Blue Space Gallery - "Open Theme", an international competition and virtual exhibition. Artists of all ages from around the world are invited to participate, with complete freedom in choosing their medium and style. All subjects and themes are welcome. Entry is free; only those artists whose submissions are chosen as finalists will be required to pay a $35 participation fee. Finalists will have their artwork showcased in the online exhibition and will advance to the final jurying round in consideration for cash prizes and the opportunity to win the grand prize of $1,000. Awards will be granted to those whose work demonstrates the greatest level of creativity and artistry.

Theme:

Open Theme: this competition invites artists to explore boundless expression without constraints, celebrating the freedom to innovate and express themselves authentically; this competition fosters a welcoming environment for diverse interpretations of openness, encouraging participants to transcend conventional norms and embrace their individuality through various mediums such as paintings, sculptures, digital art, and mixed media, thus inviting artists to not only push the boundaries of artistic convention but also to collectively celebrate the infinite potential of creative expression

EARLY ENTRY: August 3, 2024

Early entry is recommended; all applications received on or before August 3, 2024, will be automatically shortlisted as finalists, be exhibited in the online exhibition, and move on to the final round of jurying to be considered for awards.

NCECA 2025 Gallery Expo will occur in conjunction with the 59th Annual NCECA Conference on March 26–29, 2025, in Salt Lake City, Utah. The Gallery Expo will open with a preview reception on Tuesday evening, March 25, 2025, and continue through Friday afternoon, March 28th, 2025. The Gallery Expo is CLOSED on Saturday.

NCECA is dedicated to promoting inclusion, equity, accessibility, and diversity within the ceramic arts. Applicants for the Gallery Expo are strongly encouraged to submit a diverse list of artists representing historically marginalized communities and a variety of experiences, backgrounds, voices, and identities. This includes, but is not limited to, diversity in race, ethnicity, gender, gender identity, sexuality, disability, class, and age.

Representatives and artists from participating galleries will be scheduled to make brief presentations illuminating the creation process and the joy of collecting and using contemporary ceramic works by contemporary makers. The galleries involved create a unique opportunity to experience and purchase works that might not be available in the conference region.

Gallery Expo features displays of unique works in clay presented by galleries from across the United States and abroad. Works in this showcase may be functional, decorative, or sculptural and should be available for purchase by collectors. A committee will select the galleries to participate based on the quality of submissions and alignment with programmatic goals and objectives.

The goals of the Gallery Expo are to:

- Make contemporary ceramic art available for purchase at the heart of NCECA’s Annual Conference.

- Provide a point of intersection, exchange, and learning between artists attending the annual conference and galleries.

- Provide a space to appreciate and purchase contemporary ceramic art in the convention center hosting the annual NCECA conference.

PRICING AND PAYMENT

- NCECA Gallery Members receive discounted booth rates. If your gallery is not currently a member, please consider joining or renewing your membership. GALLERY MEMBERSHIP

-An NCECA Gallery Expo booth costs $3,790 for Gallery Members and $4,657 for Non-Members.

- Once accepted, NCECA requires a 50% deposit by Wednesday, September 25, 2024. The balance is due Wednesday, November 13, 2024.

- A Gallery Expo booth includes conference passes for FIVE gallery representatives. Representative names are due no later than Thursday, February 20, 2025,and must register themselves with the provided discount code no later than March 14, 2025. NCECA does not provide a reduced rate for additional representatives. Note: previously Booths came with three reps and the option to purchase two more. Now all five are included in the booth fee.

Light Space & Time Online Art Gallery announces an art call for the gallery’s 8th Annual “Patterns, Textures & Forms” Online Juried Art Competition for possible inclusion in the Gallery’s September 2024 online group art exhibition.

Both 2D & 3D artists (including photography & digital art), regardless of where they reside, are invited to apply to this competition by entering their interpretation of the “Patterns, Textures & Forms” theme. Artists are invited to submit their best representational and/or abstract art.

Best in Show winner will receive a cash prize. Winners receive extensive worldwide publicity and promotion.

Entry Fees: $18.00 for 1 to 2 entries / $26.00 for 3 to 5 entries. Early entry and art student discounts.

The deadline to apply to this art competition is August 27, 2024.

For further information and to apply online: https://lightspacetime.art/8th-patterns-textures-forms-art-competition-2024/

About Light Space & Time Online Art Gallery
Light Space & Time Online Art Gallery conducts monthly themed online art competitions and art exhibitions for new and emerging artists on a worldwide basis. It is the gallery's intention to help today's artists to successfully market their art to a worldwide audience.

Welcome to the 6th Annual Northeast Fine Arts Exhibition. We welcome artwork in Traditional Realism in the following 7 categories:
Oil Painting, Watercolor, Sculpture, Drawing/ Graphics, Acrylic (includes casein & egg tempera, Pastel, and Mixed Media.

Todd Casey will be the juror for the 6th Annual NEFAE.

ENTRY INSTRUCTIONS
1. Each artist may submit up to three pieces for this show.
2. All work must be originally conceived. Work created in an instructional setting is not considered original art.
3. Maximum H x W (including frame): 40 inches. Must be WIRED for hanging. NO SAW TOOTH HANGERS ARE ALLOWED.
4. Sculptural work must fit through a standard height, 36 inch wide door, weigh no more than 100 lbs, and if over 30 inches wide, must come provided with suitable display stands.
5. Artwork will be blind-juried for acceptance based on the criteria for this show using the image submitted with registration.
6. All Accepted work must be framed, wired, and ready to hang.
7. Accepted work can be hand delivered or shipped.

TERMS OF ENTRY
WorkShop13 will receive a 30% commission on all work sold. Art need not be for sale, but is encouraged.

Artists retain all copyrights to submitted images and represented artwork. By entering the competition, artists selected to exhibit grant WorkShop13 the rights to use the selected image(s) on social media, the web site, and printed materials for promotional purposes as well as the online show posted on the WorkShop13 website.

WorkShop13 will not be held responsible for the loss or damage of any artwork, and recommends all artists carry insurance sufficient to cover the full replacement value of their artwork. By submitting to this exhibition, each artist will be deemed to have concurred with this agreement.

Artists from all countries are welcome to submit their works for consideration. You are welcome to submit works in any medium. (painting, photography, printmaking, installation, sculpting, mixed media, poems, illustration, etc). The theme of the exhibition is OPEN.

The participation fee is £250 incl. VAT for 1 artwork (any size will be considered)

We also accept payments with Klarna, Afterpay/Clearpay and Revolut Pay, providing our artists with a range of payment options for their convenience.

The exhibition will be held in Le Marais, one of the most prestigious areas in Paris known for its concentration of galleries.

Event Schedule:

- Opening Night: September 13, 2024

- Public Exhibition: September 14 - 17, 2024

Address: 46/48 Rue Notre Dame de Nazareth, 75003, Le Marais, Paris, FR

The show is 5 day long with a private viewing hosted on Friday ,13th September from 19.30 - 22.00.

You should expect an open bar (wine) & professional photography & videography.

You may believe, as I once did, that to be able to become a professional artist you need to have attended a top art college or come from an affluent background. I am living proof that this is a fallacy. Through my professional art practice mentorship I will be detailing the practical steps you need to take to give yourself the best chance of sustaining a career as a full time artist.

I was an honouree on the prestigious Forbes ‘30 Under 30’ list 2023 and in 2022 I was elected to become a member of The Royal Society of British Artists. I have won multiple art prizes including The UK New Artist of The Year Award 2022 and The Hermione Hammond Drawing Award 2023.
I’ve been on the judging panel for the Signature Art Prize 2022, The Royal Society of British Artists Annual Open 2023 and the UK New Artist of the Year 2023. Being able to see the perspective of art prize judges has also offered me invaluable insights.

I had no guidance at the start of my career when I started exhibiting my work in 2015. In the proceeding years I often felt disillusioned with the industry and at several moments over the years nearly quit. Thankfully, I was able to somehow self motivate during my lowest moments and I was eventually able to realise what had and had not been working for me on my journey.

With the clarity of hindsight, I can now clearly outline the steps I took that have resulted in me being able to sustain a career as a full time artist since 2019. I know all too well that it can be frustrating knowing where to start or if you’re on the right track early on. The process of cultivating a professional art practice is too often spoken of in vague abstract terms lacking substance. The mentorship course will demystify the process of becoming a professional artist through three online sessions, where I will be providing detailed and practical advice from my own experiences.

The professional art practice mentorship will be in the form of three Zoom meetings, which will last around one hour with time allocated for questions at the end of each session. The spaces on the course are limited to a maximum of 16 participants.

The cost of the course, which is made up of three sessions, is £200 in total or £175 if you purchase by August 15th.

The course breakdown can be seen below:

Session 1: Building your Online Presence and finding opportunities.
-CV, Statement, Website ,Working with Online Galleries, Finding the right opportunities

Session 2: Becoming a Fulltime artist.
-Applying to open calls, marketing, Social Media, Mailing List & Cultivating relationships with collectors, selling work

Session 3: Being a Fulltime artist.
-Networking, Gallery Representation, Funding, Residencies, Self Employment

The course runs weekly, in a 3-week block occurring in September and October

September Cohort:
Session 1: September 2nd Monday 7pm (GMT)
Session 2: September 9th Monday 7pm (GMT)
Session 3: September 16th Monday 7pm (GMT)

October Cohort:
October 7th Monday 7pm (GMT)
October 14th Monday 7pm (GMT)
October 21st Monday 7pm (GMT)

Book here: https://www.habibhajallie.com/courses

“Terra Earth” - A Virtual Exhibition

Welcome to "Terra Earth" a global gathering named after the Latin term for "Earth".

Photographers from around the World are invited to share their passion for both nature and photography by participating in this virtual exhibition.

This exhibition is dedicated to illuminating and celebrating the remarkable grace of our planet.

Photographers are encouraged to showcase their creative interpretations of Earth's stunning beauty through various forms of photography. Whether depicting landscapes that reveal the vastness of our planet, intimate portraits of wildlife that highlight the intricacies of nature, detailed macro shots, breathtaking aerial views, serene underwater scenes, or any other captivating form of photography celebrating Earth's wonders, all are welcomed.

SELECTED PARTICIPANTS WILL RECEIVE:

- A Feature in an exclusive Online Virtual Exhibition launching in 2024.
- A complimentary PDF copy of the exhibition catalogue.
- A free Certificate of Participation
- Your photography will be shared on Instagram and permanently posted on @carlottaphotographygallery.

FEE:

A nominal fee of £15 will be applicable for 1 showcased artwork in the Virtual Exhibition.
Refund Policy: Please note that refund requests will not be accommodated. *I greatly appreciate your understanding, as these fees contribute to the logistical and operational aspects of organising a successful online exhibition.

How to Apply:

Submission is free!
Submit your application to [email protected]

Please include the following details in your submission:

- The name of the exhibition: “Terra Earth”
- Your full name.
- Your Instagram handle (so that I can follow you and share your photography!)
- A brief biography + Artist statement (up to 200 words).
- Artwork details: Title, size, year, and price (if applicable).

You can submit a maximum of 3 images for consideration.
Kindly submit your files in JPG format.

Contact Information:

For any questions, please contact me by email at [email protected] or find me on Instagram @carlottaphotographyuk
@carlottaphotographygallery

Thank you.

Kind regards,

Carlotta Olympia Pompei

Willapa Bay AiR, situated on 20 acres in coastal southwest Washington state, launched its residency program in March 2014. The Residency has been specifically designed, from the site selection to the architecturally specific building concepts, layouts, and materials, to combine the opportunity for solitude with the opportunity for daily community that fosters creative endeavor.

We offer month-long, self-directed residencies to emerging and established artists, filmmakers, writers, playwrights, scholars, singer/songwriters, and musical composers. The Residency provides lodging, meals, and work space, at no cost, to six residents each month from April 1 through October 28 of the year. Applications are evaluated by selection committees comprised of working artists and professionals in the applicants' respective fields of discipline.

Located in the heart of Barcelona, ​​Printmaking Barcelona has been, since 1986, an artistic studio for artists to develop their works in the field of chalcographic engraving. Using essential techniques such as monotypes, etching, aquatint, mezzotint, carbourundum among others. In recent years, we have introduced other printing or developing techniques such as screen printing, cyanotype, photoetching, linocut...

We offer the artist the possibility of working in a space dedicated to printmaking and arts in general, ​​surrounded by emblematic places of the city.

The main objective of the Printmaking Barcelona Resident Program is for artists (whether new or experts) to feel in a place that inspires them to carry out their work. Surrounded by a unique environment and with professionals with extensive experience who will guide them to achieve the best possible results in their works of art.

In addition to a space equipped with everything you need, we also offer training in the different techniques that we carry out when we opened the studio. It doesn't matter that you don't have experience, the important thing is that you want to learn.
At the end of the residency, we offer the possibility of selling the works through our virtual gallery, as well as publishing the work on our social networks.

The studio has all the necessary machinery and tools to work on engraving and printing techniques.

The Opulent Mobility 2024 call for art is now open! Please share your art that re-imagines disability as opulent and powerful.
Opulent Mobility challenges you to imagine a world where disability, mobility, and access are not merely functional, but opulent. In a time where COVID protections are being lifted but the dangers are still very real, what does opulent mobility mean? Share your art that re-imagines disability and true freedom of movement!

Opulent, adjective
1. Characterized by extravagant, ostentatious magnificence: lavish, lush, luxurious, palatial, plush, rich, sumptuous
2. Given to or marked by unrestrained abundance: Extravagant, exuberant, luxuriant, prodigal, profuse, riotous, superabundant
Collins Thesaurus of the English Language – Complete and Unabridged 2nd Edition. 2002 © HarperCollins Publishers 1995, 2002

Opulent Mobility is co-curated by A. Laura Brody and Anthony Tusler.
Deadline for submissions is August 31st.
Opulent Mobility 2024 will be at the Los Angeles Makery December 5-29, 2024.
We look forward to sharing your work with the world!

Accessibility features: art descriptions in text and in audio files, ASL interpreters at the opening and online artist talk, artists may submit digital files instead of shipping artworks, and submissions may be sent either through the online form or directly to the founder. Use the contact page on the website for more assistance.

Opulent, adjective

1. Characterized by extravagant, ostentatious magnificence: lavish, lush, luxurious, palatial, plush, rich, sumptuous

2. Given to or marked by unrestrained abundance: Extravagant, exuberant, luxuriant, prodigal, profuse, riotous, superabundant

Collins Thesaurus of the English Language Complete and Unabridged 2nd Edition. 2002 HarperCollins Publishers 1995, 2002

The focus of Bryn Du’s Artist in Residence program is to enhance local awareness and engagement in the arts by introducing new and varied artists to the Granville community throughout the calendar year. Equally important, the Bryn Du Artist in Residence program will provide an inspirational setting for the creation of artistic works by one artist at a time, of any discipline, over an 8 or 12 week time frame. While in residence, the chosen artist will reside in the Cramer House, the renovated laundry building designed for Artists in Residence, behind the Bryn Du Mansion. Artists may be in any stage of their career to apply and participate in a Bryn Du residency.

Residencies at Bryn Du are open nationwide for artists of all disciplines to apply including but not limited to those in the fields of visual arts, literature, music, theatre, fashion, dance, storytelling and audiovisual studies. Residencies are available in the Winter (January-March), Summer (June-August) and Fall (September-November). Upon applying, artists will specify which seasons they may be interested in and if they prefer an 8 or 12 week residency. The application window is open from June 1 through August 31 for residencies in the following calendar year. There is a $15 non-refundable application fee.

All Artists in Residence are expected to provide a minimum of 2 community engagement activities per month which will be agreed upon by Bryn Du and the artist prior to the residency. Examples might include a community poetry reading, performance on the outdoor stage, artist talk or gallery show. Bryn Du is open to lots of ideas and will happily work with accepted artists to determine engagement activities that are enjoyable to the artist, may advance his or her journey, and engage the community.

Edward Mitchell Bannister (1828-1901) was a prominent Black artist who was born in New Brunswick, Canada, and lived in Providence in the last decades of his life. He was the first artist of color to win a national art award when he received First Prize at the Centennial Exposition of 1876 in Philadelphia, and he went on to help build Providence into a New England cultural center, becoming a driving force in establishing the Providence Art Club in 1880.

The Bannister Community Art Project and Bannister Gallery at Rhode Island College are seeking professional artists to participate in and create new artwork for an exhibition that responds to Edward Bannister’s life and artwork. We welcome broad interpretations of the theme and a variety of artistic media.

An exhibition in the fall of 2025 will take place in Bannister Gallery and feature existing artworks and at least one new artwork from each participating artist. Artists that are selected will receive an honorarium of $1,000. Finalists will be selected by jurors and members of the Bannister Community Art Project Exhibition Committee.

Omi Art Gallery is excited to announce a new open call for our upcoming virtual exhibition, “Inside Out.” We invite artists from around the world to submit their works that explore the theme of “Inside Out,” delving into the depths of inner experiences and outward expressions.

Theme: Inside Out

The “Inside Out” exhibition seeks to uncover the intricate relationship between our internal worlds and how we express them externally. We are looking for artworks that capture the essence of introspection, personal identity, emotional landscapes, and the ways these internal states manifest in the physical world.

​

Who Can Submit:

• Emerging and established artists from all over the world.

• All visual art media are welcome, including painting, sculpture, photography, digital art, and mixed media.

BIPOC (Black, Indigenous, & People of Color) Residency is an extension of The Studio's Artist-in-Residence program. Through this dedicated residency, the Museum aims to assist underrepresented artists while actively fostering a culture and community of inclusion that promotes, respects, and celebrates diversity.

Artists spend five weeks at The Studio exploring new directions in glassmaking or expanding on their current bodies of work while using the immense resources of the world’s leading glass museum. Applicants who identify as BIPOC artists are welcome to apply for this residency and for our other residencies.

Artists will benefit from the just-completed Wendell Weeks & Kim Frock Residency Center, which features seven studios surrounding a light-filled lounge that will be a hub for creative exchange and connection among residents.

The Studio facility is equipped for furnace working, flameworking, kiln working, and cold working processes, and can support other glassworking and fabrication methods upon request. Transportation, as well as room and board, is provided to those awarded residencies. A generous supply budget and studio space are provided to each resident. Residents have access to the Rakow Research Library, the extensive collection of The Corning Museum of Glass, and expert Museum staff. A residency manager serves as a liaison to additional services in Corning and at the Museum.

Selected applicants are invited for a five-week-long residency during the year. During the residency, artists will make their own work and are invited to give a presentation about their artistic practice or process during a free public event in The Studio.

The Studio’s Artist-in-Residence program brings artists from around the world to Corning, New York. Artists spend focused time at The Studio exploring new directions in glassmaking or expanding on their current bodies of work while using the immense resources of the world’s leading glass museum.

Artists will benefit from the recently completed Wendell Weeks & Kim Frock Residency Center, which features seven studios surrounding a light-filled lounge that will be a hub for creative exchange and connection among residents.

The Studio facility is equipped for furnace working, flameworking, kiln working, and cold working processes, and can support other glassworking and fabrication methods upon request. Transportation, as well as room and board, is provided to those awarded residencies. A generous supply budget and studio space are provided to each artist. Residents have access to the Rakow Research Library, the extensive collection of The Corning Museum of Glass, and expert Museum staff. A residency manager serves as a liaison to additional services in Corning and at the Museum.

New Residency Times and Durations
As The Studio expands, so do opportunities for artists. The Studio is pleased to announce an extended residency period of up to eight weeks and year-round scheduling options for the Artist-in-Residence program. This longer residency has been designed to give artists the opportunity to spend more time working at The Studio, exploring the collection, and researching at The Rakow Research Library to accelerate their practice. During the residency, artists will make their own work and are invited to give a presentation about their artistic practice or process during a free public event at The Studio.

Application Information
To be considered as an Artist-in-Residence, please submit your application for the five-week, six-to-eight-week, or both residency periods along with:

10 digital images of your work
two letters of recommendation
a written proposal (including detailed information on your residency plans, necessary supplies, equipment, and assistants)
the best time frames for you to participate
a résumé
Please note, we endeavor to have two resident artists working at the same time and may request flexibility when scheduling.

Applications and all supporting materials must be received at The Studio by August 31, 2024, for residencies for the following year. Late submissions will not be considered. Selected applicants are notified in November, and the complete list of residents is announced annually in January.

This is a call for visual artists to apply for a five week virtual artist residency, resulting in solo installations which will transform unconventional film venues throughout the town of Columbia, MO, USA in a celebration of artists, films, music for the True/False Film Fest 2025.

We are looking for emerging and mid-career artists and encourage applications from artists who may identify as underrepresented in the traditional art world (BIPOC, LGBTQIA+, disabled, and parents/caregivers).

The virtual residency will provide our visual artists a platform for cultural exchange, networking, and creative exploration, allowing artists to connect and collaborate regardless of geographical constraints, culminating in an in-person exhibition of their art installations during the 2025 T/F Film Fest.

The goals of the residency:

Community and connection with the other residents, True/False Art Curation Team, and professional guest artists.
Providing information and opportunities to meet Curators and other professional Artists during the weekly meetings.
Final Exhibition of completed proposed Art Installations at the Fest.
What we offer our residents:

Weekly online sessions which include an artist speaker, professional practice tips, information specifically about T/F Film Fest, and additional individual meetings as part of the virtual Artist Residency.
Exhibition/Art Installation for the duration of the Fest (Feb. 27- March 2)
$1000 Artist Stipend for each Art Installation.
Additional shipping/travel and/or material costs up to $500. Costs beyond $500 will be covered by the artist.
Artist Pass to the Festival if you are attending (in person attendance during the Fest is not mandatory for the installation or residency).
Local Press and spotlight on our website and social media.
Expectation of our residents:

Attendance is required at each weekly virtual group meeting and one to two additional independent meetings with the Curation and Production Team (you must have access to a computer and ability to take part in weekly zoom meetings).
Active participation during group discussions and individual meetings.
Completion of Art Installation (ready for install and delivered) by February 21, 2025; installation will occur no later than Thursday, February 27, 2025 (install dates will depend on location) and deinstall will occur on March 3, 2025.

In 2025, the art & design theme for True/False is ALL THE TIME

We measure our lives in duration – seconds, minutes, hours – and whether we like it or not, the hands of the clock keep marching forwards. This year’s theme reflects our fascination with the framework of our existence – time. Time can feel circular, following motions and rhythms to remind us of the eternal recurrence – what has come before will come again. From ecological imprints to the inheritance of habits, we are constantly reminded that although we are in the present, the past is always with us. The Fest itself is a fleeting moment in the calendar and encourages us to embrace the ephemeral experience of coming together and make the most of every passing second.

Prompts

Remembrance of Things Past
Climate change countdown
Cyclical nature of time – night and day, seasons changing, routines
“four minutes and 33 seconds”
The Earth as an archive
Duration / Endurance
The Picture of Dorian Gray
Chronos or Kairos
Rituals to mark the passing of time
Inheritance / Intergenerational
Ephemerality, temporary, fleeting
How to live in the moment
Theory of relativity – a unified entity of space and time
History repeats itself
Shadows (for example, sundials)
Pivotal moments
A daily record – diaries, journals, calendars.

Our mission is two-fold: to offer artists the kind of professional support you deserve and to provide the public with interesting, accessible, inclusive, and professional art experiences, including performances, readings, exhibits, and workshops.

OUR COMMUNITY
Surel’s Place believes that artists should be supported at a level commensurate to the value you add to our individual and collective lives. We aim to give you the time, shelter, and professional support your work deserves. In exchange, we ask you to offer art experiences to our community. Garden City values artists and their work, and as a resident, you will be valued and appreciated for the energy, ideas, and dedication that you bring to our city.

OUR PROGRAM
The program is open to professional visual, literary, and performance artists: painters, writers, musicians, architects, filmmakers, and choreographers… any artist who needs a place to focus. However, because of the property’s limitations and proximity to neighbors, this is not a place that can accommodate loud or terribly messy processes, such as welding or blacksmithing.

We favor artists whose work is technically advanced, unique, attractive (need not be pretty!), and conceptually valuable. Work that is predominantly conceptual, that must be explained in order to attract a viewer, may not be met with as much enthusiasm by our jurists. In addition, because we ask our residents to interact with the public through one workshop and one final event, we welcome artists who desire to connect with an audience in these ways.

Additionally, each cycle, one of our five residencies includes outreach to local schools through our PARTNER Schools Program — another way we do our part to serve our community.

Surel’s Place offers month-long residencies in our one-bedroom home with a spacious studio for artists aged 25 and older to focus on their work and their creative processes. free rent free utilities free wi-fi modest living stipend of $100 per week $300 travel stipend use of well-maintained bicycles for transportation free or discounted tickets to art events and movies free marketing via our website, Facebook, targeted emails, online public calendars, and press releases free professional event hosting including catering, curating, and logistics.

Established in 2001, the Kimmel Harding Nelson Center for the Arts (KHN) is a renowned Artist Residency program that supports established and emerging visual artists, writers, composers, and interdisciplinary artists worldwide. Uniquely housed in a residential prairie-style complex in Nebraska City, Nebraska, KHN awards up to seventy residency awards per year and hosts 5 residents at any time. Residency awards are 2-8 weeks in length and include a weekly $175 stipend. In addition, residents receive their own private bedroom, bathroom, and studio.

The mission of the Creative Residency program at Bloedel Reserve is to foster creative thinking that is inspired by nature and that explores the connection between humans and the environment.

Selected artists and innovative thinkers are provided a three-week stay on the Bloedel grounds, with unlimited access to the Reserve’s 150 acres of sculpted gardens, forests, meadows, and wildlife habitats.

Established in 2015, the program has welcomed Creative Residents from a wide variety of disciplines, giving them the time to nurture their passions and deepen the connection between creativity, nature, and humanity.

Fusion Art invites submissions for the 10th Annual Figures & Faces art competition for an online exhibition during the month of September 2024.

For this competition, both 2D and 3D artists, worldwide, are invited to submit their best art and photography depicting the human form - both figures & faces. All artists, regardless of location or experience, are invited to submit their best representational and/or abstract art and photography.

Choice of a cash prize or complimentary one-year membership to Fusion Art's Members Gallery for Best in Show winners. Winners and finalists are provided with extensive worldwide publicity and promotion.

Entry Fees: $25 for 1-2 images / $40 for up to 5 images

Please visit https://www.fusionartps.com/10th-annual-figures-faces-art-competition-2024/ for full competition guidelines and to submit.

The deadline to enter is September 1, 2024.

About Fusion Art
Founded by Award winning artist, Chris and Valerie Hoffman, Fusion Art was envisioned and formed out of a passion for art and the artists who create it. The website promotes and connects new, emerging and established artists with collectors and art enthusiasts, while offering the opportunity to participate in art competitions, exhibitions and experiences.

100 West - Corsicana Artist and Writer Residency advances the production and presentation of new work and ideas by an international community of artists and writers by providing an arena of generous support and historic space.

This residency takes place fifty miles south of Dallas, Texas in the historic downtown of Corsicana. Two oil booms in the 1890s and 1920s produced an exuberant setting which declined in care and use by the late-20th century, alongside the general compromise of small-town America. Since 2012 alongside downtown rejuvenation, founders of this project have established a collection of sites – 100 West, Storefront, Anteroom, Writers House – and the Corsicana Artist & Writer Residency supports international creative work inside this architecture and narrative bridging the cultural and geographic American South and West. The Residency shares this work in programs for education, exhibition and publication to develop transformative dialogue with audiences near and far.

100 WEST is a former Odd Fellows lodge virtually unaltered since its 1890s construction, preserved and minimally furnished for intensely focused studio and living space, with pieces designed and built by founding artists in the first-floor wood shop. Across the street is ANTEROOM for window-front exhibitions, and two-blocks south is the Residency’s STOREFRONT for books and art. The WRITERS HOUSE accommodates alumni ten-blocks west of downtown.

Funding is extended to all accepted applicants and satisfies all studio and housing accommodations, following the paid $200 Administration Fee. Residents do not receive funding in the form of direct payment. Instead, funding is absorbed by the residency, and granted to residents by providing generous accommodations for studio and domestic space and residency programming. The value of funding per resident per two-month term is estimated between $4,000 and $6,000, depending on writer or artist studio accommodations and programing.
Accepted applicants who commit to a residency term are responsible for a one-time, non-refundable $200 Administration Fee paid to the residency before November 1, 2022. Residents incur no additional costs to attend.

Travel, meal and research expenses are not covered.

WSQ, FALL 2025
Issue Editors
ANDIE SILVA, York College and the Graduate Center, CUNY
SHEREEN INAYATULLA, York College, CUNY

Leah Lakshmi Piepzna-Samarasinha’s poem “Femme Futures” begins with an open-ended invitation: “Where does the future live in your body?”

This special issue of WSQ takes this question as the starting point to consider the ways in which the physical body (re)defines feminist scholarship, art, and activism in light of environmental, political, and global emergencies and transformations taking hold at the present moment.

The body can serve as boundary, as mediator, as connector. Yet, as Donna Haraway observes in “A Cyborg Manifesto,” the future of the body need not be constrained to dualities, and indeed “a cyborg world might be about lived social and bodily realities in which people are not afraid of their joint kinship with animals and machines, not afraid of permanently partial identities and contradictory standpoints” (43). This special issue therefore invites explorations of the many ways the body interacts with, responds to, and is informed by our material living conditions.

Our bodies determine how we navigate the world, how we engage with and perceive ourselves and others. Within the current paradigm of colonial exploitation, our bodies are sites of scrutiny, violence, commodification, racialization, policing, displacement, and strategic dehumanization. Bodies and labor are inextricably linked: physical abuses of laborers, overwork, perilous working conditions, and the absence of protections/support for pregnant and child-supporting individuals (to identify merely a few) are manifestations of this linkage. As we confront the ways in which the media and governing regulations predetermine which bodies are allowed subjectivity and which will be objectified or reduced to data points, a renewed feminist critique of the politics of bodies and personhood feels particularly urgent.

This special issue aims to explore the body marked by “intersectional” (Crenshaw) identities as a site of social and political violence but also as the vehicle for resistance, triumph, and “decolonial” (Tuck and Yang) justice. Herein lies an opportunity to reflect upon the demand Angela Davis puts forward in “Racism, Birth Control, and Reproductive Rights”: “What is urgently required is a broad campaign to defend the reproductive rights of all women—and especially those women whose economic circumstances often compel them to relinquish the right to reproduction itself” (356). With this call for papers, we invite contributors to annex Davis’s demand and imagine what kinds of futures are possible when we center our advocacy around the rights of Black and Indigenous trans, nonbinary, disabled, queer, working poor, displaced, incarcerated, and migrant individuals/communities and follow the guidance and leadership of the Global Majority.

Submissions might attend to questions such as: What does it mean to place physical bodies and embodiment at the center of feminist labor? What politics are at play when the body is seen, defined, counted, policed, touched, or modified? How is discourse/activism made more urgent when we place the focus on the bodies at work? What kinds of meaningful paths forward may be forged by thinking of human bodies in connection to/as extensions of flora and fauna? How do marginalized bodies survive/thrive beyond the strictures of late-stage capitalism? What strategies aid us in exposing/dismantling the very neoliberal discourses that mark our bodies as Other via race, gender, ability, class, location, and citizenship?

Topics may include but are not limited to:

embodied forms of labor

sex work; domestic work

body positivity movements

fat politics

disability and “carework” (Piepzna-Samarasinha)

reproductive labor and debt

bodily autonomy

reproductive choice and the nation-state

gendering bodies

embodied markers of class and caste

trans embodiments

racialized bodies (fictions/material realities of race)

incarceration; forced relocation

dualities of violence/harm, safety/comfort, legal/illegal, body/soul, body/mind

the body in/and location (indigeneity, immigration, identity)

body ecologies (land, water, air)

interrogation of the terms “untouchable”/“outcast”

body modification

beauty as commerce/currency

body Othering in sports and entertainment industries

the politics of hair

micro to macro (cells/DNA to celestial/cosmic bodies)

(unattainable) wellness as a commodity

physical and mental superpowers expanded/redefined/reimagined

body art

bodies and documents/documentations

age, aging, ageism

child and adolescent bodies

nonhuman animal bodies

fictions of the grotesque/carnivalesque

bodies as “data” (census, statistics)

technology, AI, cyborgs

death, dying, decomposition, rebirth, regeneration

critiques of living “bodies” as a racialized term

WSQ accepts submissions in all printable media, including academic articles, memoir, manifesto, literary fiction or other prose, poetry, and visual art. Especially encouraged to submit are scholars, artists, creative writers, and activists who themselves experience various forms of marginalization within nation-states in the Global North and Global South.

2025 Site-Specific Art Galleries - City of Auburn, WA

The City of Auburn is seeking artists and artist teams from the Pacific Northwest (Washington, Oregon, Idaho) who:

Can develop a site-responsive public art display for either the Art on Main Gallery or Vault Gallery exhibition spaces that will be on display for three-month periods over the 2025 year.
Can successfully and fully activate a window-front space that is visible to the public 24/7 or a small indoor visitor-accessible gallery space
Is an experienced artist seeking a unique location to exhibit artwork.
Can create innovative artwork to engage the community and activate downtown Auburn.
DESCRIPTION
The City of Auburn, Washington, seeks applications from regional artists to install 3-dimensional or multi-media art installations in two site-specific gallery spaces in downtown Auburn: the Art on Main Gallery and the Vault Gallery. Both spaces provide a $1,000 artist stipend to support the creation of new work and site-specific projects, or the installation of existing work.

The deadline for this call is: September 5, 2024 at 10:59 PM (Pacific Time)

ELIGIBILITY

Any individual artist or collaborative artist team in the Pacific Northwest (Washington, Oregon, Idaho) may apply.
Past participants of Art on Main are welcome to reapply.
TIMELINE

Application deadline: September 5, 2024
Notification of accepted artists: October 2024
Four time slots for the 2025 year:
January – March
April – June
July – September
October – December

SELECTION CRITERIA
The review process is competitive and the review panel will be looking for a diversity of offerings. All applicants will be selected based on the following criteria:

Artistic excellence as submitted in work samples.
Strength, creativity and originality in concept, material implementation, and engagement with the site as described in proposal.
Ability to create innovative and dynamic work that would engage passers-by.
Be comfortable exhibiting work in a space that is locked and secure but is not humidity or temperature controlled and may encounter direct sunlight.
PROCESS

Phase One

Submit application by 10:59 PM Pacific Time on September 5th, 2024
Applications are reviewed annually by a rotating jury consisting of: artists, arts professionals, employees of the City of Auburn Parks, Arts & Recreation department, City of Auburn Arts Commission members, or representatives of neighborhood art groups
Applicants notified of results in October 2024. Selected artists move on to phase two.
Phase Two

City of Auburn art staff works with selected artists to discuss proposal and schedule their installation.
Artists submit a more detailed proposal for the specific project at least one month before installation. The proposal will then be reviewed and approved by City of Auburn art staff.
Phase Three

Artist receives contract, and begins installation on assigned date.
Artist provides ongoing maintenance as needed during the duration of the display.
Artist completes de-installation on assigned date.
SELECTED PARTICIPANTS MUST AGREE TO

Sign agreement/contract with the City of Auburn about installation plans and procedures.
Understand that the artwork displayed must be appropriate for the public realm.
Install and de-install their own work, understanding that they may have limited access to their space, as required for installation and de-installations.
Partner with the City of Auburn to market and promote the exhibition. Exhibitions are publicized through city-generated press releases, gallery brochure, and the City’s web site at www.auburnwa.gov/arts.
Comply with all federal, state, and local laws.
Leave the space in the same or better condition when they move out.
Understand that initial stipend payment is made within 30 days after installation upon receipt of an invoice, and that payments cannot be made until contracts have been fully processed. A portion of payment is retained until deinstallation is complete.
Artists are encouraged to offer their works for sale, but are not required to do so. All sales are handled privately between the artist and the buyer. The City of Auburn does not take a commission on any works sold through the galleries.
STIPEND AWARD

Selected artists will receive a $1,000 award. The City of Auburn intends that this award will help fund the creation of the project or act as an honorarium for displaying works already created. Artists are responsible for all transportation, installation and de-installation of their work and might also be asked to do a short artist talk during the selected installation dates.

APPLICATION CHECKLIST

1) WORK SAMPLES

3-10 digital images that demonstrate the artist’s past work (required)
Images can, but are not required to, include drawings or mock-ups of the proposed installation idea (this can help the selection panel visualize your piece more effectively)
Artists applying as a team who have no examples of joint work in the past should submit 3-5 images of each artist’s work. Individual artists are recommended to submit 10 images.
File Format: Submit only “High” quality JPG files (do not use GIF, TIFF, or other formats.) Do not embed the images into PowerPoint or submit moving image or audio files.
Image Size: Images must meet the CAFE website standards
File Labeling: Files must be titled with the applicant’s last name followed by a number indicating the viewing order. Use a “0” in front of single digit numbers and use only letters, numbers, and underscores. For example: Smith_01.jpg; Smith_02.jpg. If using Mac OS 8 or later, be sure to include a “.jpg” extension at the end of each image title.
File Upload: In the online application, please upload your images in the order to be viewed.
3 online videos that demonstrate the artist’s past work (optional)
Please provide the exact web address(es) where the online videos can be viewed. The panel will view a minimum of 1 minute and a maximum of 3 minutes of each video.

2) WORK SAMPLE DESCRIPTIONS
Provide the following information for each image:

Title of each work represented in the image.
Media & dimensions (H x W x D”), if applicable, or description of activity.
Long description if needed. If work is presented as part of a collaboration, explain your role in the larger project (100 words/500 characters or less).
For videos longer than 3 minutes, note which 1-3 minute segment you want the panel to review.

3) ARTIST STATEMENT
Provide us with a brief artist statement to give us a sense of your work. Feel free to describe your work overall, or describe a past project or body of work. Please be as concise as possible.
(500 words/3000 characters or less).

4) PROPOSAL
Please write a brief statement outlining the work you would like to create or display if selected for the site specific gallery exhibition opportunity, either in the Art on Main Gallery or the Vault Gallery. We encourage proposals of sculptural or installation work that is dynamic, innovative and would show well in the space both day and night. The proposal should briefly outline the materials, concept, any necessary technical installation details or needs in terms of electrical, mounts, and plans of how to hang/display your work. (500 words/3000 characters or less).

5) RESUME (3 pages or less)

If submitting as a team/group, a current resume should be submitted for the contact person and all relevant team/group members.
Save as pdf and upload to CAFE in application form.
Name your resume file with your last name like this: “Smith_ Resume.pdf”

6) WHICH MEDIUM
Please identify which medium you could work in for a potential exhibition. Choose from the following list, you may choose more than one.

3-D
Video
Multimedia
Installation
7) WHICH GALLERY SPACE
Please identify which of the two site-specific exhibition spaces you prefer to be considered for, or both. The Art on Main Gallery exhibition space is viewable through glass windows on Main Street in Downtown Auburn and is visible 24 hours a day. The Vault Gallery is within a larger art center building, which allows visitors to enter the space and is visible during building open hours (dimensions are 9'W x 6'D x 7'2"H).

LEGAL WAIVER

Artists are required to sign an “Agreement to Exhibit” liability waver. The artist/artist groups agrees to allow the City of Auburn to reproduce and use submitted images and other submitted materials for the purpose of education, promotion and publicity of the 2024 exhibition programs and the 2024 schedule of events and programs. Submission of your application constitutes agreement to use the artists' materials in this way. Artwork displayed is at the sole discretion of City of Auburn Staff and content deemed not appropriate for public audiences will not be displayed.

NCECA’s Emerging Artists Fellowship program seeks to identify under-recognized artists doing extraordinary work in ceramic art and highlight them to an international audience. Nicki Green and Kathy King will join NCECA Director at Large Michelle Castro as the panel to select Emerging Artists through a review of statements, images, and support documents submitted for consideration. Emerging Artists will receive a $3,300 honorarium, provide articles to be published in the NCECA Journal, exhibit their work, participate in virtual programming, and present during the 2025 NCECA conference, Formation, which takes place March 26–29, 2025, in Salt Lake City, Utah. Exposure during the conference also includes participation in informal talks and special events. Additional opportunities for promotion may occur through other special programming.

NCECA believes that those creating work offering new/exciting/thoughtful perspectives on the ceramic medium, expanding upon genres of creative production and inquiry are qualified as candidates for its Emerging Artist Fellowship. An Emerging Artist may be at the early stages of receiving recognition for their work but is currently underrepresented through exhibitions or publications that might otherwise bring the work to wide attention. The intent of the fellowship is to recognize, cultivate, and amplify vital new voices of creative endeavor in ceramics, as well as to forge a longstanding relationship between NCECA and the community of recipients. The fellowship enables these artists to reach broader national and international audiences and impact discourse in the field.

Because the concept of emergence in the arts does not always correspond with a specific age, or other quantifiable terms, NCECA requires applicants to briefly describe why they perceive themselves to be at an emergent point in their careers and how they anticipate the fellowship will impact the trajectory of their endeavors. The review committee, at its discretion, may eliminate candidates considered to be beyond “emerging.”

ABOUT the JURORS:

Nicki Green is a transdisciplinary artist working primarily in clay. Her sculptures, ritual objects and various flat works explore topics of history preservation, conceptual ornamentation and aesthetics of otherness. She has exhibited internationally, notably in La Biennale de Lyon, Lyon, France, the New Museum, New York and Musée d’Art Moderne, Paris, France. Green is a 2022 Tiffany Foundation Award Winner, a 2022 Nancy Graves Foundation Grantee, and a 2020 ART MATTERS fellow. She earned a BFA from San Francisco Art Institute (2009) and an MFA from UC Berkeley (2018). She is an Assistant Professor of Ceramics at Alfred University.

Kathy King is an active studio artist in the Boston area, an instructor, and the Director of the Ceramics Program and Visual Arts Initiatives at Harvard's Office for the Arts. Before returning to Boston in 2008, she was an Associate Professor at Georgia State University in Atlanta, GA. She earned her BA in Studio Art with a major in Ceramics from Connecticut College, New London, CT, and her MFA from the University of Florida in Gainesville, FL. She has given workshops and lectures at over eighty-five colleges, schools, and art centers throughout the USA. The National Council on Education for the Ceramic Arts featured King as an Emerging Artist in 1999, a Demonstrating Artist in 2002, a co-juror with Mark Burns for the 2012 National Student Juried Show, and a lecturer and panelist on multiple occasions. She was awarded a Brother Thomas Fellowship by the Boston Foundation, Boston, MA, and a Craft Schools US Residency to the Shigaraki Ceramics Cultural Center. Other residencies include the Archie Bray Foundation in MT, the Watershed Center for Ceramic Arts in ME, and Winter Residencies at Penland School of Crafts, NC. She currently hosts the podcast “For Flux Sake."

In its 64th season, Bucks County's longest continually running art gallery will hold its 10th Juried Art Exhibition during four weekends beginning October 12th with a gala opening on Sunday, October 13th - 1:00 to 5:00pm.

WomensWork.Art is pleased to announce that we will be hosting 'The Last Breath' at our gallery space, located in Downtown Poughkeepsie, NY. This exhibition will be exploring the theme of Death, Momento Mori and Honoring the Dead through Art.

*More information and additional programming will be announced at a later date*
Prospectus:
This Call for Entries is open to women, femme-identifying or non-binary people. We are accepting submissions from artists who are living in the United States.

Entry Fee: $30 for up to three (3) works submitted, and $10 for each additional submission (maximum up to five (5) pieces per artist). All submissions must be made through our Call on EntryThingy. We will not be receiving unsolicited submissions through email or in person. No late submissions will be received after the deadline date.

Artwork Dimensions: Maximum size for all submitted artwork is 36 inches on the longest side, or 2 feet diameter for all 3-Dimensional artworks

All visual art files have to be formatted as a .jpg or .png (max file size 20 mb, or 2,000 pixels on the shortest side). All audio visual and music files have to be formatted as an .mp3 or .mp4.

This exhibition will be featured as an in person exhibition as well as online, via the Gallery's website (www.womenswork.art).

Sales: All artists will be keeping 70% of their total art sales through this exhibition to help support independent artists during these economically stressed times. Payments will be made out to the artists either by check or electronic payment (PayPal).

Sales/Shipping: Womenswork.Art will be handling the sales transactions and paying Sales Taxes for all artwork sold in the exhibition. All commissions for sold artwork will be paid either electronically (PayPal) or by check.

Shipping artwork will be the sole responsibility of the Participating Artists, and will have to handle shipping costs and arrangements via Mail Carriers (USPS, FedEx, UPS, etc.) Womenswork.Art will not be held responsible for shipped artwork(s) that are delayed or lost en route to the gallery's provided address.

Due to continuing logistical delays with mail carriers during the COVID-19 Pandemic, Womenswork.Art will not be accepting submissions from International Artists for this show. Please make sure to allow selected artworks ample time to get to the gallery's provided address in order to be installed in a timely manner. Artwork(s) that arrive late to the gallery will not be considered for installation within the exhibition.

Artist Statement: All artists have to submit an Artist Statement to accompany their work(s) submitted, reflecting on how the artwork fits into the theme and the background/inspiration behind the artwork. Artist Statements will be included in the online exhibition along with the Artists' info.

Marketing/Online Promotion: Womenswork.Art will market the exhibition heavily through public relations and social media. Artist contacts are welcome and encouraged. The Gallery will provide you digital tools and material to self-promote. Artists are encouraged to contribute to bring traffic to the gallery and potential sales with Artists' Talks, workshops, etc.

The 2024 Vincent Buckley Poetry Prize is seeking applications.

In 2024, the $15,000 award is offered to an Australian poet to Visit Ireland or Northen Ireland.

The Vincent Buckley Poetry Prize was established to commemorate the life and work of the late Vincent Buckley; poet, critic and Professor of English at the University of Melbourne. It is a biennial award that is offered alternately to enable an Australian poet to visit Ireland and to facilitate the visit of an Irish poet to Melbourne. The Prize, which has been made available through generous donations from family and friends of Vincent Buckley, provides the recipient with a return airfare, and a contribution towards living expenses.

DESCRIPTION:
"Joy is the antidote to hate, and love is the most important energy
that we humans have." –unknown
"I don't think of all the misery, but of the beauty that still remains." – Anne Frank

The exhibition ‘Joy’, hosted at Arc Gallery and Studios in San Francisco and curated by Priscilla Otani and Karen M. Gutfreund seeks art that reflects joy from a source that sparks pure delight. We are interested in seeing the ways in which you experience and capture the idea of joy through things you see and do every day. The works can range from realism to conceptual to abstract. This exhibition intends to share a diversity of euphoric experiences and the effects of positive emotion on the body. Joy can bring catharsis, build resilience and bring people together. This deliberate turning to joy is not a shying away from the reality of sadness, pain and distress—instead, it is about drawing on a deep sense of joy at the known and unknown, linking thankfulness and hope. Reclaim the joy of artmaking by tapping into one’s inner child. Display moments of contentment you’ve experienced or witnessed. We ask artists to answer the question—what does happiness means to you in the here and now, and provide a window into a personal source of peace and pleasure. We intend to create an exhibition of contemporary works produced by artists who aim to engage the viewer emotionally. As in life, sorrow and happiness are intertwined in art. Please submit works related to the theme of JOY as you experience it.

JURORS: Priscilla Otani, Arc Gallery Principal Partner and Karen M. Gutfreund, Karen M. Gutfreund Art

Priscilla Otani is founding partner of Arc Studios & Gallery in San Francisco, Board President of the Northern California Women’s Caucus for Art (NCWCA), and art curator. As partner of Arc Studios & Gallery, Otani has focused on showcasing and promoting emerging and established artists in the San Francisco Bay Area. Since 2010, Arc has exhibited more than 500 mostly local artists, provides studio spaces for 14 local artists, and houses two micro-businesses. Founded in 1973, NCWCA has an activist mission in support of women in the arts and its membership includes artists, art historians, curators, gallerists, art educators and students. As Board President, Otani prioritizes the continuation of NCWCA’s successful programs such as the mentorship program, curatorial tours, activist exhibitions, and professional development as well as building collaborative opportunities with Bay Area businesses. As curator, Otani has produced local, national and international exhibitions through Arc Gallery, NCWCA, National Women’s Caucus for Art, and the Pacific Center for the Book Arts. Otani received her BA in Psychology and Asian Studies from Mills College in 1974 and MA in Japanese Literature from Columbia University in 1976.

Karen M. Gutfreund is an independent curator, consultant and artist with a focus on feminist and social justice art. She has worked in the Painting & Sculpture Department at MoMA, Andre Emmerick Gallery, The Knoll Group, John Berggruen Gallery and the Pacific Art League. She served on the board of the Women’s Caucus for Art, the Pacific Art League and the Petaluma Arts Council. She was the National Exhibitions Director for the Women’s Caucus for Art, curator for UniteWomen.org, is a member of ArtTable, and the Northern California Representative for The Feminist Art Project (TFAP). She is a partner in Gutfreund Cornett Art, with the motto “changing the world through art”. To date she has created over forty national exhibitions. Gutfreund has juried and advised on numerous exhibitions and is a mentor/advisor to emerging artists. She creates exhibition catalogs for artists, art groups and galleries around the country. She has a BFA in Photographic Design and a BA in Art History, and a MA (pending) from New York University. Lastly, Gutfreund is a practicing artist and has exhibited extensively around the country. Gutfreund has lived in all four corners of the United States and is currently at her ranch outside of Yosemite in the Sierra Foothills.

ARTWORK MAXIMUM SIZE
2-Dimensional Work: Height 60 inches, Width 40 inches - including frame
3-Dimensional Work: Must fit pedestal sized 16 inches x 16 inches or take up no more than 4 feet of gallery floor space.

ARTWORK PRESENTATION
Artworks must arrive ready to hang and be presented professionally. Framed artwork must use wood frames in black, white, or natural wood finishes, or metal frames in black, grey, white or natural metals finishes. No color mats. No glass, plexi only.

ARTIST STATEMENT
Provide a statement about how your work relates to the title of the show.

IMAGE SPECIFICATIONS
Submit JPG images sized approximately 4 inches wide x 6 inches high at 300 dpi resolution. In order to upload successfully, your image must be at least 1200 pixels wide. The maximum uploadable file size is 8 megabytes. High-resolution images are requested for catalog production and printed publicity of accepted works. Works displayed on-line will be reduced to web-standard low resolution by Arc. All images must be submitted in RGB color mode. You will NOT be able to upload images in CMYK. Your JPG file name must be Artist's Last Name, under-score, and Title. Example: Smith_ScratchMarks2.JPG. You may upload up to three additional views per piece if you have a difficult-to-photograph work such as sculpture or artist's book.

NON-REFUNDABLE ENTRY FEE
Payment of $35 per entry. An entry consists of one to three submissions of images. A maximum of two entries per person is allowed. Credit card payment through Paypal only. You do not need a Paypal account to pay through Paypal.

NOTIFICATION TO ARTISTS:
Monday, October 7, 2024. All artists who have submitted artwork will be notified by email. You will receive notification even if no artwork has been selected. If you do not receive notice by April 8, please check your email spam folder and contact us.

HAND-DELIVERY OF ARTWORK
Wednesday, November 13, 2024, 5-7PM and Thursday, November 14, 2024, 11AM-1PM. Delivery must be scheduled in advance through Signup.com. IF YOUR ARTWORK IS ACCEPTED FOR THE ON-LINE GALLERY ONLY, YOU DO NOT NEED TO DELIVER YOUR ARTWORK.

SHIPPING OF ARTWORK
All shipped artwork must be received between Monday November 4 ? Friday November 8, 2024. Shipped works will be shipped back by Friday, June 14, 2024. Artists are responsible for the cost of shipping. Work must be accompanied with a UPS or FedEx prepaid return label or it will not be exhibited. Put an envelope inside your box titled 'return envelope' with the return label. Include any special hanging instructions. The maximum shipment weight including packing materials and crate must not exceed 40 pounds. Work must be sent in reusable packaging with no styrofoam packing peanuts. Glass or ceramic sculptures and other fragile works must be double-boxed and sufficiently padded to prevent damage in transit. Arc Gallery is not responsible for damage caused in transit.

INSURANCE AND LIABILITY
Artwork is insured only while on the premises of Arc Studios & Gallery from November 13, 2024 to January 12, 2025 and according to the terms of our fine arts insurance policy. The coverage is limited to 50% of the selling price of the artwork, cost of repair or replacement cost (whichever is less) up to a maximum of $5,000.

PICK-UP OF ARTWORK
Saturday, January 11, 2025, 3-4 PM and Sunday, January 12, 2025, 11 AM-1 PM. Pick up must be scheduled in advance through Signup.com. Artwork left behind may be subject to a late fee of $50 per day and/or discarded by Arc Gallery.

SALES OF ART
60% of the sale will go to the artists, 40% of the sale will go to Arc. Items sold must remain on exhibit for the duration of the show.
Arc will mail a check to the artist for any sold artwork within six weeks after the close of the show.

Since 1983, LMCC’s Manhattan Arts Grants have supported Manhattan-based artists, arts groups and community-focused organizations in accessing public funds for the presentation of rich arts activities with the public. These projects have been integral to the cultural vibrancy and arts-driven resiliency of Manhattan

With support from the NYC Department of Cultural Affairs, the New York State Council on the Arts, the Howard Gilman Foundation and the Upper Manhattan Empowerment Zone Development Corporation, LMCC’s Creative Engagement, Creative Learning and UMEZ Arts Engagement programs provide technical support to applicants and awards of up to $16,000 to enable hundreds of arts projects in all disciplines, serving Manhattan communities from Inwood to The Battery.

Our grants are often among the first awards an artist or group receives and can help recipients to leverage additional support from other sources. Recommendations for awards are made through a juried selection process comprising artists and arts leaders whose expertise reflects the cultural and creative diversity of Manhattan.

Princeton Arts Fellowships, funded in part by The Andrew W. Mellon Foundation, David E. Kelley Society of Fellows in the Arts, and the Maurice R. Greenberg Scholarship Fund, will be awarded to artists whose achievements have been recognized as demonstrating extraordinary promise in any area of artistic practice and teaching. Applicants should be early career visual artists, filmmakers, poets, novelists, playwrights, designers, directors and performance artists—this list is not meant to be exhaustive—who would find it beneficial to spend two years teaching and working in an artistically vibrant university community.

Princeton Arts Fellows spend two consecutive academic years (September 1-July 1) at Princeton University and formal teaching is expected. The normal work assignment will be to teach one course each semester subject to approval by the Dean of the Faculty, but fellows may be asked to take on an artistic assignment in lieu of a class, such as directing a play or creating a dance with students. Although the teaching load is light, our expectation is that Fellows will be full and active members of our community, committed to frequent and engaged interactions with students during the academic year.

A $92,000 a year stipend is provided. Fellowships are not intended to fund work leading to an advanced degree. One need not be a U.S. citizen to apply. Holders of Ph.D. degrees from Princeton are not eligible to apply.

Past recipients of the Hodder Fellowship and individuals who have had a sustained and continuous relationship with Princeton University are not eligible to apply. Those who have had an occasional and sporadic relationship with Princeton may apply.

To apply, please submit a curriculum vitae, contact information for three references (should the search committee choose to contact references, please do not request letters or have letters sent in advance of a request from the search committee), and work samples (i.e., a writing sample, images of your work, video links to performances, etc.). Please also submit a 750-word proposal that includes how you would hope to use the two years of the fellowship to develop your work, how you would contribute to Princeton’s arts community through teaching and/or production, and how you have encouraged diversity and inclusion and furthered accessibility in your artistic practice, teaching, and/or research.

Applicants can only apply for the Princeton Arts Fellowship twice in a lifetime.

Since its founding in 1907, MacDowell has imbued its spaces with a deep and abiding respect for artists and their creative work. In the 21st century, this fundamental kindness is sustained by the curiosity, generosity, and goodwill circulating within the resident community.
While MacDowell may be thought of as a place apart from the world, the resident population will always be comprised of individuals who are of the world. MacDowell strives to offer ideal working conditions for artists within a joyful and mutually supportive environment. Consistent with that mission, all Fellows are obliged to adopt the community agreement as a condition of accepting a Fellowship. Doing so will help ensure that all Fellows may participate in the enriching exchange that has given rise to countless friendships and collaborations.
Artists interested in applying for a MacDowell Fellowship will complete an online application found via MacDowell’s website. The application includes informational forms as well as a place to upload work samples. All details and requirements are found within the application.
Duration of residency: up to six weeks; the average stay is 30 days

Union Hall’s annual Rough Gems Curatorial Program showcases the work of three Denver-based curators or curatorial teams in a pop-up exhibition format. Each of the three selected curators/curatorial teams receives access to Union Hall’s space, budget, and additional resources in order to create a three-week pop-up exhibition with supplemental programming.

Innovate Grant awards (2) $1,800.00 grants each quarter, to one Visual Artist and one Photographer. In addition, (12) honorable mentions (6 in art and 6 in photo), will be featured on our website and join a growing community of vibrant and talented artists. Innovate Grant's commitment extends beyond the grant cycle by promoting the work of selected winners and honorable mentions into the future. For more information and to apply visit https://innovateartistgrants.org

Hidden, secretive, sexy black. Seductive, powerful, elegant black. Formal, prestigious, mysterious black. Step into the womb of night and bring on the noir! If your piece features dominant black—or simply features black in a prominent way—it is eligible!

Center for Book Arts awards 4 to 6 residencies to early and mid-career artists. We welcome applications from those with little to no background in book arts as well as those who have demonstrated a commitment to book arts as a key component of their artistic practice. Successful applications should show a developed body of work and describe what the artist hopes to gain from access to the Center’s facilities. This residency is intended for the exploration of artist books and book arts to expand one’s artistic practice, rather than for finishing a preconceived project.

The purpose of this residency is to support both early and mid-career artists by providing workspace, access to new techniques and equipment, and to diversify the community of artists working within the book arts in the New York area. This year-long residency includes a cash stipend of $1500, tuition waiver for up to $6000 in courses offered at CBA during the residency period, and 24-hour access to CBA's printing and binding studios in Manhattan. Artists-in-Residence are expected to actively utilize the studios, regularly attend public programs at the Center, participate in quarterly BookTalks, and participate in a group exhibition following the residency. Residents are provided with opportunities to speak publicly about their work, to collaborate with artists and poets, and to hold studio visits with visiting curators and artists.

Because this residency is focused on artists living and working in the 5 boroughs of New York, housing is not provided. On average, Workspace Artists-in-Residence spend 20-40 hours per week in the studios. The residency is not able to support collectives or collaborations at this time. The residency will run from early January until the end of the 2025 year.

Please submit:

Artist statement
CV (3 pages max)
10 images of work samples
Image List