Care is a ripple. From intimate to global, from self-care, care of family and lover, friend and neighbor, town and city, state and country, the global world, care undulates out to our whole island planet and every species upon it. To care is to look after, provide for, to watch over, to grieve, to lament, to cry, to feel concern, to attach importance. In a year of political turmoil, war, and environmental devastation, how wide can our caring arms be embraced? Who can we give care to? What can we care about? What can we watch over? What and who can we be careful about? Who is deemed worthy of care? What is appropriate care? When is care invasive? Should we care? Can we not care? Do we have that luxury? How can we give protective attention, caution, concern, and prudence? Can we extend care beyond our bodily, familial, national, species, and earthly borders? AiOP 2024 asks how art can create spaces and actions of compassionate fearless care. Can we offer and enter them with joy and love?

Art opens a space of empathy – an invitation to see through the eyes and heart and mind of another. An act of hope and imagination – art can help us dream new ways and new worlds into being. We invite you to imagine together how we can bring care to one another and our fraught and fragile world.

AiOP CARE invites artists, performers, agitators, and caretakers to enact notions of care along 14th Street NYC. We are looking for individuals, collectives, and collaborators, and those interested in collaborating with like-minded folks to design new team projects for the festival. CARE invites artists to offer stations of care across the festival, where all are invited to stop, to rest, to CARE.

Patricia Miranda and Christopher Kaczmarek are NYC-based artists, curators, and educators. Miranda is founder of the artist-run orgs The Crit Lab and MAPSpace, and works with donated, repurposed, lace and linens in site-responsive sculpture and installation. Kaczmarek’s work spans both experimental and traditional practices, including sculpture, site-specific installations, performance, video, built circuits and solar-powered objects.

Next group show at 4 Saint Mark's Place is COWBO^Y. We are looking for cool, contemporary works in this thene. Please submit some images to [email protected].

Summer in the City (Group Art Event - all works are 24 x 24 inches)
Space is limited - please email [email protected] now to receive all the details on how to participate in this art event.
Early Summer 2024 in the East Village

This event is free and only open to professional artists. Space is limited. Please RSVP. ​ We look forward to meeting you!

he Spring 2024 Franklin Sculpture Park Application process is now live | Submission Period April 1st, 2024 - June 1st,2024 9pm

The Town of Franklin is now accepting applications for the first wave semi-permanent/temporary sculptures to be installed at the Franklin Sculpture Park on Panther Way.
Exhibition period is 24 months.
There are no submission fees for applying.

Please click our PDF guide below for details on how to participate:

Follow along through our social media channels for updates @FranklinCulture #ArtsHappenHere

About the Franklin Sculpture Park | Described by Boston Magazine's Nathan Tavare's in 2020 article, "The town of Franklin manages this petite park, spreading out over just about an acre at the past site of the now filled-in old town pool, where you can now float around the 13 sculptures. Opened in 2014, the park’s gentle walkway curves around a pond, showcasing view of local wildlife and artwork, like the painted PVC pipes of “The Trees of Life” that rise from the water, and Buddy Olson’s giant welded steel bear named “Ursus.”

We now invite the next generation of artists to exhibit their work in our public park.

Have questions? Please reach out to the Town of Franklin's Arts, Culture and the Creative Economy Director, Cory Shea

In an inspirational setting removed from the distractions of daily life, CIAR’s Fall Residency Program offers visual artists focused time and a uniquely supportive environment to develop their work. On a small island off the coast of Massachusetts, CIAR hosts a group of twelve artists, who are invited to use the island itself as their studio. Living together in the historic Avalon Inn, the residents have uninterrupted time to become immersed in their creative process. Many use the time to reflect, learn from one another, and find inspiration from their costal surroundings. Residents build insight and camaraderie as they sit down to meals together, cooked by CIAR's wonderful chef.

In 2024, Duke Riley will deliver the Visiting Artist talk and Dr. Katie Castagno will join as our first Visiting Scientist, to create interdisciplinary dialogue and to explore Cuttyhunk through an ecological and climate-based lens.

Participants can select two options for their time on Cuttyhunk, with cost based on room choice:

Shared room for $1,950

Single room for $2,400 - $2,600

​

CIAR program costs include:

accommodation at the Avalon Inn (including all linens and towel). Read more here.

three daily meals prepared by our chef

visiting artist talk

access to Cuttyhunk Island, including use of golf carts at the Avalon

​

Participants are responsible for their own travel to and from the residency, including their ferry tickets and luggage from New Bedford, MA. Participants may need to spend the night in New Bedford to catch the morning ferry. Please take these costs into account when budgeting for the experience.

Participants can select two options for their time on Cuttyhunk, with cost based on room choice:

Shared room for $1,950

Single room for $2,400 - $2,600

​

CIAR program costs include:

accommodation at the Avalon Inn (including all linens and towel). Read more here.

three daily meals prepared by our chef

visiting artist talk

access to Cuttyhunk Island, including use of golf carts at the Avalon

​

Participants are responsible for their own travel to and from the residency, including their ferry tickets and luggage from New Bedford, MA. Participants may need to spend the night in New Bedford to catch the morning ferry. Please take these costs into account when budgeting for the experience.

Course Description
This workshop will focus on Portrait Painting Fundamentals. The instructor will demonstrate on day one how to Block-in directly on the canvas with the brush. No previous drawing or transfer is necessary. The painting will be developed in 4 Layer: Block-in, Underpainting, Form Pass and Over Passes. Diana will explain each step with demos and lectures, including the structure of the head, comparative measurements, color properties, Light and form. Students begin working on day one in the afternoon session after Diana’s morning demo. A long pose will serve the student to slow down and learn how to work from observation and achieve likeness and naturalism.

A fundamental part of the workshop will focus on understanding our palette and characteristics of color: Hue, Value and Chroma. Diana will lecture and demo at the beginning of the class, followed by individual critiques.

See detail schedule below:

Day 1: Direct Block in with Raw Umber on the canvas. Lecture on the Structure of the Head and Comparative Measurements in the morning. Students work in the afternoon, individual critiques.

Day 2: Diluted and abbreviated Underpainting using Raw umber and White. Demo in the morning. Students continue working on their block-in of necessary or begin the underpainting. Individual critiques.

Day 3: Form Pass with Color. Demo and Lecture on Color and Form in the morning. Students begin working in the afternoon. Individual critiques.

Day 4: Form rendering continues. Diana demoes alongside the students while they work in their paintings. Students work all day. Individual Critiques all day.

Day 5: Final day. Diana will explain how to come back to a painting to do the revision passes, including the Oil out technique, Palette knife scrapping, and sand paper technique. During the revision passes, the Over Passes are made as well, such as Glazings, Stumbling and Impasto. Diana will explain the differences of each one and their applications. Lecture and demo in part of the morning, students begin to work after the demo. Individual critiques.

Diana recommends using the Apelles or Limited palette and work on linen. Please see the the supply list.

This workshop is open to all levels of painting, however, a previous knowledge of drawing is strongly recommended.

Course Description
If you’ve ever wondered how you can make fully finished paintings of fleeting subjects (flowers which wilt, food which rots, etc.) then this is the class for you!
In this workshop we will focus on creating a fully resolved still life painting in a direct manner which will allow for improvisation in terms of our composition and also allow us to make fully finished paintings of subjects which may not give us a lot of time to work with them.

We will skip the initial drawing and underpainting which many of us are used to doing, in favor of diving right in and finishing each element as we go. During the course of the week we will discuss how to paint light and form, color mixing, paint handling and many other aspects of painting as well as discussing how to build a composition “on the fly” as we go.

Students will be able to pick their own subject matter for their paintings, and can choose to paint objects which will remain stable for the entire week, or can choose subjects which will change more quickly.

This course is open to all levels and there will be instruction geared towards beginners and advanced students alike.

One of the founding principles of PAAM was to promote and cultivate the practice and appreciation of fine art through holding exhibitions of those working and studying in the Provincetown Art Colony.

Course Description
If you’ve ever wondered how you can make fully finished paintings of fleeting subjects (flowers which wilt, food which rots, etc.) then this is the class for you!
In this workshop we will focus on creating a fully resolved still life painting in a direct manner which will allow for improvisation in terms of our composition and also allow us to make fully finished paintings of subjects which may not give us a lot of time to work with them.

We will skip the initial drawing and underpainting which many of us are used to doing, in favor of diving right in and finishing each element as we go. During the course of the week we will discuss how to paint light and form, color mixing, paint handling and many other aspects of painting as well as discussing how to build a composition “on the fly” as we go.

Students will be able to pick their own subject matter for their paintings, and can choose to paint objects which will remain stable for the entire week, or can choose subjects which will change more quickly.

This course is open to all levels and there will be instruction geared towards beginners and advanced students alike.

Course Description
In this week-long workshop students will aim to complete two drawings using the materials of
red, black and white pencils, graphite and charcoal. Dividing time between block in and
modeling stages students will hone their skills of accurate observation and conceptual
knowledge to convey both a physical presence and character of the model. A skull and ecorche
casts will be used to bolster the discussion of the architecture of the portrait and the
fundamentals of representation – character of the model, anatomy & structural conventions, and
form rendering.

With the aid of master drawings we will investigate the historical use of dry media, from the Renaissance to the 19th Beaux Arts, and discuss the use of material to evoke the hue variety and textures of life.

Chelsea will illustrate each stage of the drawing process with a demonstration, one to be completed in three colors and one in charcoal and graphite. Alongside demos students will receive one on one critiques helping them towards their independent goals.

In this two-day plein-air sculpture workshop, students will learn how to sculpt directly from nature in bas-relief.

In this course, artists will work outdoors to select their subject materials, which may range from individual botanicals such as florals, branches, and leaves, to multi-plant arrangements and landscape composition.

Working beside their selection, students will learn how to sculpt in low-relief by sketching their subject directly onto clay and building outward three-dimensionally in an alla-prima, intuitive style.

Instruction will include how to compose your subject matter within a defined space, organize depths according to an internal establishment of volumes and perspective, and utilize different textures and patterns to convey nature’s diverse forms. Students will learn how to edit nature’s infinite details into its most essential and striking components and capture the transitory nature of live botanicals. Consideration for artistic composition, surface texture and depth will be discussed. Demos on how to block-in a bas-relief, draw directly into clay and develop form will take place. Discussion will include the function of bas-relief as botanical study and as artistic three-dimensional records of the natural world.

Clay and wooden boards will be provided. Students will work outdoors, weather permitting.

Course Outline:

Day One:

Setting up your Bas-Relief

How to construct a clay base for bas-relief
Selecting your subject matter
Clay as canvas: drawing directly onto the surface plane
How to organize and establish depths
Day Two:

Refinement of forms
Essentializing nature’s multiplicities
How to describe visual and color differences through texture and composition
Addressing the challenges of working from life’s transitory stages