your time. I hope to hear from you soon.
Regards,
Lena Kirk
Monday, November 7, 2011
Wednesday, November 2, 2011
Cara Tomlinson
This week I was unable to attend the Carrie Mae Weems lecture, so instead I opted to go to the Opening at the Clough-Hanson Gallery for Cara Tomlinson. I had never been to the Rhodes gallery before, so it was kind of confusing on how to get there, not to mention they were having a quidditch practice, and I was too nervous to interrupt to ask them where it was. Needless to say there was a bunch of wandering around before I found a non-qudditcher to lead me in the right direction. When I got into the building it really wasn't anything like I expected it to be. It was very modern and well “vintage-ish” on the inside compared to the exterior of the building which looked like it was built in 1850.
Once I stepped into the gallery and stood really close to the first painting I was intrigued. Yes, these paintings are very similar to what it going on in some abstract painting right now, but hers were unique. They reminded me of Don Estes’s paintings with the meandering line work all through them. Cara’s were very pleasing to the eye, and I enjoyed the layers of paint that were visible through the pieces.
She also had these very curious mounds of paint swatches on little tiny dollies. They were odd and unusual and I cant decide if I liked them, or if I think they are a waste of paint. They could be more interesting if they were more sculptural, or if it was more about the paint globs than the display. The small cart like dollies that the paint mounds were adhered too distracted from the paint forms.
All in all I really enjoyed visiting a new venue. I need to go to more openings at the Clough-Hanson Gallery because the food was dynamite. Also, I tried to speak with Hamlett Dobbins, but there was one woman who just wouldn't budge.
Tuesday, November 1, 2011
Internship/ Job Cover Letter
Lena Kirk
M Sandino
Dixon Gallery and Gardens
4339 Park Ave.
Memphis, TN 38117
Dear M Sandino,
My name is Lena Kirk and I am writing to express my interest in an internship for the spring of 2012. We have been in communication in the past and I am happy that it has come time to actually apply! I am excited about this opportunity to work with the education department at the Dixon Gallery and Gardens. Having experience with children from my previous position in the programming department at the Children’s Museum of Memphis has given me the expertise necessary to be very productive in this position.
As a soon to be graduate of the Memphis College of Art I have developed a mixed media interest in printmaking, painting, and sculpture. I have always had an interest in sharing my creative process in teaching. Being unique and creative in the way I prepare materials to use for arts and crafts projects gives me a library of unlimited possibilities of fun activities to do with children. I have also had experience developing art projects using different mediums such as recycled materials, food products, and art materials to create fun and interesting projects to go along with many different focuses such as children’s books, master artists, seasonal activities, and geography.
In addition to the above qualifications I have experience in the following:
Working with and developing programs for children ages 2-13;
Communicating with children as well as adults;
Interacting with children in a museum environment, and helping children learn while playing; and
Working with large groups of children.
As I am approaching graduation and am highly interested in working with children in a museum environment as a career, I feel this intership would be very helpful to me and my future endeavors. I would be very excited at the prospect of being able to intern in the education department of the Dixon Gallery and Gardens. I have incuded my resume for your consideration. Please feel free to contact me with any questions. I look forward to hearing from you soon!
Thank you,
Lena Kirk
M Sandino
Dixon Gallery and Gardens
4339 Park Ave.
Memphis, TN 38117
Dear M Sandino,
My name is Lena Kirk and I am writing to express my interest in an internship for the spring of 2012. We have been in communication in the past and I am happy that it has come time to actually apply! I am excited about this opportunity to work with the education department at the Dixon Gallery and Gardens. Having experience with children from my previous position in the programming department at the Children’s Museum of Memphis has given me the expertise necessary to be very productive in this position.
As a soon to be graduate of the Memphis College of Art I have developed a mixed media interest in printmaking, painting, and sculpture. I have always had an interest in sharing my creative process in teaching. Being unique and creative in the way I prepare materials to use for arts and crafts projects gives me a library of unlimited possibilities of fun activities to do with children. I have also had experience developing art projects using different mediums such as recycled materials, food products, and art materials to create fun and interesting projects to go along with many different focuses such as children’s books, master artists, seasonal activities, and geography.
In addition to the above qualifications I have experience in the following:
Working with and developing programs for children ages 2-13;
Communicating with children as well as adults;
Interacting with children in a museum environment, and helping children learn while playing; and
Working with large groups of children.
As I am approaching graduation and am highly interested in working with children in a museum environment as a career, I feel this intership would be very helpful to me and my future endeavors. I would be very excited at the prospect of being able to intern in the education department of the Dixon Gallery and Gardens. I have incuded my resume for your consideration. Please feel free to contact me with any questions. I look forward to hearing from you soon!
Thank you,
Lena Kirk
Helen Phillips Interview
Helen Phillips is currently represented by the L.Ross Gallery
Helen Phillips,
Thank you so much for letting me have this opportunity to interview you. Here are a couple of questions that I have for you. Please respond to the best of your abilities. They can be short or long answers anything will be extremely helpful. Once again thank you so much for helping me.
Sincerely,
Lena Kirk
1. When were you born and where were you raised? Does this have any influence on the art that you make today?
2. What was your first career ambition? Were you always interested in the arts?
3. Where were you educated? BFA, MFA, etc.
4. What did you do right after you graduated college?
5. When did you decide that art was the right career field for you?
As a fellow ceramicist what inspires your work, and how does that play into your building methods?
Do you keep a sketchbook?
How often are you making art? Is it your full time job?
Do you use your art to make a living?
Have you participated in any residencies? If so which ones, and why did they appeal to you.
Do you have any advice for a soon to be BFA graduate?
Dear Lena:
I would like to answer your question in a conversational manner. I hope this works for you. If you need and further information; or if I missed something please contact me again.
I was born in Cincinnati, Ohio in 1938. When I was eight months old we moved to Evansville, Indiana and when I was three we moved to Union City, Tennessee. A year or so later we moved out to a farm (my father had a livestock business) for a few years. I loved being outside. I loved having two dogs, numerous cats, a pet goat, pet pig and pet chickens ( the only reason she would be my pet is that she was blind). When I was in the third grade we moved back in town but I continued to spend much time outside and lots of time riding my bike out into the countryside. Nature has a great impact on me and my work. Much of my inspiration comes from the beauty I see around me here in the countryside. Whenever I visualize myself as a child its always in the outdoors. The aspect of clay work I most love is just the physical act of working with "dirt." The colors and textures of rocks, leaves, bark are something I strive to incorporate in my clay surfaces. Whenever I can, I work outside and my studio opens up to the outside so I can easily fire my raku pieces.
I was always interested in arts. My father's sister was an artist. My older sister spent time with me, painting and making things. I was encouraged to draw and received a lot of attention because of my work. I used to laugh and say that I had a hard time forgiving my parents for not living in Memphis so I could attend Saturday School at the Art Academy. Years later cleaning out a closet at my parents I found a Weekly Reader questionnaire I had answered saying I wanted to be an art teacher when I grew up. I was in the second grade when I wrote that! When I was in the 9th. grade I gathered together some little girls in the neighborhood and taught them "art".
I majored in art at Memphis State, enrolling in 1956. I had expected to be a painter but when I had an art education course and was exposed to ceramics I immediately decided that was my choice. There was only one ceramics class at Memphis State and it was in the Industrial Education Department. I loved it. There was a really awkward old treadle potter's wheel there. I spent hours at it trying to center and pull up the clay. The teachers encouraged me but didn't know how to help me very much.
I married in my junior year, became pregnant and returned to college to do my practice teaching right after our daughter was born. By chance I got a job teaching art at Trezevant High School before I finished my degree. I took a few courses at the Art Academy after I finished my teaching credentials and graduated from Memphis State in 1961. I especially loved the ceramics course I took with Thorne Edwards right before he left the Academy. We were also leaving Memphis because my husband had a job teaching in the overseas Dept. of Defense Schools in Okinawa. Thorne advised me to find an Okinawan potter to work with. I took his advice and had a wonderful experience there, meeting and working with Shoji Hamada twice when he came to spend the winters with the potter I was working with, Eisabro Arakaki. The second year we were there I taught art at Kubasaki High School the Dept. of Defense school on the island.
We were transfered to Germany. I found it difficult to do much with my clay work there but I was exposed to European ceramics both historical and contemporary. After a year there my husband and I were both ready to go back to the Orient and enrolled in graduate school at the University of Hawaii. After a year there we left to go to Santa Barbara where I had experience in a co-operative pottery producing pottery and selling it (or trying to).
Teaching jobs took us to Birmingham, Alabama. Again I was able to produce and sell my work but my main livelihood was from teaching. After four years there we went to the University of Florida graduate school where I had a teaching assistantship and received my MFA in ceramics in 1975. I took a job teaching ceramics at the University of Central Arkansas the next year and taught there until I retired in 2001. In the summer of 1992 I went off to work in clay in West Africa or the Ivory Coast whose wild dark art fascinated me. I now live in North Arkansas in a wonderful old school complex which we converter into living, studio, office and shop space.
I do keep a sketch book and always have. You can imagine how much I enjoy looking back at the Okinawa books. By the way, in the summer of 1980, I returned to Okinawa, financed by a grant from UCA to work with my potter there and it was wonderful experience. As you can tell from my narrative I have not participated in any residences but know many people who have and who feel they have been valuable for them. The chance to see "how others do it" is very important . I've been able to do that in my own way. If I had not had those unique opportunities I would have been very interested in residences or internships that were available.
Back to sketch books: sketches capture the day and night images I experience. When I have the time, space and energy to do my work, I can look in my sketch book and find just what I want to do. Sometimes I can look at sketches from years past and respond with just as much excitement as if I had that image pop into my head the day before yesterday or just a minute ago.
Daydream images like those of the night flit in and out of consciousness and have to be captured so they can become reality. If I can look at a sketch I can help a student with the problems connected with making that form. This way I, as the teacher, avoid imposing my own personal aesthetic on the work. I insisted on students having sketch books and have been thanked by former students for getting them started on the habit of keeping a sketch book.
I am a compulsive "maker." In all my moving around I always had a place for my art making. Most of them far from ideal - a table in the kitchen, on the back porch, garage or basement and in sunny southern California, outside, except in February. Today, I have the dream studio and feel very lucky.
Today, at 73, I try to find time every day for some kind of work, even if it's day dreams about what I want to do next. Since my teaching was always art I feel that art has been my full time job. I have had to slow down a little in the last year due to surgery but today I was able to raku three pieces. I was happy to find my strength back and my ambition to "make" as strong as ever.
Advice -- be open to adventure. People who work in clay often enjoy working together. If you find that idea attractive try co-operative studios, kilns, or galleries. Collective energy can accomplish a lot. I am fairly introverted but have been involved in all of the co-operative ventures and feel I have profited from them.
Don't be discouraged if you don't just immediately "find your artist self" after graduation. There is usually a certain amount of "treading water" while your body and imagination finds your direction. Follow your intuition as well as your bliss. Try not to get discouraged. Remember - life is long, creativity will keep you young, at least for a long while. Good luck..
Helen Phillips,
Thank you so much for letting me have this opportunity to interview you. Here are a couple of questions that I have for you. Please respond to the best of your abilities. They can be short or long answers anything will be extremely helpful. Once again thank you so much for helping me.
Sincerely,
Lena Kirk
1. When were you born and where were you raised? Does this have any influence on the art that you make today?
2. What was your first career ambition? Were you always interested in the arts?
3. Where were you educated? BFA, MFA, etc.
4. What did you do right after you graduated college?
5. When did you decide that art was the right career field for you?
As a fellow ceramicist what inspires your work, and how does that play into your building methods?
Do you keep a sketchbook?
How often are you making art? Is it your full time job?
Do you use your art to make a living?
Have you participated in any residencies? If so which ones, and why did they appeal to you.
Do you have any advice for a soon to be BFA graduate?
Dear Lena:
I would like to answer your question in a conversational manner. I hope this works for you. If you need and further information; or if I missed something please contact me again.
I was born in Cincinnati, Ohio in 1938. When I was eight months old we moved to Evansville, Indiana and when I was three we moved to Union City, Tennessee. A year or so later we moved out to a farm (my father had a livestock business) for a few years. I loved being outside. I loved having two dogs, numerous cats, a pet goat, pet pig and pet chickens ( the only reason she would be my pet is that she was blind). When I was in the third grade we moved back in town but I continued to spend much time outside and lots of time riding my bike out into the countryside. Nature has a great impact on me and my work. Much of my inspiration comes from the beauty I see around me here in the countryside. Whenever I visualize myself as a child its always in the outdoors. The aspect of clay work I most love is just the physical act of working with "dirt." The colors and textures of rocks, leaves, bark are something I strive to incorporate in my clay surfaces. Whenever I can, I work outside and my studio opens up to the outside so I can easily fire my raku pieces.
I was always interested in arts. My father's sister was an artist. My older sister spent time with me, painting and making things. I was encouraged to draw and received a lot of attention because of my work. I used to laugh and say that I had a hard time forgiving my parents for not living in Memphis so I could attend Saturday School at the Art Academy. Years later cleaning out a closet at my parents I found a Weekly Reader questionnaire I had answered saying I wanted to be an art teacher when I grew up. I was in the second grade when I wrote that! When I was in the 9th. grade I gathered together some little girls in the neighborhood and taught them "art".
I majored in art at Memphis State, enrolling in 1956. I had expected to be a painter but when I had an art education course and was exposed to ceramics I immediately decided that was my choice. There was only one ceramics class at Memphis State and it was in the Industrial Education Department. I loved it. There was a really awkward old treadle potter's wheel there. I spent hours at it trying to center and pull up the clay. The teachers encouraged me but didn't know how to help me very much.
I married in my junior year, became pregnant and returned to college to do my practice teaching right after our daughter was born. By chance I got a job teaching art at Trezevant High School before I finished my degree. I took a few courses at the Art Academy after I finished my teaching credentials and graduated from Memphis State in 1961. I especially loved the ceramics course I took with Thorne Edwards right before he left the Academy. We were also leaving Memphis because my husband had a job teaching in the overseas Dept. of Defense Schools in Okinawa. Thorne advised me to find an Okinawan potter to work with. I took his advice and had a wonderful experience there, meeting and working with Shoji Hamada twice when he came to spend the winters with the potter I was working with, Eisabro Arakaki. The second year we were there I taught art at Kubasaki High School the Dept. of Defense school on the island.
We were transfered to Germany. I found it difficult to do much with my clay work there but I was exposed to European ceramics both historical and contemporary. After a year there my husband and I were both ready to go back to the Orient and enrolled in graduate school at the University of Hawaii. After a year there we left to go to Santa Barbara where I had experience in a co-operative pottery producing pottery and selling it (or trying to).
Teaching jobs took us to Birmingham, Alabama. Again I was able to produce and sell my work but my main livelihood was from teaching. After four years there we went to the University of Florida graduate school where I had a teaching assistantship and received my MFA in ceramics in 1975. I took a job teaching ceramics at the University of Central Arkansas the next year and taught there until I retired in 2001. In the summer of 1992 I went off to work in clay in West Africa or the Ivory Coast whose wild dark art fascinated me. I now live in North Arkansas in a wonderful old school complex which we converter into living, studio, office and shop space.
I do keep a sketch book and always have. You can imagine how much I enjoy looking back at the Okinawa books. By the way, in the summer of 1980, I returned to Okinawa, financed by a grant from UCA to work with my potter there and it was wonderful experience. As you can tell from my narrative I have not participated in any residences but know many people who have and who feel they have been valuable for them. The chance to see "how others do it" is very important . I've been able to do that in my own way. If I had not had those unique opportunities I would have been very interested in residences or internships that were available.
Back to sketch books: sketches capture the day and night images I experience. When I have the time, space and energy to do my work, I can look in my sketch book and find just what I want to do. Sometimes I can look at sketches from years past and respond with just as much excitement as if I had that image pop into my head the day before yesterday or just a minute ago.
Daydream images like those of the night flit in and out of consciousness and have to be captured so they can become reality. If I can look at a sketch I can help a student with the problems connected with making that form. This way I, as the teacher, avoid imposing my own personal aesthetic on the work. I insisted on students having sketch books and have been thanked by former students for getting them started on the habit of keeping a sketch book.
I am a compulsive "maker." In all my moving around I always had a place for my art making. Most of them far from ideal - a table in the kitchen, on the back porch, garage or basement and in sunny southern California, outside, except in February. Today, I have the dream studio and feel very lucky.
Today, at 73, I try to find time every day for some kind of work, even if it's day dreams about what I want to do next. Since my teaching was always art I feel that art has been my full time job. I have had to slow down a little in the last year due to surgery but today I was able to raku three pieces. I was happy to find my strength back and my ambition to "make" as strong as ever.
Advice -- be open to adventure. People who work in clay often enjoy working together. If you find that idea attractive try co-operative studios, kilns, or galleries. Collective energy can accomplish a lot. I am fairly introverted but have been involved in all of the co-operative ventures and feel I have profited from them.
Don't be discouraged if you don't just immediately "find your artist self" after graduation. There is usually a certain amount of "treading water" while your body and imagination finds your direction. Follow your intuition as well as your bliss. Try not to get discouraged. Remember - life is long, creativity will keep you young, at least for a long while. Good luck..
Wednesday, October 26, 2011
Hope they dont think I am stupid
Completely just spelled Interest wrong in the title of an email to the person a want to Interview. Lame.
Grad School Cover Letter Example.
Dear Graduate Coordinator (get the name so you can make the letter more direct),
I am very interested in pursuing a masters degree at the University of UNIVERSITY NAME in Cardiac Rehabilitation (or the area you are interested in). From my review of graduate programs, and discussion with other professionals, it is very evident that the University of UNIVERSITY NAME Exercise Science Program has an excellent Cardiac Rehabilitation program.
I am completing a very comprehensive Undergraduate Program in Exercise Science at the University of New Mexico. As you can see by my resume, this program has prepared me well for the graduate education challenges I now wish to pursue. I hope that the skills and knowledge I obtain from this graduate degree will give me the opportunity to seek a challenging opportunity within a dynamic rehabilitation setting.
I have enclosed all materials required for acceptance into the masters program. Thank you very much for your consideration of my application.
Very truly yours,
Your Name
Gallery Cover Letter Sample
Jo Q. Public
211 Main Street
Springfield, WY 12345
June 1, 2002
Mr. Ishmael Ahab, Director
Big Fish Gallery
Provincetown, MA 54321
Dear Mr. Ahab,
During my recent trip to Cape Cod I had the opportunity to visit your gallery. The exhibit
entitled “Abstract No More” was a wonderful example of the resurgence in representational
painting in the northeast. I understand the artists in that exhibit are indicative of the kind of work
your gallery usually displays, which leads me to believe you will be interested in my recent
work.
Enclosed you will find a current resume, slides of some of my recent paintings, a statement about
the work, and a review from my solo exhibit at the Tarrytown Gallery. I would be happy to send
you more slides, or bring examples of my work to the gallery in person.
Thank you in advance for considering my work. I will contact your for follow up by the end of
the month.
Sincerely
Jo Q. Public
Enclosures:
Resume
Slides
Statement
Review
SASE
211 Main Street
Springfield, WY 12345
June 1, 2002
Mr. Ishmael Ahab, Director
Big Fish Gallery
Provincetown, MA 54321
Dear Mr. Ahab,
During my recent trip to Cape Cod I had the opportunity to visit your gallery. The exhibit
entitled “Abstract No More” was a wonderful example of the resurgence in representational
painting in the northeast. I understand the artists in that exhibit are indicative of the kind of work
your gallery usually displays, which leads me to believe you will be interested in my recent
work.
Enclosed you will find a current resume, slides of some of my recent paintings, a statement about
the work, and a review from my solo exhibit at the Tarrytown Gallery. I would be happy to send
you more slides, or bring examples of my work to the gallery in person.
Thank you in advance for considering my work. I will contact your for follow up by the end of
the month.
Sincerely
Jo Q. Public
Enclosures:
Resume
Slides
Statement
Review
SASE
Cover Letter Tips
I found this website super useful! http://www.resumecoverletters.org/howtowrite.asp
One website had a nice example of the good, the bad, and the ugly cover letters.
.....and on a funny cover letter side note Cover Letters From HELL!
One website had a nice example of the good, the bad, and the ugly cover letters.
The Good
Rosalind Franklin Mrs Matty Jenkyns Dear Mrs Jenkyns
| |
I am looking for a placement within a hospital environment from June to September of this year. I am writing to you as I understand that Manchester General Hospital may have appropriate vacancies available. I have a strong interest in laboratory procedures and clinical diagnostics which I understand are predominantly carried out at this hospital. As I live only 5 miles from your site, travel and accommodation would not be a problem for me.
| |
I first became interested in the hospital environment after a school visit to your site. I was taken on a tour around the laboratories where the differing techniques used in testing clinical samples for patients were demonstrated. Since then, discussion with my careers adviser has confirmed my decision to aim for a career in this field.
| |
Through my degree course, I have been able to develop my interest in biochemistry, whilst improving my laboratory skills along with my numeracy skills. I have gained some experience in HPLC and have good computing skills, having used several scientific databases. I achieved 68% in my first year examinations and am hoping to achieve a high 2:1 for my course work this year. While at University, I have also been able to utilise my skills in working with people through a variety of vacation jobs. My work at a busy insurance office was valuable in teaching me the importance of ascertaining customers’ needs and providing clear and accurate information.
| |
I would be most grateful if you could consider me for any suitable positions. I will be available for interview at any time and am at my home address in Cranford from late May onwards. At all other times I can be contacted at my college address. Please find enclosed my CV where you will find further information. Yours sincerely
|
The Bad
Dear Sir or Madman
|
I am about to complete my English and American Literature degree at the University of Kent, with a prospective result of a 2:1. As a literature student, I have a strong love of books of all types and see work in a bookshop as a career area which would be a good starting point for a career in publishing which is my eventual career aim.
|
I have good experience of retail, having worked as a shelf stacker for Sainsburies. I have studied modules in Shakespeare, War Poets, Dickens and Creative Writing all of which I feel give me valuable knowledge. My interests include reading, playing computer games and stamp collecting and I am currently reading Robbie Williams' thought-provoking autobiography.
|
I am writing speculatively in the hope that you may consider me for any full-time vacancies that may arise in your store. I'm interested especially in the retail side of a bookstore: interacting with customers and seeing where the modern tastes for literature lay.
|
I would be available to work from the beginning of June of this year. I have previous retail experience and believe that this, combined with my knowledge of and interest in books could be rewarding both to your store and to myself. Yours faithfully
|
..... And the downright ugly!
Deer Sir or Madam
I have wanted to join .................. (space for him to insert the company name) ........ to work as a ........
(another space for him to insert the job title) ........ from an early age as you are a big prestigious employer
that lots of people want to work for and you offer high salaries. I also would like to work in another
country and you are a global company.
Hoping to hear from you shorty.
Regards,
Frank
.....and on a funny cover letter side note Cover Letters From HELL!
Q and A with Hamlett Dobbins.
After Hamlett Dobbins spoke with my professional practices class I was very interested in his home life, seeing as he lives in is gallery space with his children. These are the questions that I posed for him, and that he was awesome enough to answer!
Questions:
1.How do your kids interact with the space?
2.How do they feel when you have openings, are they invited?
3.Are they interested in the arts, even at such a young age?
4.Would you want your children to become artists if they show the interest in the subject? Why, Why not
Here are his Answers:
1. my kids interact with Material all the time, it's where we store our bikes, it's where they build their forts, if they have big projects they need to work on (how to build a monster out of spare pieces of pink insulative foam) they do it there in the gallery. From a very early age they know not to mess with the art or the walls of the gallery. It's just another room in our house. A room where other people show their art to other people. They walk through the space all the time to get from our living space to my studio.
2. they like the openings particularly if the artists are serving cookies for the refreshments. They sneak downstairs and grab one or two during the festivities. They usually just like to chill out upstairs during the openings, they know that when I'm down there I'm at work, making sure no homeless people or meth-heads come in and mess with anything, or if someone spills some wine I wipe it up before anyone slips and falls. I am also there to make sure the guests know who the artist is. Sometimes if a bunch of their friends are there at the opening, they'll come down and hang out. But usually they prefer to be in their part of the house. We do shut the openings down promptly at 8:15 so they can have some quiet as they go to sleep upstairs (their rooms are directly above the gallery.)
3. They are interested in looking at art and thinking about it. My son is very physical, he likes to build stuff and my little girl likes to read and is more cerebral. They both like to draw and they have sketchbooks scattered around the house. Usually drawing is the way we pass the time when we're at restaurants waiting on our food. When I was a kid my parents had friends who were potters (my godfather is a potter). And it was important for me to be around all those people. My sister is a poet and I guess the same goes for her.
4. I want them to do whatever makes them happy. They understand that the life of someone in the arts isn't always easy and it's always a challenge but I'm never bored and I always have something to do that I don't know how to do. I'm always figuring something out. I hope they see that. My wife and I always joke that the way they'll rebel against us is that they'll both be corporate lawyers.
Also here is a plug for the show at Rhodes this Friday!!
You should come to see the show at rhodes that opens on friday, it's a great painting show. really great stuff (www.caratomlinson.com).
Questions:
1.How do your kids interact with the space?
2.How do they feel when you have openings, are they invited?
3.Are they interested in the arts, even at such a young age?
4.Would you want your children to become artists if they show the interest in the subject? Why, Why not
Here are his Answers:
1. my kids interact with Material all the time, it's where we store our bikes, it's where they build their forts, if they have big projects they need to work on (how to build a monster out of spare pieces of pink insulative foam) they do it there in the gallery. From a very early age they know not to mess with the art or the walls of the gallery. It's just another room in our house. A room where other people show their art to other people. They walk through the space all the time to get from our living space to my studio.
2. they like the openings particularly if the artists are serving cookies for the refreshments. They sneak downstairs and grab one or two during the festivities. They usually just like to chill out upstairs during the openings, they know that when I'm down there I'm at work, making sure no homeless people or meth-heads come in and mess with anything, or if someone spills some wine I wipe it up before anyone slips and falls. I am also there to make sure the guests know who the artist is. Sometimes if a bunch of their friends are there at the opening, they'll come down and hang out. But usually they prefer to be in their part of the house. We do shut the openings down promptly at 8:15 so they can have some quiet as they go to sleep upstairs (their rooms are directly above the gallery.)
3. They are interested in looking at art and thinking about it. My son is very physical, he likes to build stuff and my little girl likes to read and is more cerebral. They both like to draw and they have sketchbooks scattered around the house. Usually drawing is the way we pass the time when we're at restaurants waiting on our food. When I was a kid my parents had friends who were potters (my godfather is a potter). And it was important for me to be around all those people. My sister is a poet and I guess the same goes for her.
4. I want them to do whatever makes them happy. They understand that the life of someone in the arts isn't always easy and it's always a challenge but I'm never bored and I always have something to do that I don't know how to do. I'm always figuring something out. I hope they see that. My wife and I always joke that the way they'll rebel against us is that they'll both be corporate lawyers.
Also here is a plug for the show at Rhodes this Friday!!
You should come to see the show at rhodes that opens on friday, it's a great painting show. really great stuff (www.caratomlinson.com).
Monday, October 24, 2011
Thursday, October 20, 2011
Mira Schor
On Failure and Anonymity was a slur of babble about why being an artist today isn't a source of wealth but a fleeting practice that will leave you broken and soulless. Reading this article made me just think this person didn't get the whole story. When I graduate with my BFA I have no intention of being a “professional wealthy artist” and I think the people who think that they will make enough money off their art for a living are extremely mistaken, and haven't really made much considerations for what the real world has in store. This first article just seemed uninformed and a way to break down someone who would be thinking of attending an art school. For the students who are on the path to just selling their art as a living I do think there could be more done in the schools programs to teach them basic life skills such as taxes, applying for grants, pricing of the work and so forth and so on, but I have never been mislead in any of my time in art school to think that being an artist alone and working on your art in your studio would ever be a source of wealth or fame.
Authority and Learning starts off with her proclaiming that she is not just a woman artist, but a feminist artist, and it all goes down hill from there. Claiming that all teaching is sexually charged, and that all the male teachers sleep with the female students, because the students are power hungry and look to their male professors to feed them with sex for good grades and good crits. I think this woman is in some fantasy land. I think most of her experience comes from her art education in the 1970’s and really isn't very relevant now.
Authority and Learning starts off with her proclaiming that she is not just a woman artist, but a feminist artist, and it all goes down hill from there. Claiming that all teaching is sexually charged, and that all the male teachers sleep with the female students, because the students are power hungry and look to their male professors to feed them with sex for good grades and good crits. I think this woman is in some fantasy land. I think most of her experience comes from her art education in the 1970’s and really isn't very relevant now.
Tracy Lauritzen Wright
This past week we had Tracy Lauritzen Wright come and speak with our class about her work with the National Civil Rights Museum. She is currently is Director of Administration & Special Projects at the Civil Rights Museum. She has a Masters of Museum Studies which has helped her attain the job that she has, as well as museum cataloging experience. She says that she was lucky she was able to find the job and get the job, but really she had all of her ducks in a row to get this job so it wasn't just luck. If she had not have found this job she definitely had the skills to find a very similar job elsewhere. It was important to me to see someone whose job wasn't really a complete windfall and that she actually worked very hard for what she wanted in a career.
It was also helpful to learn about museum work as an option for a Bachelor of Fine Arts graduate. As a former employee of the Children's Museum of Memphis I have always been aware of Museum work as an option. It is actually something that I could picture myself having a career in. Museums are great no matter what kind they are, beause there are so many options for employment in different areas and there are always opportunities to keep learning.
So again it was nice to get a view of someone who is not an artist, but is working in a very art related field. It kind of shows me that when I graduate I do not necessarily have to go with making art as a career option. My possibilities are unlimited.
It was also helpful to learn about museum work as an option for a Bachelor of Fine Arts graduate. As a former employee of the Children's Museum of Memphis I have always been aware of Museum work as an option. It is actually something that I could picture myself having a career in. Museums are great no matter what kind they are, beause there are so many options for employment in different areas and there are always opportunities to keep learning.
So again it was nice to get a view of someone who is not an artist, but is working in a very art related field. It kind of shows me that when I graduate I do not necessarily have to go with making art as a career option. My possibilities are unlimited.
Tuesday, October 11, 2011
How the hell do you write a gallery cover letter!?....help
In other news here are some works in progress and complete print!
This will be filled with cake:
This is fired and I am currently making intestines from pantyhose to wrap this sucker with.
How the hell do you write a gallery cover letter?
Finished 5 color reduction lino relief:
Beginning of a 2 cut reduction lino relief.
Gallery Visit
This week for my professional practices class I went to David Lusk Gallery to see Anne Siems and Wayne Edge’s work. When I first walked up there was a wonderful sculpture outside the front door of a split tree that was varnished and shiny with a tree like branching sculpture coming out of the top. On these little branches were mother of pearl on the inside of opened shells like blooms. These sculpture works were Wayne Edges. I was excited to see the rest of these sculptures as I walked in. They were all really nice works and utilized lots of recycled pieces of broken glass, ceramic, and rock. The main form of the sculptures were made from bent pieces of wood. Some stained different colors of wood tones and other painted bright green or blue. The pieces were very cohesive and my eye flowed all around the art. They were very pleasing in my eyes.
On the other hand and in the other half of the gallery were a series of creepy weird doll like paintings. These were Anne Siems works. I just was kind of baffled. These are the kind of painting I see in galleries and I am like, “Hey, I could do that!” Not that I would want to make creepy doll weirdness paintings, but if I wanted to. I think these paintings were acrylic. When I looked close the detail work on the paintings were so so and a little sloppy. The cartoonish aspects of these paintings didn't appeal to me. They had a weird 1800’s Victorian meets Haunted Mansion way about them. Everything about these were weird. Weird, weird, weird. This was some creepy work.
On the other hand and in the other half of the gallery were a series of creepy weird doll like paintings. These were Anne Siems works. I just was kind of baffled. These are the kind of painting I see in galleries and I am like, “Hey, I could do that!” Not that I would want to make creepy doll weirdness paintings, but if I wanted to. I think these paintings were acrylic. When I looked close the detail work on the paintings were so so and a little sloppy. The cartoonish aspects of these paintings didn't appeal to me. They had a weird 1800’s Victorian meets Haunted Mansion way about them. Everything about these were weird. Weird, weird, weird. This was some creepy work.
Monday, October 10, 2011
Whitney Ranson Visit
This past week in my Professional Practices class we had Whitney Ranson come and speak with us on behalf of the Urban Arts Commission. She took us through the process of applying of an open call for urban art and the process that is required for it to be actualized. The information was very interesting. In her presentation she showed images of a mural that was created for a community center in Frayser. She explained how three finalists are chosen, then one winner is picked from the three after they have presented their drawings and ideas to a board. After the winner is selected they have more drawings due and discussions about materials and a timeline is put together. She was clear that these projects do not happen over night and can take anywhere from seven months to two years for some projects to be completed. It all depends of what type of project and what scale the project is. Every project is started out with a budget, I found it interesting that the artist can keep up to twenty percent. If you got a good amount of these calls it could be a great option for a boost of income and publicity of your art. She also spoke about signing up for their artists registry on the Urban Arts website. To enter any of the calls you have to have one of these profiles. Urban Arts lists local only and national calls.
Whitney Ranson is someone who I think we can all strive to be. She ended up making a career from her internship, and that is a common goal that I think some of us share. It was also nice to hear from someone who was closer to our age and is not busing tables or working at Whole Foods. It would still be nice to find someone who is able to practice their art directly from college and what they did to be able to realize that.
http://www.urbanartcommission.org/
Tuesday, October 4, 2011
Monthly Budget
Rent-$400
Studio rent-$0 - In house studio
Electricity-$75-100
Cable- netflix $10
Internet- $25
Car payments? Nope
Gas money-$100
Food-$250
Entertainment - drinks, movies, music, going out etc...$75
Clothes-$80
Art supplies (begin saving all receipts) on average $100
Do you have pets? Nope
$1140 per month
Full time $8 an hour will bring in $1280
Full time $10 an hour will bring in $1600 per month
Will most likely try to find a salary job that will bring in 25k per year after graduation
$25k will bring in $2083 per month.
Studio rent-$0 - In house studio
Electricity-$75-100
Cable- netflix $10
Internet- $25
Car payments? Nope
Gas money-$100
Food-$250
Entertainment - drinks, movies, music, going out etc...$75
Clothes-$80
Art supplies (begin saving all receipts) on average $100
Do you have pets? Nope
$1140 per month
Full time $8 an hour will bring in $1280
Full time $10 an hour will bring in $1600 per month
Will most likely try to find a salary job that will bring in 25k per year after graduation
$25k will bring in $2083 per month.
Monday, October 3, 2011
Bad Websites
Color is distracting Video is placed weird - http://www.tiptoland.com/index.html
Images with Copyright are distracting - http://jeffwalthall.artspan.com/home
Same server as above, but even worse placement of images - http://www.susannettelbeck.com/
Yikes - http://www.lennystudio.com/
Pat san sucks - http://www.patsansoucie.com/
Images with Copyright are distracting - http://jeffwalthall.artspan.com/home
Same server as above, but even worse placement of images - http://www.susannettelbeck.com/
Yikes - http://www.lennystudio.com/
Pat san sucks - http://www.patsansoucie.com/
Good Websites
Side set up - http://www.andydenzler.com/html/paintings/104.html
Very plain, but set up well - http://www.kenkagami.com/works/sculpture_toysass32.html
A little more than plain, but still pretty straight forward- http://www.kateclark.com/index.html
Top click button scroll very clean - http://billdurgin.com/
clean clean clean very nonchalant - http://erinmriley.com/home.html
Very plain, but set up well - http://www.kenkagami.com/works/sculpture_toysass32.html
A little more than plain, but still pretty straight forward- http://www.kateclark.com/index.html
Top click button scroll very clean - http://billdurgin.com/
clean clean clean very nonchalant - http://erinmriley.com/home.html
Don Estes Visit
Don Estes
This week in my professional practices class we went on a studio visit with Don Estes. We arrived in downtown memphis on South Main and walked up to the side of a four story building. It had a commercial entrance and a man met us at the door to let us in. We rode the elevator up to the third floor by accident. (Although I really think the artist Don Estes just wanted to show us his super sweet digs). After seeing said super sweet digs we walked downstairs to his second floor studio. My jaw dropped. It was my dream studio, and I think a lot of people in the class felt the same. It was the kind of space you only can dream of. Big wooden beams, old creaky wooden floors, windows that span almost from floor to ceiling, and a beautiful downtown view. This must be the life! His paintings were almost as wonderful as his space. They were “abstract landscapes” They really spoke to me, as much as paintings can speak. I am still in awe over the work and the space. I think I was pretty overwhelmed. I still managed to ask a couple questions so I do not have any questions I wished I would have asked. He built his surfaces in such a peculiar way that I had never seen before, but they were wonderful. They were cut at 45 degree angles instead of just using straight one by twos. He made a funny comment about them being hard to frame and thats why he does it. He didn't seem to have that much to say about his pieces except for the fact that he was looking for a change. He also told us to become waiters, which really wasn't that helpful. Although it has been considered. All in all it was an interesting visit that made me think, and I think that is the best part of these trips. It helps us think about what we want from our art careers.
Sunday, September 25, 2011
Exhibitions Applied
So far after fishing around for exhibits for a couple of hours I have only successfully entered this exhibition. I am having trouble getting to the end of submitting with other exhibitions and then them asking me for money, it is extremely frustrating!
http://www.young-artists-incubator.com/index.php
http://www.young-artists-incubator.com/index.php
Hamlett Dobbins Lecture
Hamlett Dobbins
This week in my Professional Practices class, Hamlett Dobbins of Rhodes College came and spoke with us. His lecture was extremely interesting and interactive. He knew where we were coming from being art students in Memphis. He was able to give us a grasp of what it was to be an abstract painter and run his own gallery in Memphis, as well as have the job to run the gallery and teach at Rhodes.
He made a powerpoint presentation and had plenty of images of his undergrad and graduate friends and studio spaces, it really gave a glimpse into what he was speaking about and who he was at that time. He spoke with us about his different residencies and how he used his time while in those spaces and places. He had wonderful imagery of his sketchbooks as well as his pieces. It was unique to hear and see someone who was so passionate about everything that they do.
I found his collaborated pieces that he made with other artists to be the most powerful. He was right that at this time in my life and art that I really haven't thought about collaborative pieces or even attempted to do one. The works were all very interesting and successful.
The class ended a little before we were able to ask many questions which was upsetting. He spoke a lot about his wife and children and would have liked to know more about that experience. Seeing as he lives in the same space that his gallery is in, how do the children respond to that? Are they already interested in art, does it freak them out to have weird artsy strangers in their home whenever there is a show? I got a little curious about that.
This week in my Professional Practices class, Hamlett Dobbins of Rhodes College came and spoke with us. His lecture was extremely interesting and interactive. He knew where we were coming from being art students in Memphis. He was able to give us a grasp of what it was to be an abstract painter and run his own gallery in Memphis, as well as have the job to run the gallery and teach at Rhodes.
He made a powerpoint presentation and had plenty of images of his undergrad and graduate friends and studio spaces, it really gave a glimpse into what he was speaking about and who he was at that time. He spoke with us about his different residencies and how he used his time while in those spaces and places. He had wonderful imagery of his sketchbooks as well as his pieces. It was unique to hear and see someone who was so passionate about everything that they do.
I found his collaborated pieces that he made with other artists to be the most powerful. He was right that at this time in my life and art that I really haven't thought about collaborative pieces or even attempted to do one. The works were all very interesting and successful.
The class ended a little before we were able to ask many questions which was upsetting. He spoke a lot about his wife and children and would have liked to know more about that experience. Seeing as he lives in the same space that his gallery is in, how do the children respond to that? Are they already interested in art, does it freak them out to have weird artsy strangers in their home whenever there is a show? I got a little curious about that.
Sunday, September 18, 2011
Artist Statement Revision
Artist Statement
When I work with clay and relief printmaking I am making work for myself to help confront the issues I have with my own body. I am working with the internal struggle that my body has placed on me after having my gallbladder removed. I am consistently sick from having this diseased part of me taken away, and I am extremely restricted in the foods that my body can handle and process. I am working with expressing these hidden internal pains and the strain that my GI tract has placed on me emotionally and physically. I am projecting these feelings on the outside of my body with use of bondage to express my internal struggle externally.
I begin a piece by sketching out what I want it to look like and what the meaning of the piece will be. I employ meticulous cutting to my relief images and use thick chunky slab building in my ceramics. Getting my hands aggressively into the piece I feel as though I am battling through my illness. I know a piece is done when I feel like it can stand alone and the viewer can feel the emotions I am putting forth. When people see my work it is important that they appreciate the technique as well feel its intimate and physical presence.
When I work with clay and relief printmaking I am making work for myself to help confront the issues I have with my own body. I am working with the internal struggle that my body has placed on me after having my gallbladder removed. I am consistently sick from having this diseased part of me taken away, and I am extremely restricted in the foods that my body can handle and process. I am working with expressing these hidden internal pains and the strain that my GI tract has placed on me emotionally and physically. I am projecting these feelings on the outside of my body with use of bondage to express my internal struggle externally.
I begin a piece by sketching out what I want it to look like and what the meaning of the piece will be. I employ meticulous cutting to my relief images and use thick chunky slab building in my ceramics. Getting my hands aggressively into the piece I feel as though I am battling through my illness. I know a piece is done when I feel like it can stand alone and the viewer can feel the emotions I am putting forth. When people see my work it is important that they appreciate the technique as well feel its intimate and physical presence.
10 Exhibitions
1. Printmaking Competition (mcaprint.blogspot.com)
Art at Wharepuke –Biennial International Print Show
The 2nd Art at Wharepuke international open submission print show will be held from 10th December 2011 to Jan 7th 2012. The first exhibition was held in 2009 and attracted artists from USA, NZ, Australia and Europe with the prize of a solo show being awarded jointly to Danielle Creenaune (Spain) and Carsten Borck (Germany). Entries for the 2nd show are now being sought.
All selected artists will receive a colour catalogue of the exhibition.
Entry Requirements: Works Up to 3 entries – any original printmaking technique (no photographs/giclée reproductions) Max paper size A4 (29.5 x 21 cm/11½ x 8¼ ins) - image may be any size within this
Hanging – Works will be float mounted using conservation tape and a frame spacer; works unsuitable for this type of hanging will be rejected. Please note that removal of the tape can sometimes cause slight marking to the back of the print.
Sales - Payments to artists will be made using Pay Pal
Copyright - Copyright of the works remains with each individual artist. If selected for the exhibition, the artist agrees to the reproduction of their work (at no fee) in a catalogue and for publicity, press, and web site. All received work will be handled with maximum care and is insured while on gallery premises. Work is submitted at the artist's own risk, they should make their own insurance arrangements and are responsible for the post, packing and all charges incurred.
Entry Fee This covers return postage and catalogue, admin and exhibition costs. NZ resident - NZ $50.00 - payable by Pay Pal, direct credit or cheque International – NZ $70.00 - payable by Pay Pal
Entry Fee
Note: International option in dropdown box
Prizes - Solo show in 2012 at time arranged to suit, gallery representation in NZ, fully optimised dedicated web page for one year. Representation may be offered to more than one artist.
Deadlines Initial entry is to be made by CD or email By Nov 1st 2011 send:
1. Up to 3 images on CD or by email – label images with Name and Title
2. Entry fee – non refundable
3. CV
4. Application form
Send to: Art at Wharepuke 190 Kerikeri Road Kerikeri 0230 Northland New Zealand Artists will be contacted by e-mail with results of selection panel New Zealand Accepted works will need to be sent to the gallery by December 5th 2011
2.Entry Form: Ink & Clay 38 (mcaprint.blogspot.com)
Jurors: Ink - Michelle Deziel
Clay - Carol Sauvion
Michelle Deziel is an Independent Contemporary Art Curator and Consultant. Deziel is currently organizing the first major West Coast retrospective of Los Angeles painter and printmaker Ynez Johnston at the Mingei Museum in San Diego (2011). She is also working as a consultant on the Norton Simon Museum of Art’s exhibition PROOF: The Rise of Printmaking in Southern California (2011) and co-authoring the catalogue for the Torrance Art Museum’s 2012 show Between the Knowing. Deziel was formerly a curator at the Norton Simon Museum, where for ten years she managed the museum’s collection of 20th century art and organized numerous exhibitions, including works on paper exhibits by Goya, Picasso, Diebenkorn and Ruscha. She holds a B.A. degree in Art History and French from Cal State University, Long Beach. She also studied at the Université de Paris, Sorbonne and the Université d’Aix-Marseilles in France.
When asked by what criteria she would judge the “Ink” submissions, Deziel responded: “When asked to jury exhibitions, my approach is to carefully and critically examine each submission before making a selection.
I am interested in works of art that have the power to engage aesthetically, conceptually and technically. Whether a drawing or a print, the artist’s technical mastery must be evident-quality always stands out-as does originality and innovation.”
Carol Sauvion is the Founder and Director of Freehand Gallery in Los Angeles, California, and is theExecutive Producer of the Peabody Award winning and Emmy nominated CRAFT IN AMERICA television series broadcast nationwide on PBS. She has served as curator and juror for numerous exhibitions, and has been a guest speaker at a multi- tude of museums and conference venues including the Smithsonian Institution and the Getty Institute. Sauvion holds a degree in Art History from Manhattanville College in New York, and has over ten years experience as a studio potter and instructor.
She is currently filming the second episode in CRAFT IN AMERICA’S third season. In describing the criteria by which she would determine her selections, Sauvion relates: I look forward to jury- ing the ceramics for the Ink and Clay 2012 exhibition at Kellogg University Art Gallery. I consider it a unique opportunity to become familiar with the work of artists from a large geographic area. Whether produced in quantity or as one-of-a-kind, the ideal handmade work reflects excellence and the unique vision of its maker.
It is well conceived and skillfully executed, with the concept and the technique in balance. Ultimately, the object is perceived as more than the sum of its techniques and materials. These are the qualities I look for when jurying.
Images
Please submit images on a CD that is formatted to be readable on a MAC computer. Please be sure to write your name on the disk. CDs of accepted works will be retained for documentation.
The following applies to EACH digital image: 1. File size should not exceed 2 MB 2. Resolution at 300 DPI 3. Save image file as JPEG (Do NOT use “Photo Library” files.)
4. Images should be named with the first initial and last name of the artist, and the number that corresponds to the number on the entry label. Example: JDoe#1. Detail images should be designated in the following manner: JDoe#1Adetail.
Submitting
Mail CD, entry form, and fee to: Kellogg Art Gallery, California State Polytechnic University 3801 W. Temple Ave. Pomona, CA 91768 A prospectus may be obtained at the gallery website: www.csupomona.edu/~kellogg_gallery Gallery phone number: 909-869-4302 The prospectus may be reproduced.
Accepted Works
Jurying will be completed approximately the week of January 13, 2012. Notification of Acceptance or Non-Acceptance will occur approximately two weeks after completion of jurying. NOTE: If you do not hear from us by January 31st, please call the gallery for a status report. In recent years, there have been instances of notification letters being ‘lost’ in the US Post. Accepted work may be hand delivered or shipped to the gallery. Please see “Dates” below for hand-delivery dates and shipping deadlines. If shipping work, please pack properly and ship in sturdy, reusable cartons via UPS, FedEX, or US Post Office. Please note that all shipping and return shipping must be paid for by the artist. Details for shipping and return shipping will
accompany acceptance letters.
Insurance and Liability
All accepted works will be insured for the duration of the exhibition. Although due care will be taken in handling of entries, neither the Kellogg Gallery nor Cal Poly Pomona accepts responsibility for damage of work submitted to the exhibition which is improperly framed
Mail and/or delivery address: W. KEITH AND JANET KELLOGG UNIVERSITY ART GALLERY CAL POLY POMONA 3801 WEST TEMPLE AVENUE, POMONA, CA 91768
PERMISSION FOR SPECIFIC REPRODUCTION OF IMAGE AND TEXT ON WEB SITE I hereby grant permission for my artist statement and exhibition images to be reproduced on the W. Keith and Janet Kellogg University Art Gallery Web page.
SIGNATURE __________________________________________ $30.00 entry fee for three entries. Type or print clearly
ARTIST_______________________________________________ ADDRESS_____________________________________________ ______________________________________________________ ZIP________________PHONE ____________________________ E-MAIL_______________________________________________
Artist__________________________________________ Title___________________________________________ Medium_________________________________________ Dimensions (image only): h _______w_______d_____ Selling price $______OR ins. value if not for sale $______ Eligible for purchase prize: yes _________ no _________
Artist__________________________________________ Title___________________________________________ Medium_________________________________________ Dimensions (image only): h _______w_______d_____ Selling price $______OR ins. value if not for sale $______ Eligible for purchase prize: yes _________ no _________
Artist__________________________________________ Title___________________________________________ Medium_________________________________________ Dimensions (image only): h _______w_______d_____ Selling price $______OR ins. value if not for sale $______ Eligible for purchase prize: yes _________ no _________
Entry One
Entry Two
or packaged.
Dates
Postmark deadline for entries: Shipped work arrival deadline: Hand delivery of accepted works:
Exhibition dates: Reception: Pick-up of hand delivered works:
Thurs, December 1, 2011 Thurs, February 23, 2012
Tues, February 21 to Sat, February 25, 2012 from Noon - 4:00 PM
Thurs, March 15 to Fri, April 27, 2012
Sat, March 24, 2012 from 5:00PM – 7:00PM
Sat, April 28 and May 5, 2012 from Noon- 4:00 PM
Entry Three
........................................................................................................................................................................................................................
INK AND CLAY 38 Exhibition Dates: Thursday, March 15 through Friday, April 27, 2012. Established in 1971, Ink & Clay is an annual competition of prints, drawings, ceramic ware and clay sculpture, sponsored by the W. Keith and Janet Kellogg University Art Gallery of California State Polytechnic University, Pomona. The primary underwriting is through the generosity of Col. Jim Jones. Ink & Clay is an exhibition open to all of the Western States including: AK, AZ, CA, CO, HI, ID, MT, ND, NM, NV, OK, OR, SD, TX, UT, WA, WY. A virtual catalog of the exhibition will be mounted on the gallery’s website. A PDF version of the catalog will be available for download. Each artist will receive a page featuring an image of their accepted work and an artist’s statement.
Media
INK: printmaking and drawing – traditional or experimental. (What constitutes a print or a drawing remains open.)
CLAY: Ceramic ware or clay sculpture. (Again, the question as to what is legitimate remains open.) Other materials may be combined with clay. Oversized and experimental works are encouraged in both media, however, please call to discuss exhibition possibilities, e.g. the laws of physics, before submitting your entry.
Awards
The Kellogg Art Gallery will provide $5000 for 10 cash awards. In addition, we are very pleased to offer a special purchase award this year, The James H. Jones Memorial Purchase Prize, generously sponsored by Mr. Bruce M. Jewett.
Sales
All work will be considered for sale unless otherwise indicated as NFS on the entry form. A 25% commission on all sales will be retained by the Kellogg University Art Gallery.
Fees
A $30 entry and handling fee will be charged. This entitles the artist to three entries. 3-D works may have one detail slide each. Please note that checks are deposited collectively after all entries have been processed. Please make check or money order payable to: Ink & Clay 38.
3.Broadsides exhibiton opportunity (mcaprint.blogspot.com)
Good Morning,
Atelier 6000 is located in Bend, Oregon. The studio workshop and gallery presents local and national artists working across multiple disciplines with an emphasis on contemporary book arts, works on paper, and printmaking.
We are presenting our second annual Broadsides exhibition in November. Will it be possible to share the following information in your newsletter/website?
Please feel free to forward this information to those you feel would be interested. We want to get the word out to as many organizations, artists and interested parties. Thanks!
Broadsides 2011
Suspended at the crossroads of art and literature, Atelier 6000 and Nature of Words present “Broadsides” artworks that include mixed media and two-dimensional works with emphasis on text and image.
A juried exhibition of text and imaged, mixed media and two-dimensional works, “Broadsides” is open to artists of all ages.
Exhibit: November 1 - 30, 2011
Entry Deadline: October 21, 2011
Entry Limitations: A maximum of three artworks may be submitted per artist. $20 entry fee
Submission Guidelines: Artists may submit 1-3 works for consideration. Original works must be created by hand. No digital reproductions will be accepted. Artwork must fit between the parameters of 8”x10” (smallest) to 26” x30” (largest). Framing is optional; however, all work should be suitable for hanging: i.e. shrink wrapped or mounted on matboard. No online works will be juried; work must arrive at Atelier 6000 by October 21, 2011.
*Prospectus online on our website www.atelier6000.org
Adell Shetterly
Tumalo Creek Consulting
541-330-0491
4.DELTA SMALL PRINTS COMPETITION (mcaprint.blogspot.com)
DNSPE 2012
Call For Entries Accepted Online Only
Deadline: October 2, 2011
Exhibition Dates: January 19 - February 17, 2012
Juror: Roberta Waddell, Curator of Prints Emerita,
The New York Public Library, New York, New York
Awards: Will be made at the discretion of the juror. Of the 56 prints
in the 2011 exhibition, 21 received awards and 15 were purchase prizes.
Entry Information: This year, in an attempt to be eco-friendly, our Call
For Entries will be available online only. We will not mail a form to you.
For guidelines and the application click on the following link:
https://www.formstack.com/forms/?1095341-BXfVyzN2AH
Contact Us: For questions or more information email us at dnspe@astate.edudnspe@astate.edu>
Or call us at 870 972 2567
5.(TheArtList.com) Juried Photography Exhibition: THE DARK SIDE NIGHT PHOTOGRAPHY
Submission Deadline: Wednesday, October 5, 2011
There is an entry fee of $25 for up to 5 images. Additional entries may be submitted for $5 each.
All accepted entries must submit a high res jpeg (300-360 dpi , minimum size 5x7") to be included in the printed SHOW CATALOG.
We offer free matting and framing for accepted photographs that fit our pre-cut mat sizes for the duration of the exhibition. Photo sizes are 8x10", 11x14" 16x20", or 20x24" . Photos can also be submitted any size on 11x14", 12x16",16x20" or 20x24" paper and be framed without a mat.
Selected artists may choose to offer their work for sale. The gallery retains 50% of the sale price, as well as 9.25% California sales tax. We offer free matting and framing for accepted photographs that fit our pre-cut mat sizes for the duration of the exhibition. We will also print your photo for a nominal fee if you are accepted into the show and would prefer not to mail a print.
https://fs17.formsite.com/1650gallery/form9/secure_index.html
6.(Theartlist.com)P R O J E K T 3 0 P R O S P E C T U S
Melancholy: At the Bottom of Everything...Forever
Deadline: December 2, 2011 Publicly Juried:December 4-16, 2011 Opens: December 18, 2011 Fee: $35 for up to 10 images, free for members. Apply now >>
Hippocrates theorized that all people fall into one of four basic "temperaments" or personality types: Melancholic, Sanguine, Choleric, and Phlegmatic. He assumed that each personality type was the result of an overabundance of a certain bodily fluid (black bile, blood, bile, and phlegm respectively), hence their designations. A Melancholic personality is characterized by creativity and sensitivity, though prone to depression. A Sanguine person is light hearted, spontaneous, and confident --though sometimes also day-dreamy and overindulgent. Cholerics are ambitions and charismatic, but often impulsive and easily angered. The Phlegmatic temperament is characterized by self-assured calm, though they can be unemotional and inhibit the enthusiasm of others.
While the notion that one's personality is shaped by an overabundance of phlegm or blood is now regarded as ridiculous, the 4 personality types Hippocrates identified have stayed with us. Though the types have changed and been refined, they are still part of the basis of modern personality modeling.
As products of the human mind, artworks often also can be attributed "personality" traits. An energetically painted landscape rendered in saturated color can be described as sanguine; a delicately lit black and white photograph of a contemplative figure can be said to be melancholy. An artwork's temperament does not necessarily reflect the temperament of the artist that produced it.
We are seeking artwork that possesses or infers the characteristics associated with the Melancholic temperament, or the emotional state of melancholy. Below you'll find more information on Melancholy and the Melancholic type, to get you started.
Melancholic, from Wikipedia, November 10, 2008 see http://en.wikipedia.org/wiki/Four_Temperaments
Melancholic is the personality of an individual characterized by black bile; a person who was a thoughtful ponderer had a melancholic disposition. Often very kind and considerate, melancholics can be highly creative - as in poetry and art - but also can become overly pre-occupied with the tragedy and cruelty in the world, thus becoming depressed. The temperament is associated with the season of fall/autumn (dry and cold) and the element earth. A melancholic is also often a perfectionist, being very particular about what they want and how they want it in some cases. This often results in being unsatisfied with one's own artistic or creative works and always pointing out to themselves what could and should be improved. This temperament describes the depressed phase of a bipolar disorder. There is no bodily fluid corresponding to black bile; the medulla of the adrenal glands, which decomposes very rapidly after death, can be associated with it.
Melancholy, from Answers.com, November 10, 2008 see http://www.answers.com/topic/melancholy
noun 1. Sadness or depression of the spirits; gloom: “There is melancholy in the wind and sorrow in the grass” (Charles Kuralt). 2. Pensive reflection or contemplation. adj. 1. Affected with or marked by depression of the spirits; sad. See synonyms at sad. 2. Tending to promote sadness or gloom: a letter with some melancholy news. 3. Pensive; thoughtful.
Quotes:
"Melancholy is at the bottom of everything, just as at the end of all rivers is the sea. Can it be otherwise in a world where nothing lasts, where all that we have loved or shall love must die? Is death, then, the secret of life? The gloom of an eternal mourning enwraps, more or less closely, every serious and thoughtful soul, as night enwraps the universe." - Henri Frederic Amiel
"Melancholy, indeed, should be diverted by every means but drinking." - Samuel Johnson
"Sweet bird, that shun the noise of folly, most musical, most melancholy!" - John Milton
https://secure.white-square.net/projekt30.com/specialwizardCommon?show_id=115
7.(artshow.com) 2012 NICHE Awards - Student
Overview
Sponsored by NICHE ["neesh"] magazine, the annual NICHE Student Awards competition recognizes the creative achievement of individual student artists and provides a new level of exposure to their work. The competition is open to any student craft artist residing in the U.S. or Canada and attending an undergraduate, graduate or certificate arts program.
Fees & Deadlines
Student Deadline $18.00 Friday, September 30, 2011 (3 items per submission)
Juror
The NICHE Student Awards jury is composed of the editors of NICHE and AmericanStyle magazines, and the Buyers Market of American Craft exhibit managers.
Each image entry is judged individually. The judges’ scores are not cumulative per application, but reflect their decisions per individual image entry. Images are judged on the following: • Technical excellence, both in surface design and form • A distinct quality of unique, original and creative thought Decisions of the judges will be final. Notifications will be sent in December 2011. Winners will be announced at the NICHE Awards ceremony during the February 2012 Philadelphia Buyers Market of American Craft.
Eligibility
The competition is open to any craft student residing in the U.S. or Canada and attending an undergraduate, graduate or certificate arts program.
Only one application per artist or artist team is allowed. Entries must be submitted by the student in the student's name, not in the name of a school. Applications received without payment of the entry fee will not be reviewed.
Submitted work must have been produced or introduced after August 31, 2010 to be eligible. Work previously submitted to the NICHE Student Awards may not be resubmitted.
Awards
Finalists receive: • Award certificate from NICHE magazine • Listing in the February 2012 Buyers Market of American Craft (BMAC) Buyers Guide • Press materials tailored to local and trade media • Listing on www.NICHEAwards.com • An opportunity to display their work in a special exhibit at the February 2012 BMAC in Philadelphia, Pa. [Drop off & pick up of items is required. Details on the special display will be provided in the finalist's packet.]
Winners receive: • Award certificate and trophy • Press materials tailored to local and trade media • Prominent listing in the Spring 2012 issue of NICHE magazine. • Listing on www.NICHEAwards.com
Accepted Works
NICHE magazine accepts only digital photos for the NICHE Student Awards. Images must be in JPEG format, 300 dpi and approximately 4 x 6 inches (1200 x 1800 pixels) in size.
Applicants may enter up to three images, but no more than two images per category. No additional images showing detail will be accepted for jurying. Each image must be a separate piece of work. You may not enter an individual piece in more than one category. Images submitted are understood to be the property of the artist with the right to use them for unlimited publication. When applicable, photography credits must be submitted with the entry in the "Comments" section. Also, if the entry is a collaborative piece, the second artist's name must be provided in the "Comments" section.
Digitally enhanced images and artist's renderings will not be accepted. Installation works will not be accepted in any category.
Miscellaneous
Suggestions for Entrants: • Apply for all protections necessary (e.g. copyright, patent or photographer’s release). • Submit high-quality images with a plain background. Evenly distribute lighting from at least three light sources so that no shadows are cast. Hire a professional photographer to photograph your work whenever possible. • Present fashions as worn by professional models. • Photograph jewelry alone, not worn by a model.
Arts Educator of the Year award: The Arts Educator of the Year award recognizes professors at arts education institutions who encourage their students to explore and participate in the larger craft community. Each year, NICHE magazine honors one of the instructors nominated by the applicants in the NICHE Student Awards. If you wish to nominate a professor for this honor, please include their name and a brief description as to why you are nominating them with your application.
Terms & Conditions
NICHE magazine reserves the right to cancel or merge categories that do not accrue an appropriate number of applications. NICHE assumes no responsibility for handling, loss, theft or damage to any entry.
8.(artshow.com) Richeson 75 International Art Competitions Small Works 2012
Entry Deadline: November 4, 2011 Jury Results E-mailed on or before: November 18, 2011 Finalists’ Exhibit Agreements due: November 28, 2011 Receive Finalist Artwork: Jan 23 - Jan 27, 2012 Exhibit Dates: Feb 6 - March 30, 2012 Finalist Artwork shipped: April 12 - April 16, 2012
Awards: Best In Show - $5,000 cash First Place in each category will receive a $1,000 certificate for art materials from Jack Richeson & Co., Inc. Second Place Award in each category will receive a $500 certificate for art materials from Jack Richeson & Co., Inc. The two categories for entry are:
1) Oils, Oil Pastels and Acrylic 2) Other Media (Soft Pastels, Drawing/Dry Media, Watercolor, Gouache, Casein, Printmaking, etc.).
Finalists will be selected and invited to participate in the exhibit at the Richeson Gallery in Kimberly, Wisconsin from Feb 6 - March 30, 2012. Only work actually exhibited in the Richeson 75: Small Works 2012 show will be eligible for an award. Awards will be presented at the Opening Reception. Finalists will be featured in the exhibition book and our on-line Virtual Gallery along with information on the artist including artist’s website URL whether they participate in the exhibit or not.
Awards Juror: To be announced. We strongly prefer awards be judged “live” from the gallery exhibit and anticipate that this will occur, however on occasion, circumstances do not allow for this and the awards may be selected from the digital images of Finalists’ artwork.
Image Preparation: Digital images only are accepted. The smallest side of the image should measure no less than 8” (2400 ppi) and no larger than 16”(4900 ppi) unless the actual size of the artwork is smaller than 8” on its longest side, in which case, the image should measure the actual size (at 300 dpi) . Name the files: Your last namefirst initial_titleofpainting (i.e. smithj_spotthedog). All lower case: Do not put spaces between words in the title. Save the files as a .jpg or .jpeg file at “maximum” quality Any images that do not meet these specifications will be disqualified and discarded without being considered by the jurors and the jury fee will be forfeited by the artist. Images should ONLY be of the artwork - do not include matting, frame, etc. in the image. These are the images that will be used if your art is selected for the exhibit book: Be sure they are good! No slides, photographs and/or printouts. Only .jpg,images conforming to these standards will be considered and must be submitted online per instructions posted on our website at http://www.richeson75.com/emailentry.html .
Entry method: Only online submissions are accepted: See full online entry instructions online at http://www.richeson75.com/emailentry.html. Mailed entries are no longer accepted.
ALL COMMUNICATION FOR THE RICHESON 75 ART COMPETITIONS IS VIA EMAIL. PLEASE ADD THE FOLLOWING ADDRESSES TO YOUR EMAIL CONTACTS TO INSURE YOU RECEIVE NOTIFICATIONS Richeson75@gmail.com(competition email)
artschool@richesonart.com(gallery email)
If you have not received notification of jury results on or before the date listed above, please emailricheson75@gmail.com.
RICHESON 75 INTERNATIONAL ART COMPETITIONS GENERAL RULES OF THE COMPETITIONS Eligibility: The Richeson 75 Competitions are open to all artists over age 18. All work entered must be original in concept/execution and have been created since January 1, 2010. No work done in a class, workshop or under supervision is eligible. Work shown previously at Richeson School of Art and Gallery are not accepted. Employees of Jack Richeson & Co., Inc. are not eligible for the exhibit. An artist IS eligible for a prize in each media entered/juried in, but may only win one prize in each category. Winners of any Richeson 75 Best In Show award are ineligible for awards for 2 years period following that win. Artwork Size Restrictions: Artwork IMAGE may not exceed 48” in any direction and must weigh less than 50 pounds (framed). Awards: Award amounts are listed for the individual competition cycles. Only artwork actually shown in the gallery exhibit is eligible for awards. Merchandise awards have no cash value. Standard shipping for merchandise in the contiguous 48 United States is included in the prize, but charges for remote delivery, special delivery or international deliveries are the responsibility of the winner/participant. Jurors/Judging: Selection of finalists will be based on digital images. Finalists will be selected by a committee of qualified art professionals. Awards Jurors will be respected, highly qualified artist/instructors, curators or collectors of note. Images submitted must represent the actual work to be delivered to the gallery. Only Finalist work shown in the gallery exhibit will be considered for awards. .Jack Richeson & Co., Inc. reserves the right to refuse to exhibit any work it deems unacceptable due to poor craftsmanship, inadequate framing or significant departure from submitted image representation. Jack Richeson & Co., Inc. reserves the right to withhold awards if jurors deem submitted entries to be below minimum standards of excellence. Jury decisions are final. Entry Fees & Prize restrictions: Artists May enter up to 3 works in each category There are twp categories. First is “Oils, Oil Pastels and Acrylic”; The second category is “Other Media” (Soft Pastels, Drawing/Dry Media, Watercolor, Gouache, Casein, Printmaking, etc.). with a maximum of 6 artworks total. Entry fee is $30 for the first entry and $10 per additional entry, up to a maximum total of 6 total entries (for instance when entering 3 oils (first category), and 1 watercolor and 1 drawing (both in the second category), entry fee would be $30 +10+10+10+10 for a total of $70. Image Preparation: Only digital images are accepted. The smallest side of the image should measure no less than 8” (2400 ppi) and no larger than 16”(4900 ppi). Only one image per artwork entered. Naming Image Files: Name the files: yourlastnamefirstinitial_titleofpainting (i.e. smithj_spotthedog). All lower case: Do not put spaces between words in the title. Any images that do not meet these specifications will be disqualified and discarded without being considered by the jurors and the jury fee will be forfeited by the artist. Only .jpg,images conforming to these standards will be considered.. Images should ONLY be of the artwork - do not include matting, frame, etc. in the image. These are the images that will be used if your art is selected for the catalog: Be sure they are good! No slides, photographs and/or printouts. Entry method: Mailed entries are no longer accepted: Only online submissions are accepted: Please follow the instructions online at http://www.richeson75.com/emailentry.html Exhibit Catalogs: We anticipate that we will publish a full-color hard-cover book catalog of entries submitted to this competition (finalists, alternates and a selection of other meritorious entries). Presentation: All entries must be suitably framed and wired for hanging (no clips or saw-tooth hangers). Gallery-Wrap canvas or cradled panel is acceptable as long as the sides are neatly painted/finished. No staples can be visible on the sides of the canvas. Delivery/Shipping: Works on paper must be framed and glazed (Plexiglas recommended). Finalists will ship or deliver works to Richeson School of Art & Gallery for the Awards Exhibit. Only work included in the actual exhibit will be considered for awards. Shipped work must be sent in a reusable container. The artist is responsible for the cost of shipping to and from Richeson’s. Pre-paid labels or a credit card number for return shipping must be included in the shipping container with the artwork. INTERNATIONAL ARTISTS ARE RESPONSIBLE FOR ALL CUSTOMS CHARGES/DUTIES and the appropriate forms for the return of their artwork must be included in the shipping container. Sales: Work need not be for sale to be eligible for the exhibition Richeson School of Art & Gallery will make every effort to encourage sale of work available for purchase. Finalists will receive a consignment agreement. Works will be for sale unless noted as NFS [not for sale] on the entry form. Richeson Art School and Gallery will retain a 25% commission for all sales of work from this exhibition. Payment for sales will be mailed to the artist within 30 days of the close of the exhibit. Liability: Artists should insure their hand-delivered or shipped work, as Jack Richeson & Co., Inc. and/or its subsidiaries is not liable for damage to artwork in transit or during display at Richeson School of Art & Gallery. Other Conditions: If a selected finalist artist chooses not to ship or display their work for this exhibit, their work will not be considered for an award, although an image of the work will be included in the exhibit catalog and www.richeson75.com. Artists agree to abide by all contest rules by their entry. Failure to comply with these rules in any manner constitutes withdrawal from the competition. If Jack Richeson & Co., Inc. deems the pool of entrants insufficient, the competition will be cancelled and all jury fees will be returned to entrants.
9.(artshow.com) Emerging Artists 2012
20TH ANNUAL
Entry Deadline November 30
SlowArt Productions presents Emerging Artists 2012, the 20th annual competition for group exhibition, and awards. Open to all artists working in any media this event is devoted to the discovery, introduction and promotion of emerging artists.
ENTRY GUIDELINES AND RULES
ELIGIBILITY AND RESTRICTIONS: The competition is open to all artists, national and international, working in all media. All forms of painting, drawing, sculpture, photography, graphics, digital and installation art, video, etc. are eligible. Entrants must be 18 years of age or older to apply. Wall mounted works must not be taller than 96" no wider than 120". Sculptural work must fit through a standard height, 36"wide entry door.
EXHIBITION AND AWARDS: Winning artists will be featured in a group exhibition at the Limner Gallery, April 11 - May 5, 2012. The exhibition will also be displayed on the Limner Gallery web site. There will be a $1000 cash prize awarded to one artist. One artist will be awarded a two page display in Direct Art Volume #19, Fall 2012 issue. Two artists will be awarded a single page display. Direct Art is distributed to bookstores across the USA including Borders and Barnes and Noble. For more information on Direct Art view: http://www.slowart.com/about.htm
EXHIBITION TERMS: All works in the show must be for sale. The gallery will take a 30 percent commission on all sales. Sale price is determined by the artist.
ENTRY FEES: There is a $35.00 entry fee for one to four artworks entered, presentation is by digital files. There is a $5.00 fee for each additional artwork above four. Details of 2D artwork count as an additional artwork. Sculptors may provide one additional view per artwork without cost. Artists accepted to exhibit will not be charged additional fees of any kind. Payments is by credit card at time of entry through PayPal or by check or money order payable to SlowArt Productions.
IMAGE USE / COPYRIGHTS: Artist retains all copyrights to submitted images and represented artwork. Digital images submitted with artist entry are for exhibition selection only and will be deleted after completion of the selection process. By entering the competition, winning artists grant Limner Gallery rights to use the selected image(s) on printed materials and the gallery web site for promotional purposes only. Limner Gallery and/or SlowArt retain no copyrights to artists work.
NOTIFICATION: Artists will be notified of acceptance or non-acceptance no later than December 31, 2011. Results will be posted on or before this date at: http://www.slowart.com/results. Notification will be made both via email and by posting on the results page. All artists who provide a working email address will be notified via email, if no email is provided, artists will be notified via postal mail only if accepted to exhibit. Type your email address clearly, if a mistake is made you will not be notified.
PRIVACY POLICY: Artist contact information (address, telephone) is only held for the purpose of contacting selected artists and is not preserved in any database. Entry forms are destroyed and data and image files deleted on the completion of the jury process. All artist emails are added to our future events announcement email list. If you do not wish to be on the email list click the unsubscribe button when you receive the first announcement and your email will be automatically deleted.
DEADLINE: The final postmarked deadline is November 30, 2011. Entries must be postmarked or submitted via email by this date.
IMAGE SUBMISSION GUIDELINES
All entries are via email or web post with direct html link. Email files must be in JPG format. Please keep each JPG file 1 MB or less in size. Images may also be posted to a dedicated web page and a link provided to the page. Web page images should not be download restricted. Video artists may post on a web page or on YouTube and provide a link to the page.
10.(artshow.com)NATIONAL CALL FOR ENTRIES
The Woodlands, Texas
Deadline: October 16, 2011 Posted: 9/2/11
Exhibit Dates: April 14-15, 2012 Title: The Woodlands Waterway Arts Festival Sponsor: The Woodlands Waterway Arts Council Venue: The Woodlands Waterway Awards: Estimated at over $8000 Eligibility: Eligible categories are Clayworks, Digital Art, Drawing/Pastels, Fiber, Glass, Printmaking, Jewelry, Metalworks, Mixed Media 2-D, Mixed Media 3-D, Painting, Photography, Sculpture, and Wood. Fees: $30 E-mail: Cynthia Reid Phone: 281-705-3882 Website: http://www.woodlandsartsfestival.com Prospectus: http://www.zapplication.org
Art at Wharepuke –Biennial International Print Show
The 2nd Art at Wharepuke international open submission print show will be held from 10th December 2011 to Jan 7th 2012. The first exhibition was held in 2009 and attracted artists from USA, NZ, Australia and Europe with the prize of a solo show being awarded jointly to Danielle Creenaune (Spain) and Carsten Borck (Germany). Entries for the 2nd show are now being sought.
All selected artists will receive a colour catalogue of the exhibition.
Entry Requirements: Works Up to 3 entries – any original printmaking technique (no photographs/giclée reproductions) Max paper size A4 (29.5 x 21 cm/11½ x 8¼ ins) - image may be any size within this
Hanging – Works will be float mounted using conservation tape and a frame spacer; works unsuitable for this type of hanging will be rejected. Please note that removal of the tape can sometimes cause slight marking to the back of the print.
Sales - Payments to artists will be made using Pay Pal
Copyright - Copyright of the works remains with each individual artist. If selected for the exhibition, the artist agrees to the reproduction of their work (at no fee) in a catalogue and for publicity, press, and web site. All received work will be handled with maximum care and is insured while on gallery premises. Work is submitted at the artist's own risk, they should make their own insurance arrangements and are responsible for the post, packing and all charges incurred.
Entry Fee This covers return postage and catalogue, admin and exhibition costs. NZ resident - NZ $50.00 - payable by Pay Pal, direct credit or cheque International – NZ $70.00 - payable by Pay Pal
Entry Fee
Note: International option in dropdown box
Prizes - Solo show in 2012 at time arranged to suit, gallery representation in NZ, fully optimised dedicated web page for one year. Representation may be offered to more than one artist.
Deadlines Initial entry is to be made by CD or email By Nov 1st 2011 send:
1. Up to 3 images on CD or by email – label images with Name and Title
2. Entry fee – non refundable
3. CV
4. Application form
Send to: Art at Wharepuke 190 Kerikeri Road Kerikeri 0230 Northland New Zealand Artists will be contacted by e-mail with results of selection panel New Zealand Accepted works will need to be sent to the gallery by December 5th 2011
2.Entry Form: Ink & Clay 38 (mcaprint.blogspot.com)
Jurors: Ink - Michelle Deziel
Clay - Carol Sauvion
Michelle Deziel is an Independent Contemporary Art Curator and Consultant. Deziel is currently organizing the first major West Coast retrospective of Los Angeles painter and printmaker Ynez Johnston at the Mingei Museum in San Diego (2011). She is also working as a consultant on the Norton Simon Museum of Art’s exhibition PROOF: The Rise of Printmaking in Southern California (2011) and co-authoring the catalogue for the Torrance Art Museum’s 2012 show Between the Knowing. Deziel was formerly a curator at the Norton Simon Museum, where for ten years she managed the museum’s collection of 20th century art and organized numerous exhibitions, including works on paper exhibits by Goya, Picasso, Diebenkorn and Ruscha. She holds a B.A. degree in Art History and French from Cal State University, Long Beach. She also studied at the Université de Paris, Sorbonne and the Université d’Aix-Marseilles in France.
When asked by what criteria she would judge the “Ink” submissions, Deziel responded: “When asked to jury exhibitions, my approach is to carefully and critically examine each submission before making a selection.
I am interested in works of art that have the power to engage aesthetically, conceptually and technically. Whether a drawing or a print, the artist’s technical mastery must be evident-quality always stands out-as does originality and innovation.”
Carol Sauvion is the Founder and Director of Freehand Gallery in Los Angeles, California, and is theExecutive Producer of the Peabody Award winning and Emmy nominated CRAFT IN AMERICA television series broadcast nationwide on PBS. She has served as curator and juror for numerous exhibitions, and has been a guest speaker at a multi- tude of museums and conference venues including the Smithsonian Institution and the Getty Institute. Sauvion holds a degree in Art History from Manhattanville College in New York, and has over ten years experience as a studio potter and instructor.
She is currently filming the second episode in CRAFT IN AMERICA’S third season. In describing the criteria by which she would determine her selections, Sauvion relates: I look forward to jury- ing the ceramics for the Ink and Clay 2012 exhibition at Kellogg University Art Gallery. I consider it a unique opportunity to become familiar with the work of artists from a large geographic area. Whether produced in quantity or as one-of-a-kind, the ideal handmade work reflects excellence and the unique vision of its maker.
It is well conceived and skillfully executed, with the concept and the technique in balance. Ultimately, the object is perceived as more than the sum of its techniques and materials. These are the qualities I look for when jurying.
Images
Please submit images on a CD that is formatted to be readable on a MAC computer. Please be sure to write your name on the disk. CDs of accepted works will be retained for documentation.
The following applies to EACH digital image: 1. File size should not exceed 2 MB 2. Resolution at 300 DPI 3. Save image file as JPEG (Do NOT use “Photo Library” files.)
4. Images should be named with the first initial and last name of the artist, and the number that corresponds to the number on the entry label. Example: JDoe#1. Detail images should be designated in the following manner: JDoe#1Adetail.
Submitting
Mail CD, entry form, and fee to: Kellogg Art Gallery, California State Polytechnic University 3801 W. Temple Ave. Pomona, CA 91768 A prospectus may be obtained at the gallery website: www.csupomona.edu/~kellogg_gallery Gallery phone number: 909-869-4302 The prospectus may be reproduced.
Accepted Works
Jurying will be completed approximately the week of January 13, 2012. Notification of Acceptance or Non-Acceptance will occur approximately two weeks after completion of jurying. NOTE: If you do not hear from us by January 31st, please call the gallery for a status report. In recent years, there have been instances of notification letters being ‘lost’ in the US Post. Accepted work may be hand delivered or shipped to the gallery. Please see “Dates” below for hand-delivery dates and shipping deadlines. If shipping work, please pack properly and ship in sturdy, reusable cartons via UPS, FedEX, or US Post Office. Please note that all shipping and return shipping must be paid for by the artist. Details for shipping and return shipping will
accompany acceptance letters.
Insurance and Liability
All accepted works will be insured for the duration of the exhibition. Although due care will be taken in handling of entries, neither the Kellogg Gallery nor Cal Poly Pomona accepts responsibility for damage of work submitted to the exhibition which is improperly framed
Mail and/or delivery address: W. KEITH AND JANET KELLOGG UNIVERSITY ART GALLERY CAL POLY POMONA 3801 WEST TEMPLE AVENUE, POMONA, CA 91768
PERMISSION FOR SPECIFIC REPRODUCTION OF IMAGE AND TEXT ON WEB SITE I hereby grant permission for my artist statement and exhibition images to be reproduced on the W. Keith and Janet Kellogg University Art Gallery Web page.
SIGNATURE __________________________________________ $30.00 entry fee for three entries. Type or print clearly
ARTIST_______________________________________________ ADDRESS_____________________________________________ ______________________________________________________ ZIP________________PHONE ____________________________ E-MAIL_______________________________________________
Artist__________________________________________ Title___________________________________________ Medium_________________________________________ Dimensions (image only): h _______w_______d_____ Selling price $______OR ins. value if not for sale $______ Eligible for purchase prize: yes _________ no _________
Artist__________________________________________ Title___________________________________________ Medium_________________________________________ Dimensions (image only): h _______w_______d_____ Selling price $______OR ins. value if not for sale $______ Eligible for purchase prize: yes _________ no _________
Artist__________________________________________ Title___________________________________________ Medium_________________________________________ Dimensions (image only): h _______w_______d_____ Selling price $______OR ins. value if not for sale $______ Eligible for purchase prize: yes _________ no _________
Entry One
Entry Two
or packaged.
Dates
Postmark deadline for entries: Shipped work arrival deadline: Hand delivery of accepted works:
Exhibition dates: Reception: Pick-up of hand delivered works:
Thurs, December 1, 2011 Thurs, February 23, 2012
Tues, February 21 to Sat, February 25, 2012 from Noon - 4:00 PM
Thurs, March 15 to Fri, April 27, 2012
Sat, March 24, 2012 from 5:00PM – 7:00PM
Sat, April 28 and May 5, 2012 from Noon- 4:00 PM
Entry Three
........................................................................................................................................................................................................................
INK AND CLAY 38 Exhibition Dates: Thursday, March 15 through Friday, April 27, 2012. Established in 1971, Ink & Clay is an annual competition of prints, drawings, ceramic ware and clay sculpture, sponsored by the W. Keith and Janet Kellogg University Art Gallery of California State Polytechnic University, Pomona. The primary underwriting is through the generosity of Col. Jim Jones. Ink & Clay is an exhibition open to all of the Western States including: AK, AZ, CA, CO, HI, ID, MT, ND, NM, NV, OK, OR, SD, TX, UT, WA, WY. A virtual catalog of the exhibition will be mounted on the gallery’s website. A PDF version of the catalog will be available for download. Each artist will receive a page featuring an image of their accepted work and an artist’s statement.
Media
INK: printmaking and drawing – traditional or experimental. (What constitutes a print or a drawing remains open.)
CLAY: Ceramic ware or clay sculpture. (Again, the question as to what is legitimate remains open.) Other materials may be combined with clay. Oversized and experimental works are encouraged in both media, however, please call to discuss exhibition possibilities, e.g. the laws of physics, before submitting your entry.
Awards
The Kellogg Art Gallery will provide $5000 for 10 cash awards. In addition, we are very pleased to offer a special purchase award this year, The James H. Jones Memorial Purchase Prize, generously sponsored by Mr. Bruce M. Jewett.
Sales
All work will be considered for sale unless otherwise indicated as NFS on the entry form. A 25% commission on all sales will be retained by the Kellogg University Art Gallery.
Fees
A $30 entry and handling fee will be charged. This entitles the artist to three entries. 3-D works may have one detail slide each. Please note that checks are deposited collectively after all entries have been processed. Please make check or money order payable to: Ink & Clay 38.
3.Broadsides exhibiton opportunity (mcaprint.blogspot.com)
Good Morning,
Atelier 6000 is located in Bend, Oregon. The studio workshop and gallery presents local and national artists working across multiple disciplines with an emphasis on contemporary book arts, works on paper, and printmaking.
We are presenting our second annual Broadsides exhibition in November. Will it be possible to share the following information in your newsletter/website?
Please feel free to forward this information to those you feel would be interested. We want to get the word out to as many organizations, artists and interested parties. Thanks!
Broadsides 2011
Suspended at the crossroads of art and literature, Atelier 6000 and Nature of Words present “Broadsides” artworks that include mixed media and two-dimensional works with emphasis on text and image.
A juried exhibition of text and imaged, mixed media and two-dimensional works, “Broadsides” is open to artists of all ages.
Exhibit: November 1 - 30, 2011
Entry Deadline: October 21, 2011
Entry Limitations: A maximum of three artworks may be submitted per artist. $20 entry fee
Submission Guidelines: Artists may submit 1-3 works for consideration. Original works must be created by hand. No digital reproductions will be accepted. Artwork must fit between the parameters of 8”x10” (smallest) to 26” x30” (largest). Framing is optional; however, all work should be suitable for hanging: i.e. shrink wrapped or mounted on matboard. No online works will be juried; work must arrive at Atelier 6000 by October 21, 2011.
*Prospectus online on our website www.atelier6000.org
Adell Shetterly
Tumalo Creek Consulting
541-330-0491
4.DELTA SMALL PRINTS COMPETITION (mcaprint.blogspot.com)
DNSPE 2012
Call For Entries Accepted Online Only
Deadline: October 2, 2011
Exhibition Dates: January 19 - February 17, 2012
Juror: Roberta Waddell, Curator of Prints Emerita,
The New York Public Library, New York, New York
Awards: Will be made at the discretion of the juror. Of the 56 prints
in the 2011 exhibition, 21 received awards and 15 were purchase prizes.
Entry Information: This year, in an attempt to be eco-friendly, our Call
For Entries will be available online only. We will not mail a form to you.
For guidelines and the application click on the following link:
https://www.formstack.com/forms/?1095341-BXfVyzN2AH
Contact Us: For questions or more information email us at dnspe@astate.edudnspe@astate.edu>
Or call us at 870 972 2567
5.(TheArtList.com) Juried Photography Exhibition: THE DARK SIDE NIGHT PHOTOGRAPHY
Submission Deadline: Wednesday, October 5, 2011
There is an entry fee of $25 for up to 5 images. Additional entries may be submitted for $5 each.
All accepted entries must submit a high res jpeg (300-360 dpi , minimum size 5x7") to be included in the printed SHOW CATALOG.
We offer free matting and framing for accepted photographs that fit our pre-cut mat sizes for the duration of the exhibition. Photo sizes are 8x10", 11x14" 16x20", or 20x24" . Photos can also be submitted any size on 11x14", 12x16",16x20" or 20x24" paper and be framed without a mat.
Selected artists may choose to offer their work for sale. The gallery retains 50% of the sale price, as well as 9.25% California sales tax. We offer free matting and framing for accepted photographs that fit our pre-cut mat sizes for the duration of the exhibition. We will also print your photo for a nominal fee if you are accepted into the show and would prefer not to mail a print.
https://fs17.formsite.com/1650gallery/form9/secure_index.html
6.(Theartlist.com)P R O J E K T 3 0 P R O S P E C T U S
Melancholy: At the Bottom of Everything...Forever
Deadline: December 2, 2011 Publicly Juried:December 4-16, 2011 Opens: December 18, 2011 Fee: $35 for up to 10 images, free for members. Apply now >>
Hippocrates theorized that all people fall into one of four basic "temperaments" or personality types: Melancholic, Sanguine, Choleric, and Phlegmatic. He assumed that each personality type was the result of an overabundance of a certain bodily fluid (black bile, blood, bile, and phlegm respectively), hence their designations. A Melancholic personality is characterized by creativity and sensitivity, though prone to depression. A Sanguine person is light hearted, spontaneous, and confident --though sometimes also day-dreamy and overindulgent. Cholerics are ambitions and charismatic, but often impulsive and easily angered. The Phlegmatic temperament is characterized by self-assured calm, though they can be unemotional and inhibit the enthusiasm of others.
While the notion that one's personality is shaped by an overabundance of phlegm or blood is now regarded as ridiculous, the 4 personality types Hippocrates identified have stayed with us. Though the types have changed and been refined, they are still part of the basis of modern personality modeling.
As products of the human mind, artworks often also can be attributed "personality" traits. An energetically painted landscape rendered in saturated color can be described as sanguine; a delicately lit black and white photograph of a contemplative figure can be said to be melancholy. An artwork's temperament does not necessarily reflect the temperament of the artist that produced it.
We are seeking artwork that possesses or infers the characteristics associated with the Melancholic temperament, or the emotional state of melancholy. Below you'll find more information on Melancholy and the Melancholic type, to get you started.
Melancholic, from Wikipedia, November 10, 2008 see http://en.wikipedia.org/wiki/Four_Temperaments
Melancholic is the personality of an individual characterized by black bile; a person who was a thoughtful ponderer had a melancholic disposition. Often very kind and considerate, melancholics can be highly creative - as in poetry and art - but also can become overly pre-occupied with the tragedy and cruelty in the world, thus becoming depressed. The temperament is associated with the season of fall/autumn (dry and cold) and the element earth. A melancholic is also often a perfectionist, being very particular about what they want and how they want it in some cases. This often results in being unsatisfied with one's own artistic or creative works and always pointing out to themselves what could and should be improved. This temperament describes the depressed phase of a bipolar disorder. There is no bodily fluid corresponding to black bile; the medulla of the adrenal glands, which decomposes very rapidly after death, can be associated with it.
Melancholy, from Answers.com, November 10, 2008 see http://www.answers.com/topic/melancholy
noun 1. Sadness or depression of the spirits; gloom: “There is melancholy in the wind and sorrow in the grass” (Charles Kuralt). 2. Pensive reflection or contemplation. adj. 1. Affected with or marked by depression of the spirits; sad. See synonyms at sad. 2. Tending to promote sadness or gloom: a letter with some melancholy news. 3. Pensive; thoughtful.
Quotes:
"Melancholy is at the bottom of everything, just as at the end of all rivers is the sea. Can it be otherwise in a world where nothing lasts, where all that we have loved or shall love must die? Is death, then, the secret of life? The gloom of an eternal mourning enwraps, more or less closely, every serious and thoughtful soul, as night enwraps the universe." - Henri Frederic Amiel
"Melancholy, indeed, should be diverted by every means but drinking." - Samuel Johnson
"Sweet bird, that shun the noise of folly, most musical, most melancholy!" - John Milton
https://secure.white-square.net/projekt30.com/specialwizardCommon?show_id=115
7.(artshow.com) 2012 NICHE Awards - Student
Overview
Sponsored by NICHE ["neesh"] magazine, the annual NICHE Student Awards competition recognizes the creative achievement of individual student artists and provides a new level of exposure to their work. The competition is open to any student craft artist residing in the U.S. or Canada and attending an undergraduate, graduate or certificate arts program.
Fees & Deadlines
Student Deadline $18.00 Friday, September 30, 2011 (3 items per submission)
Juror
The NICHE Student Awards jury is composed of the editors of NICHE and AmericanStyle magazines, and the Buyers Market of American Craft exhibit managers.
Each image entry is judged individually. The judges’ scores are not cumulative per application, but reflect their decisions per individual image entry. Images are judged on the following: • Technical excellence, both in surface design and form • A distinct quality of unique, original and creative thought Decisions of the judges will be final. Notifications will be sent in December 2011. Winners will be announced at the NICHE Awards ceremony during the February 2012 Philadelphia Buyers Market of American Craft.
Eligibility
The competition is open to any craft student residing in the U.S. or Canada and attending an undergraduate, graduate or certificate arts program.
Only one application per artist or artist team is allowed. Entries must be submitted by the student in the student's name, not in the name of a school. Applications received without payment of the entry fee will not be reviewed.
Submitted work must have been produced or introduced after August 31, 2010 to be eligible. Work previously submitted to the NICHE Student Awards may not be resubmitted.
Awards
Finalists receive: • Award certificate from NICHE magazine • Listing in the February 2012 Buyers Market of American Craft (BMAC) Buyers Guide • Press materials tailored to local and trade media • Listing on www.NICHEAwards.com • An opportunity to display their work in a special exhibit at the February 2012 BMAC in Philadelphia, Pa. [Drop off & pick up of items is required. Details on the special display will be provided in the finalist's packet.]
Winners receive: • Award certificate and trophy • Press materials tailored to local and trade media • Prominent listing in the Spring 2012 issue of NICHE magazine. • Listing on www.NICHEAwards.com
Accepted Works
NICHE magazine accepts only digital photos for the NICHE Student Awards. Images must be in JPEG format, 300 dpi and approximately 4 x 6 inches (1200 x 1800 pixels) in size.
Applicants may enter up to three images, but no more than two images per category. No additional images showing detail will be accepted for jurying. Each image must be a separate piece of work. You may not enter an individual piece in more than one category. Images submitted are understood to be the property of the artist with the right to use them for unlimited publication. When applicable, photography credits must be submitted with the entry in the "Comments" section. Also, if the entry is a collaborative piece, the second artist's name must be provided in the "Comments" section.
Digitally enhanced images and artist's renderings will not be accepted. Installation works will not be accepted in any category.
Miscellaneous
Suggestions for Entrants: • Apply for all protections necessary (e.g. copyright, patent or photographer’s release). • Submit high-quality images with a plain background. Evenly distribute lighting from at least three light sources so that no shadows are cast. Hire a professional photographer to photograph your work whenever possible. • Present fashions as worn by professional models. • Photograph jewelry alone, not worn by a model.
Arts Educator of the Year award: The Arts Educator of the Year award recognizes professors at arts education institutions who encourage their students to explore and participate in the larger craft community. Each year, NICHE magazine honors one of the instructors nominated by the applicants in the NICHE Student Awards. If you wish to nominate a professor for this honor, please include their name and a brief description as to why you are nominating them with your application.
Terms & Conditions
NICHE magazine reserves the right to cancel or merge categories that do not accrue an appropriate number of applications. NICHE assumes no responsibility for handling, loss, theft or damage to any entry.
8.(artshow.com) Richeson 75 International Art Competitions Small Works 2012
Entry Deadline: November 4, 2011 Jury Results E-mailed on or before: November 18, 2011 Finalists’ Exhibit Agreements due: November 28, 2011 Receive Finalist Artwork: Jan 23 - Jan 27, 2012 Exhibit Dates: Feb 6 - March 30, 2012 Finalist Artwork shipped: April 12 - April 16, 2012
Awards: Best In Show - $5,000 cash First Place in each category will receive a $1,000 certificate for art materials from Jack Richeson & Co., Inc. Second Place Award in each category will receive a $500 certificate for art materials from Jack Richeson & Co., Inc. The two categories for entry are:
1) Oils, Oil Pastels and Acrylic 2) Other Media (Soft Pastels, Drawing/Dry Media, Watercolor, Gouache, Casein, Printmaking, etc.).
Finalists will be selected and invited to participate in the exhibit at the Richeson Gallery in Kimberly, Wisconsin from Feb 6 - March 30, 2012. Only work actually exhibited in the Richeson 75: Small Works 2012 show will be eligible for an award. Awards will be presented at the Opening Reception. Finalists will be featured in the exhibition book and our on-line Virtual Gallery along with information on the artist including artist’s website URL whether they participate in the exhibit or not.
Awards Juror: To be announced. We strongly prefer awards be judged “live” from the gallery exhibit and anticipate that this will occur, however on occasion, circumstances do not allow for this and the awards may be selected from the digital images of Finalists’ artwork.
Image Preparation: Digital images only are accepted. The smallest side of the image should measure no less than 8” (2400 ppi) and no larger than 16”(4900 ppi) unless the actual size of the artwork is smaller than 8” on its longest side, in which case, the image should measure the actual size (at 300 dpi) . Name the files: Your last namefirst initial_titleofpainting (i.e. smithj_spotthedog). All lower case: Do not put spaces between words in the title. Save the files as a .jpg or .jpeg file at “maximum” quality Any images that do not meet these specifications will be disqualified and discarded without being considered by the jurors and the jury fee will be forfeited by the artist. Images should ONLY be of the artwork - do not include matting, frame, etc. in the image. These are the images that will be used if your art is selected for the exhibit book: Be sure they are good! No slides, photographs and/or printouts. Only .jpg,images conforming to these standards will be considered and must be submitted online per instructions posted on our website at http://www.richeson75.com/emailentry.html .
Entry method: Only online submissions are accepted: See full online entry instructions online at http://www.richeson75.com/emailentry.html. Mailed entries are no longer accepted.
ALL COMMUNICATION FOR THE RICHESON 75 ART COMPETITIONS IS VIA EMAIL. PLEASE ADD THE FOLLOWING ADDRESSES TO YOUR EMAIL CONTACTS TO INSURE YOU RECEIVE NOTIFICATIONS Richeson75@gmail.com(competition email)
artschool@richesonart.com(gallery email)
If you have not received notification of jury results on or before the date listed above, please emailricheson75@gmail.com.
RICHESON 75 INTERNATIONAL ART COMPETITIONS GENERAL RULES OF THE COMPETITIONS Eligibility: The Richeson 75 Competitions are open to all artists over age 18. All work entered must be original in concept/execution and have been created since January 1, 2010. No work done in a class, workshop or under supervision is eligible. Work shown previously at Richeson School of Art and Gallery are not accepted. Employees of Jack Richeson & Co., Inc. are not eligible for the exhibit. An artist IS eligible for a prize in each media entered/juried in, but may only win one prize in each category. Winners of any Richeson 75 Best In Show award are ineligible for awards for 2 years period following that win. Artwork Size Restrictions: Artwork IMAGE may not exceed 48” in any direction and must weigh less than 50 pounds (framed). Awards: Award amounts are listed for the individual competition cycles. Only artwork actually shown in the gallery exhibit is eligible for awards. Merchandise awards have no cash value. Standard shipping for merchandise in the contiguous 48 United States is included in the prize, but charges for remote delivery, special delivery or international deliveries are the responsibility of the winner/participant. Jurors/Judging: Selection of finalists will be based on digital images. Finalists will be selected by a committee of qualified art professionals. Awards Jurors will be respected, highly qualified artist/instructors, curators or collectors of note. Images submitted must represent the actual work to be delivered to the gallery. Only Finalist work shown in the gallery exhibit will be considered for awards. .Jack Richeson & Co., Inc. reserves the right to refuse to exhibit any work it deems unacceptable due to poor craftsmanship, inadequate framing or significant departure from submitted image representation. Jack Richeson & Co., Inc. reserves the right to withhold awards if jurors deem submitted entries to be below minimum standards of excellence. Jury decisions are final. Entry Fees & Prize restrictions: Artists May enter up to 3 works in each category There are twp categories. First is “Oils, Oil Pastels and Acrylic”; The second category is “Other Media” (Soft Pastels, Drawing/Dry Media, Watercolor, Gouache, Casein, Printmaking, etc.). with a maximum of 6 artworks total. Entry fee is $30 for the first entry and $10 per additional entry, up to a maximum total of 6 total entries (for instance when entering 3 oils (first category), and 1 watercolor and 1 drawing (both in the second category), entry fee would be $30 +10+10+10+10 for a total of $70. Image Preparation: Only digital images are accepted. The smallest side of the image should measure no less than 8” (2400 ppi) and no larger than 16”(4900 ppi). Only one image per artwork entered. Naming Image Files: Name the files: yourlastnamefirstinitial_titleofpainting (i.e. smithj_spotthedog). All lower case: Do not put spaces between words in the title. Any images that do not meet these specifications will be disqualified and discarded without being considered by the jurors and the jury fee will be forfeited by the artist. Only .jpg,images conforming to these standards will be considered.. Images should ONLY be of the artwork - do not include matting, frame, etc. in the image. These are the images that will be used if your art is selected for the catalog: Be sure they are good! No slides, photographs and/or printouts. Entry method: Mailed entries are no longer accepted: Only online submissions are accepted: Please follow the instructions online at http://www.richeson75.com/emailentry.html Exhibit Catalogs: We anticipate that we will publish a full-color hard-cover book catalog of entries submitted to this competition (finalists, alternates and a selection of other meritorious entries). Presentation: All entries must be suitably framed and wired for hanging (no clips or saw-tooth hangers). Gallery-Wrap canvas or cradled panel is acceptable as long as the sides are neatly painted/finished. No staples can be visible on the sides of the canvas. Delivery/Shipping: Works on paper must be framed and glazed (Plexiglas recommended). Finalists will ship or deliver works to Richeson School of Art & Gallery for the Awards Exhibit. Only work included in the actual exhibit will be considered for awards. Shipped work must be sent in a reusable container. The artist is responsible for the cost of shipping to and from Richeson’s. Pre-paid labels or a credit card number for return shipping must be included in the shipping container with the artwork. INTERNATIONAL ARTISTS ARE RESPONSIBLE FOR ALL CUSTOMS CHARGES/DUTIES and the appropriate forms for the return of their artwork must be included in the shipping container. Sales: Work need not be for sale to be eligible for the exhibition Richeson School of Art & Gallery will make every effort to encourage sale of work available for purchase. Finalists will receive a consignment agreement. Works will be for sale unless noted as NFS [not for sale] on the entry form. Richeson Art School and Gallery will retain a 25% commission for all sales of work from this exhibition. Payment for sales will be mailed to the artist within 30 days of the close of the exhibit. Liability: Artists should insure their hand-delivered or shipped work, as Jack Richeson & Co., Inc. and/or its subsidiaries is not liable for damage to artwork in transit or during display at Richeson School of Art & Gallery. Other Conditions: If a selected finalist artist chooses not to ship or display their work for this exhibit, their work will not be considered for an award, although an image of the work will be included in the exhibit catalog and www.richeson75.com. Artists agree to abide by all contest rules by their entry. Failure to comply with these rules in any manner constitutes withdrawal from the competition. If Jack Richeson & Co., Inc. deems the pool of entrants insufficient, the competition will be cancelled and all jury fees will be returned to entrants.
9.(artshow.com) Emerging Artists 2012
20TH ANNUAL
Entry Deadline November 30
SlowArt Productions presents Emerging Artists 2012, the 20th annual competition for group exhibition, and awards. Open to all artists working in any media this event is devoted to the discovery, introduction and promotion of emerging artists.
ENTRY GUIDELINES AND RULES
ELIGIBILITY AND RESTRICTIONS: The competition is open to all artists, national and international, working in all media. All forms of painting, drawing, sculpture, photography, graphics, digital and installation art, video, etc. are eligible. Entrants must be 18 years of age or older to apply. Wall mounted works must not be taller than 96" no wider than 120". Sculptural work must fit through a standard height, 36"wide entry door.
EXHIBITION AND AWARDS: Winning artists will be featured in a group exhibition at the Limner Gallery, April 11 - May 5, 2012. The exhibition will also be displayed on the Limner Gallery web site. There will be a $1000 cash prize awarded to one artist. One artist will be awarded a two page display in Direct Art Volume #19, Fall 2012 issue. Two artists will be awarded a single page display. Direct Art is distributed to bookstores across the USA including Borders and Barnes and Noble. For more information on Direct Art view: http://www.slowart.com/about.htm
EXHIBITION TERMS: All works in the show must be for sale. The gallery will take a 30 percent commission on all sales. Sale price is determined by the artist.
ENTRY FEES: There is a $35.00 entry fee for one to four artworks entered, presentation is by digital files. There is a $5.00 fee for each additional artwork above four. Details of 2D artwork count as an additional artwork. Sculptors may provide one additional view per artwork without cost. Artists accepted to exhibit will not be charged additional fees of any kind. Payments is by credit card at time of entry through PayPal or by check or money order payable to SlowArt Productions.
IMAGE USE / COPYRIGHTS: Artist retains all copyrights to submitted images and represented artwork. Digital images submitted with artist entry are for exhibition selection only and will be deleted after completion of the selection process. By entering the competition, winning artists grant Limner Gallery rights to use the selected image(s) on printed materials and the gallery web site for promotional purposes only. Limner Gallery and/or SlowArt retain no copyrights to artists work.
NOTIFICATION: Artists will be notified of acceptance or non-acceptance no later than December 31, 2011. Results will be posted on or before this date at: http://www.slowart.com/results. Notification will be made both via email and by posting on the results page. All artists who provide a working email address will be notified via email, if no email is provided, artists will be notified via postal mail only if accepted to exhibit. Type your email address clearly, if a mistake is made you will not be notified.
PRIVACY POLICY: Artist contact information (address, telephone) is only held for the purpose of contacting selected artists and is not preserved in any database. Entry forms are destroyed and data and image files deleted on the completion of the jury process. All artist emails are added to our future events announcement email list. If you do not wish to be on the email list click the unsubscribe button when you receive the first announcement and your email will be automatically deleted.
DEADLINE: The final postmarked deadline is November 30, 2011. Entries must be postmarked or submitted via email by this date.
IMAGE SUBMISSION GUIDELINES
All entries are via email or web post with direct html link. Email files must be in JPG format. Please keep each JPG file 1 MB or less in size. Images may also be posted to a dedicated web page and a link provided to the page. Web page images should not be download restricted. Video artists may post on a web page or on YouTube and provide a link to the page.
10.(artshow.com)NATIONAL CALL FOR ENTRIES
The Woodlands, Texas
Deadline: October 16, 2011 Posted: 9/2/11
Exhibit Dates: April 14-15, 2012 Title: The Woodlands Waterway Arts Festival Sponsor: The Woodlands Waterway Arts Council Venue: The Woodlands Waterway Awards: Estimated at over $8000 Eligibility: Eligible categories are Clayworks, Digital Art, Drawing/Pastels, Fiber, Glass, Printmaking, Jewelry, Metalworks, Mixed Media 2-D, Mixed Media 3-D, Painting, Photography, Sculpture, and Wood. Fees: $30 E-mail: Cynthia Reid Phone: 281-705-3882 Website: http://www.woodlandsartsfestival.com Prospectus: http://www.zapplication.org
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