The Arts of the Terrace Juried Art Show returns this fall, and it’s time for artists to apply.

This is the 44th year for the Mountlake Terrace tradition, which is sponsored by the city’s Arts Advisory Commission and Mountlake Terrace Friends of the Arts. The show will run Sept. 21-28.

Entries must be suitably finished and wired for hanging; no exposed glass or sawtooth hangers.

Paintings, Prints, Drawings, and Photography:
Framed work must not exceed 44 inches in height and 54 inches in width.
Gallery-wrap canvas must have edges finished (painted).
Wet paintings or damaged frames will not be accepted.
3-Dimensional & Artisan Works:
Hand carrying size.
Items deemed too fragile will not be accepted.
No on-site assembly is allowed.
Copies of other works, class work and commercially prepared kits will not be accepted.
Miniatures and Small Paintings:
Your frame and artwork may be any proportion that meets the following requirements: Artwork can be any size up to 5” x 5” (25 sq. in.). This includes unframed gallery wrapped canvases with finished sides.
Framed artwork must not exceed 8” x 6” (48 sq. in.). Unframed image size must not exceed 25 square inches. All artwork, framed and unframed, must be wired and ready for hanging.
Image must not appear to be part of a larger painting.
Miniatures and Small Paintings may be hand delivered or mailed by the delivery dates as noted in important dates section.
Mailing address is:
ATTN: Marla French
Friends of the Arts
900 213th Pl SW.
Lynnwood, WA 98036-8608
Shipped artwork must include a pre-paid return label

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.

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.

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 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.

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.

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."

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.

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.