Artwork

Sunday, September 25, 2011

One more down

http://www.wooloo.org/open-call/entry/252511

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

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.

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.

Before and After

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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

Greely Myatt Interview.

Last Thursday in my Professional Practices class we went to the David Lusk Gallery to speak with the artist who was being show cased, Greely Myatt, about his work and process. When we arrived Greely welcomed us into the space and we stood around him in a semi-circle and began to ask him questions. He told us that artist statements were only important sometimes, and that it is usually per the galleries request that you write them. He informed us about his life and the different jobs he has had relating to art. I was really interested in how he got started sculpting, he started making large yard sculptures so that he would be exhibited on the lawns of museums, because they always had space outside. He said that was how he got his in into the southern art world. Greely Myatt was very down to earth and laughed about some of the stern questions we threw his way. It seems like he is an artist that just likes to have fun, and after meeting him that really shows.
It was weird to learn that the steel beam was actually just being held in place by the Styrofoam and that there really was no huge giant meaning behind that piece, just that it was material left over that was crowding up his studio space. It was nice speaking with someone who takes art serious enough to make a cohesive body of work, but that does not get distracted by all of the fluff that people tend to put in their art. I wished I had asked him about his name. It is a name I have never heard and I would love to know who he was named after or where his parents came up with that name in Mississippi.

Wednesday, September 14, 2011

Statement of Intent: Rust Gallery

Recently, I have been working on a body of work that deals with struggles that I have had with a recent and on going illness. My work is based in Printmaking as well as Ceramic Sculpture. These pieces are all part of a larger picture that would be connected and displayed throughout the Rust Gallery at Memphis College of Art.
I am currently a senior with a concentration in sculpture. My main sculpture pieces are ceramics, but I also work with soft sculpting as well. I use my sculpture to convey emotions that people can grasp because these pieces have a physical bodily presence. I also work in Printmaking which allows me to communicate my image on a tighter scale. To me these relief prints are as much sculpture as a print. Displaying all of my pieces in this gallery will give to viewer a chance to comprehend that.
I would use the space to my advantage and select larger pieces to fill the space. I would do installations throughout the space to get the viewer physically involved in my pieces. I want them to be looked at close and even for the ceramic pieces to be touched. I want the viewer to feel the weight of these pieces when they are all displayed alongside each other. Some of the imagery may be disturbing but it will be set up in an innocent way to provoke whimsy when looking at painful images of illness and the binding guidelines I have to keep this illness in check.

Rough Draft Artist Statement

Lena Kirk
Professional Practices
Artist Statement Rough Draft

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. I am working with expressing these hidden internal pains 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 thick chunky slab building to my ceramics. Getting my hands aggressively into the piece I battle 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 I would like them to appreciate the technique as well as the piece for its emotional and physical presence.

Tuesday, September 13, 2011

Greely Myatt at David Lusk


Last Friday night I went to The David Lusk Gallery to see Greely Myatt’s show. It was an interesting adventure to say the least. I have mainly shied away from going to galleries, and am sad to say I have never been to this gallery before. On first glance I noticed how small the venue was, I guess in my head I always imagined David Lusk to be this huge bright space and it was completely opposite. It was dark and windy, I wasn't sure if I was even allowed to venture into the back area, but I saw some others go back there and decided to join the fun.
In the first room of the exhibit were two wall pieces made of steel and wax, they mainly mirror each others reflections from either side of the room. In the middle was a giant curing sculpture that almost reached the ceiling. It was made of old broom, mop, and rake handles. It distracted me from what was going on around me. I ventured further in and twisted around the bar and was greeted by a confusing mass of what may have been a giant metal beam shoved into a styrofoam base directed at a wall of sheet metal. This piece was over my head in so many ways. Even farther back through the show I was happy to find two large scale prints. I really enjoyed one of them, it was a beautiful composition that had a quilt feel. There were also some nice wall sculptures and a huge book like steel sculpture as well. There was an overwhelming theme of blank comics. Since I have never been to David Lusk before I didnt know if it was uncommon for their not to be titles on the walls near the work. I really would have enjoyed knowing the media that some of the work was created with. It was confusing, but interesting to see sculpture meshed with two-dimensional imagery so well.

Wednesday, September 7, 2011

Assignment 2: Professional Practices


Last week in my Professional Practices class we all gave presentations about the kind of art we make. I put together a slide show of my art that I have made throughout my time in college so far. My images were not the best, because I think after I have spent so much time and energy on a piece of art the last thing I am thinking about is getting a really nice photograph of the work. Which may be my downfall because I have really unprofessional images of all my pieces.
I thought everyone in the class did wonderful. It takes a lot to get up in front of a crowd of people and show your work and talk about the emotions you went through to create your work and essentially baring your soul to everyone in your audience. I wish I could have just listened to all of them talk for hours about the hows, whats, and whys of all of their pieces. Everyone in the class is involved in such different mediums and they use them in so many different ways.
The main issues with most of the presentations was the image quality. It was true for myself that I had some of the poorer images of the class, and yes maybe I did shoot a few of my pieces with a camera phone, guilty. There was also an issue with using the program preview on the computer and skipping through images and going back and forth, and also playing with the mouse so the preview toolbar would pop up on the screen. I did sit pretty close to the front so I could hear everyone pretty well, I know that some of the people who were sitting towards the back of the room did note that they had issues hearing some of the presenters.
All in all it was a great way to learn about the art that my fellow classmates make as well as learn some about their personalities and they ways they all present themselves. I really appreciated the opportunity to be able to listen and learn from these artists in my midst.

Ceramic Sculpture in Progress


I should probably be posting my paper about last weeks presentation, but I am kind of excited about the idea of this blog and I wanted to share what I have been working on in ceramics. I had kind of forgotten why I was a sculpture major, today reminded me and excited me about building more of these sweet torso figures that will soon be wrapped up with intestines( which I will either shellac or cast there is still a lot of experimenting to do)...but this guy got me going again. Thanks Clay.







Monday, September 5, 2011

Artist Statements.

http://youtu.be/3v8DbLWAXvU

^ I always think of this video when thinking about artist statements.


1.Dan Grayber (Poor)

Objects are invented in order to satisfy particular needs, specifically, human needs. With my sculpture I investigate the concept of need when the human is removed from this equation. I do this by replacing the human with the object itself. My sculptures are invented only to sustain themselves, functioning as self-resolving problems. The result is an object that has been invented only to compensate for the complications created by its own existence. The piece alone represents the need and the resolution.
Many of my pieces are small, spring loaded, mechanical objects. They are intricately designed and fabricated to accomplish one of the most simple, yet most essential tasks that an autonomous object can. This task, this need, is that of holding itself up. In most cases, my pieces accomplish this by actively attaching themselves to specific architectural features and individual objects.

http://www.dangrayber.com/index.htm



2. Leslie Holt (Poor)

Artist Statement

My recent work includes several series of paintings that weave inter-related experiences – including growing up with a mentally ill family member, pop culture and famous works of art. My work often displays an unsettling intersection of childhood and the adult world.
Hello Masterpiece
In my most recent “Hello Masterpiece (art appreciation)” series, I juxtapose the character, Hello Kitty, with famous images from art history. The paintings are postcard size, similar to those found in a museum gift shop. The famous paintings become pop culture icons akin to Hello Kitty, and the paintings’ appeal as take home sized objects reinforces their context as commodities in a market. In these paintings Hello Kitty is often taking a tour through art history and dressing up to “match” elements of the famous painting. Hello Kitty becomes a toy version of Cindy Sherman, capable of changing identities by transforming her outer appearance. However, her “toyness” and her obvious overlay on the image disrupt any illusion that she actually fits in the scene of the artwork.
In other images from this series, Hello Kitty is pointing toward social or political issues, such as war, genocide, or gender identity. I rely on her to charm the viewer into looking, but her innocent, playful appeal contrasts with the serious adult subject matter. With this contrast of adult and childlike content and these “high” and “low” cultural icons, I hope to elicit laughter and irony.

http://www.skinnyhippo.net/leslieholt/index.php




3.Kim Kauffman

ARTIST STATEMENT


My images are fundamentally about form and revealing the visual eloquence of my subjects. Photo-collage from multiple scans of original objects describes the process I began to use in 1998 to create two bodies of work: Florilegium and Collaborations. Cameraless images are as old as the photographic medium itself. Mine contribute to a tradition of botanical subject matter begun with Henry Fox Talbot’s Photogenic drawings of plant materials (ca.1830's) and Anna Atkin's cameraless botanical studies of British Algae (ca.1843).
My garden is the classroom in which I’ve developed my appreciation for and connection with the botanical world. My desire is to share what I have learned. Scanning my subjects renders them in fine detail that draws the viewer in to see the plants in a way that they haven’t before. Combining many scans with photo-collage allows me to create images that at first seem realistic but, upon closer inspection, are not really—plants and other objects combine in unexpected ways. I wish to draw the viewer into the image as a surrogate for the garden and to be stimulated by it on many levels as one would be in a garden/nature.
Perhaps, for us to conscientiously live in the natural world, we need more references to it in our lives—so that we may come to value it more. In our modern culture, inundated with self-reference, I seek to put forth more images of the natural world.

http://scannography.org/artists/Kauffman-Kim.html




4. Elaine Coombs

Blue Skies Exhibition

For the past seven years I have been exclusively painting the forest landscape. For each series, I choose a particular forest, either locally or nationally, and spend time there taking photos for my reference in the studio. This show was inspired entirely by Golden Gate Park in San Francisco, the first time I have painted this area. 
 
The mid-day ‘blue sky’ photographs from the park brought to mind the song of the same name - Blue Skies, popularized by Ella Fitzgerald. I was drawn to the optimistic sentiment of the lyrics that herald a positive future. Although some artists use the changing state of the environment as an example of all that is wrong with the world, I feel rather that it is important to emphasize and enjoy our natural areas as they are now. To allow these spaces to somehow balance the swift pace of our modern lives, and in doing so we will logically be inclined to keep them around. There is much peace available to us if we only seek it out and soak it in.
 
We are blessed in the Bay Area to be surrounded by many wonderful examples of natural beauty. Spaces where our hearts and our families can roam free, at least for a short while. The transformative nature of our forests is what I am interested in portraying – that intangible feeling of well-being. I liken the tree to a wise, old sage. One that knows the secrets of the universe so profoundly and completely that a person must only become really quiet in order to have this information transferred wholly into their being, as if it was flowing from the leaves themselves.
My painting style of juxtaposing dots of individual colors to create an undulating mosaic is both methodical and meditative. The pattern created with this palette knife application suggests movement and a flow of light and energy through the forest canopy. Developed over time, this technique is a natural evolution of the years I spent working in an abstract, exploratory manner. It has become my signature style along with the forests I paint.

http://www.elainecoombs.com/3/Asset.asp?AssetID=3445&AKey=8L35ATHQ



5. Saul Chernick


Artist Statement 2011

I have long been fascinated by Medieval and early Renaissance Woodcuts from Northern Europe. They represent the earliest examples of mass produced imagery in Western culture. Through blunt yet economical lines these images reduce the visual world into a glossary of graphic icons. The prints I created for the LESP merge the conventional idea of an icon as a representation of the sacred, with the modern-day, technological conception as an image that represents a specific file, directory, window, option, or program. Renaissance motifs commingle with the framework of the computer’s Graphic User Interface (GUI) to depict a series of portals. Just as the symbolism behind religious iconography grows more obscure over time, so too will the easily identified buttons, frames, and drop-down menus. How long will it take before the traits of past and present become indistinguishable to viewers in the future?

http://saulchernick.com/artist-statements

Sunday, September 4, 2011

Metals in Progress



After taking my first Metals class in Fall of 2009 and butchering my hands to pieces and breathing in metal dust till my lungs were most likely the sparkliest thing from here to West Memphis. I kinda in my head vowed never again...but here I am Fall of 2011 taking my second metals class. This time I am working my hardest to save my hands from tiny saw wounds and file scabs...although my nails are a lost cause even two weeks in.

The first week we were taught how to make hollow forms and were assigned to make rings. After searching through my brain and remembering the processes I had these guys down. For the first metals work I have done in two years I was pretty proud of these little guys.

( They have since been filed down and cleaned up some more..hints the in progress.)








Week 2 we are learning to do settings. These are some sweet stones in some even sweeter settings...I am still getting used to sawing in a pretty straight line. I will be making a couple more of these guys to get more in tune with these metals. It is very weird having these little metal contraptions that don't need solder....but still use fire. FIRE!..




I am still pretty worried about burning off all my hair.