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Thursday, November 29, 2012

2013-2014 Anne van Biema Fellowship at the Freer|Sackler


Applications for the 2013-2014 Anne van Biema Fellowship at the Freer|Sackler are due: 

December 15th  2012.

This is a great research opportunity for a scholar at any level whose work focuses on the Japanese visual arts.  For more information and application instructions, please visit the website:

Nancy Micklewright
Head, Scholarly Programs and Publications

Reference / Quellennachweis:
ANN: Anne van Biema Fellowship, Japanese visual arts. In: H-ArtHist,
Nov 28, 2012. <>.

Beyond Visual Differences: Art, Art History and Egyptology, Köln, 25 January 2013

Book of Flight, Khaled Hafez

Deadline for submission: Dec 10, 2012

A.R.T.e.s. galerie, a.r.t.e.s Graduate School for the Humanities, Cologne, January 25, 2013.

Within the framework of the exhibition: Khaled Hafez | Deciphering the Past within the Present

January 24 - February 28, 2013

A.R.T.e.s. galerie
Aachener Straße 217
50931 Cologne

In the current globalized world, we are surrounded and infused with all kinds of images loaded with different symbols and different significance from diverse sources and heritages. However, the intercultural distribution of images is not restricted to the present as the discussion on a “visual” or “pictorial turn” might suggest. Images refer to universal human experience which different visualizations depend on cultural and temporal contexts. Thus, images have always been culturally bound and therefore loaded with different meanings which cannot be analyzed and understood without knowing the underlying visual traditions.

The Egyptian artist Khaled Hafez explores these multi-layered image circulations by combining icons of contemporary popular culture with inherited symbols of a Pharaonic past. In his artistic oeuvre, Hafez refers to a collective visual memory and ironically relocates Ancient Egyptian gods in a capitalist consumer world. By doing so, Hafez alludes to dichotomies such as modern/traditional, local/global as well as secular/religious in order to debate their synthesis and development to “global symbols”. The current world of consumerism strongly operates with these dichotomies and conventionalizes them into seductive visual products. With its underlying humor and sensitivity, Hafez’ work challenges the viewer to reflect on the absurdity of this polarized thinking. The art of Khaled Hafez therefore counts for more than a mere repetitive retrospect on the past art heritage. It rather refers to current events and entails political statements directed at the present changes in Egypt and the Arab World. Through painting, video and installation, Hafez explores the different modes of narration in order to decode the „modi operandi“ of communication within images. In Hafez’ opinion, Ancient Egyptian wall paintings and modern mass media seem comparable to Jean Baudrillard’s Theory of Simulation. They both create an illusion and become a simulacrum of History.

On the one hand, the artistic oeuvre of Khaled Hafez raises broader questions on the particular position of the artist and the arts in a globalized world and on the other hand, on the general status and interdisciplinarity of the sciences. Hafez’ artistic reference to the past visual and written culture of Ancient Egypt alludes not only to the conception of a cultural visual memory. It also challenges one to think about the notion of identity of a “non-Western” artist, who - in the case of Hafez - invokes Ancient Egypt as part of his intercultural heritage. This multi-layered combination, deciphering as well as re-evaluation of images from different backgrounds - cultures as well as epochs - also poses a challenge for academic analysis, which shall be discussed.

The interdisciplinary symposium “Beyond Visual Differences. Art, Art History and Egyptology in an intercultural Discourse” shall serve as a platform for a stimulating and critical discussion of these raised questions and reflect the position of our own scholarly practice. The aim is to expand the confines of academic disciplines by using the interdisciplinary approach of the Visual Culture Studies – with a special focus on Art History and Egyptology (however other disciplines are welcome).

We thus propose the following themes:

-    Discussion of concrete artist’ positions: How do artists from Africa/the Middle East deal with their particular “cultural heritage”? What are the meanings of these artworks and how do these artists take a stand on a globalized art world? This also involves general issues of inclusion and exclusion of “non-Western” art in an international art discourse.

-    On a meta-level, a critical reflection on the academic disciplines shall be attempted, which is not only to stimulate a discussion on images from „non-Western“ cultures as defined by the Visual Culture Studies, but also to address the question of a “Contemporary World Art Heritage”. In this context, theses on post-colonial discourses can also be discussed.

The aim of the symposium is to promote an interdisciplinary exchange of ideas, to outline current questions of research and explore new methodological approaches. The symposium is an initiative of the A.R.T.e.s. galerie in cooperation with the a.r.t.e.s. Graduate School for the Humanities Cologne.

Contributions from Art Historians, Egyptologists and researchers in the field of Visual Culture Studies are welcome. The symposium will take place in Cologne on the 25th of January 2013.

Please send your abstract (1.000 words max) on one of the above-mentioned topics, together with a brief biographical note and contact details (in English or German) to:
Deadline: December 10, 2012.
Please note that your planned presentation should not exceed 25-30 minutes.

For more details on the exhibition and the symposium, please take a look at:

Interdisciplinary Symposium: Beyond Visual Differences. Art, Art History and Egyptology in an intercultural Discourse. A.R.T.e.s. galerie, a.r.t.e.s Graduate School for the Humanities
Cologne, January 25, 2013.

Khaled Hafez | Deciphering the Past within the Present Vernissage and Artist’s Talk: January 24, 2013, 6 pm. A.R.T.e.s. galerie, Aachener Straße 217, 50931 Cologne | 1st Floor

Concept | Katharina Stövesand, Judith Bihr
Communication | Judith Bihr
A.R.T.e.s. galerie Team | Judith Bihr, Katharina Stövesand, Sandra
Vacca, Francesca Valentini
A.R.T.e.s. galerie & a.r.t.e.s. Graduate School for the Humanities
Aachener Str. 217 | 1. OG
50931 Cologne

Reference / Quellennachweis:
CFP: Beyond Visual Differences: Art, Art History and Egyptology (Köln,
25 Jan 13). In: H-ArtHist, Nov 9, 2012.

Sunday, November 25, 2012

Dogwood Regional Fine Arts Exhibit Call to Artists

The Dogwood Regional Fine Arts Exhibition is now accepting submissions for the 2013 exhibit.

Artists from within a radius of 300 miles of Knoxville, TN may enter.

Fine art encompassing all styles and genres from both emerging and established artists will be selected by David J. Reyes, Curator of Exhibitions and Collections at the Huntsville Museum of Art in Huntsville, AL.

Virtually NO SIZE restrictions / special installation area specs at

Cash awards totaling $4,000.00 will be presented at the exhibit’s reception on April 5th, 2013.
Best in Show- $2,000.00, $1,000.00 Merit, $500.00 Merit, and two $250.00 Merit awards.
All awards are designated by juror and are final.

Our venue this year is the massive Emporium Center for the Arts at 100 Gay Street in downtown Knoxville. The renovated, historic building is the hub of the downtown arts community, and has over 4,000 sq. feet of gallery space on two over-looking floors.

The exhibit will run from April 5-25, 2013. Deadline for entry is February 21, 2013.

Please visit to view the prospectus.
We have on-line submitting this year, and it is easy!

2013 Mystery Build: October 20th, 2013 Deadline

The Challenge:

Create a work of art using ONLY the materials in a Mystery Build Kit. Upload photos and/or videos of what you make to compete for cash prizes. The theme for this year's contest is "Re-Invent a Work of Art."

The 2013 Mystery Build Kit contains 5 lbs of materials including:
  • Hardwood blocks and boards
  • 1 lb. Modeling Clay
  • Canvas board
  • Canvas cloth,
    50ft. Steel Wire
  • Sculpey Polymer Clay
  • Oak Plywood
  • Moldable Plastic Pellets
  • Floral Foam
  • Newsprint
  • Adhesives
  • Dowels
  • Rope, and 
  • More...
They may also use the cardboard Mystery Build box, the rulebook, the plastic bags, the wrappers, and plastic glue container as art materials. Entries can be decorated with paint and other liquids.

To enter, contestants upload photos or video of their creation to our website. A panel of judges will select the winners.

Entries are due by October 20th 2013, or anytime sooner. 

Visit to learn more about the contest.

Two Ten Footwear Foundation

Two Ten Footwear Foundation has awarded nearly $16 million to about 7,000 students since its inception in 1969. Annually, we help over 450 students nationwide meet the rising cost of a college education by awarding $700,000 in scholarships.

Two Ten offers two kinds of scholarships:
Higher Education Scholarships: These scholarships are offered to students affiliated with the footwear, leather or allied industries. Scholarship awards are based on financial need, academic ability and personal promise. Learn more >>
Footwear Design Scholarships: Unlike our traditional college scholarships, these scholarship opportunities are open to any student who is studying design with a focus on footwear.
Learn more>>

Jamaal Galloway
PENSOLE Footwear Design Academy
10 NW 5th Portland, OR 97209

Roswell Artist-in-Residence Program

The Roswell Artist-in-Residence Program was established in 1967 to provide professional studio artists with the unique opportunity to concentrate on their work in a supportive, collegial environment for a period of one year. This "gift of time" allow artists to work without distraction in an effort to break new ground and focus on individual goals. The Artist-in-Residence Program serves as a contemporary counterpoint to the traditional arts of the Southwest, reinforces the Program's interest in strengthening the vitality of art in New Mexico and has been a catalyst in broadening community understanding of modern art.

In-residence grants are offered to artists involved with painting, drawing, sculpture, installation, printmaking and other studio-based art making. Grants are not made in the disciplines of performance art or production crafts.

The studios are large, open spaces that measure approximately 25'x20'x10'. These areas are natural and florescent lighted and convertible to the artist's requirements within reason. The printmaking facility is a small, fully operational studio - basically lithographic/etching in nature.

Artists stay in a complex of six house/studios with central buildings (print, media, shop and common areas) and located on 40 acres of land. Each artist is provided with a house that can amply accommodate either a single person or a family. Rent, utilities (except telephone), repairs and maintenance costs are borne by the Program. Houses are fully furnished with major furniture items, appliances and utensils.

Because of the close proximity of the buildings and constant interaction of the residents, no dogs are allowed at the residency.

A stipend, or living allowance, of $800 per month is offered, along with $100 per month for every dependent living with the grantee. The Program will not be responsible for prior debt (or that incurred while under grant) or medical expenses. The cost of art materials will be borne by the grantee.

Since time is the primary gift of the RAIR Program, artists who apply for a RAIR Fellowship should do so with the intention of living at the residency for a full year. Artists not able to spend a full 12 months in residence should not apply. Artists with family members not interested in relocating for the residency should carefully consider their decision to apply. Resident artists are, of course, free to travel for sightseeing and for career related reasons during their residency. Again, the close proximity of the buildings and the setting of the residency necessitate a policy of no dogs, and artists with dogs should seriously consider what arrangements they will make for their dog(s) before they begin the application process.

Applications are for residencies that will begin approximately four, to as much as twelve months after the application deadline.
Next Application Deadline: April 1, 2013

Roswell (pop. 50,000) is a high plains community (3,560 ft. elevation) and the economic hub of rural southeastern New Mexico. It is roughly 200 miles from the nearest large city, including Albuquerque and Santa Fe. The economy is based on agriculture, ranching, oil and gas, light manufacturing and tourism. Public transportation is limited and some form of personal transportation is strongly advised.

Transportation to and from Roswell is possible by bus or commuter airlines service. Local and regional attractions include the Anderson Museum of Contemporary Art, Roswell Museum and Art Center, Bitter Lake Wildlife Refuge, Bottomless Lakes State Park, Carlsbad Caverns, White Sands National Monument, and the Ski Apache ski area.

Contact info
Telephone: +1 (575) 623-5600
Fax: +1 (575) 623- 5603

Hong Kong Baptist University Fellowship Programme

The Hong Kong Baptist University is pleased to invite applications/nominations for the program of University Fellowships. Under the program, a maximum of six Fellows will be invited to the University every year.

Aim: To strengthen and enhance research and teaching within the Institution and to foster research collaboration among local and overseas scholars.

Purpose: Fellows are expected to engage in research and other scholarly activities, jointly with colleagues of the University if possible, and to conduct public lectures in their areas of specialisation.

Eligibility: Eminent scholars from outside Hong Kong with distinguished academic achievements in the streams of Arts, Business/Economics, Chinese Medicine,  Communication, Science and Social Sciences may apply.

Tenure: From three to five months within a semester (1st semester: Sept to Jan; 2nd semester: mid-Jan to June).

Value: Stipend of HK$25,000 per month; reimbursement for a round-trip economy class airfare (of the shortest route) of up to HK$15,000; short-term medical insurance; and university housing (at 7.5% of stipend).

Application: No special forms required. Applications may be forwarded directly from interested scholars or by nomination from departments or research centres, with agreement of the scholars concerned.

Applications/nominees should provide:
  • a curriculum vitae;
  • a statement of proposed research & projects/subjects to be taught/seminars to be conducted;
  • indication of the date of proposed tenure; and
  • a letter of recommendation from the Head of Institution
CLOSING DATE: January 15 of each year (Applicants/nominees will be informed of the result within two months after the closing date.)

Office of the President & Vice-Chancellor
Hong Kong Baptist University Kowloon
Tong, Hong Kong

Tel : (852) 3411-7502
Fax : (852) 3411-7374

The Fine Arts Work Center, Provincetown, Massachusetts

The Fine Arts Work Center offers a unique residency for writers and visual artists in the crucial early stages of their careers. Located in Provincetown, Massachusetts, an area with a long history as an arts colony, the Work Center provides seven-month Fellowships to twenty Fellows each year in the form of living/work space and a modest monthly stipend. Residencies run from October 1 through May 1. Fellows have the opportunity to pursue their work independently in a diverse and supportive community of peers. A historic fishing port, Provincetown is situated at the tip of Cape Cod in an area of spectacular natural beauty, surrounded by miles of dunes and National Seashore beaches.

Program: Fellows are expected to live and work in Provincetown during the fellowship year. Optional group activities provide Fellows with the opportunity to meet program committee members as well as visiting artists and writers. The Stanley Kunitz Common Room is the site of frequent presentations by distinguished guests as well as readings by writing Fellows. Visual arts Fellows present shows in the Work Center's Hudson D. Walker Gallery. Visiting artists and writers engage in dialogue with the Fellows throughout the year. The Fine Arts Work Center also seeks to identify local and national venues for Fellows and former Fellows to share their work.

Facilities: Visual arts Fellows are provided with apartments and separate working studios of approximately 400 square feet of floor space. Additional facilities include a basic woodshop, a print shop with etching press and a large format digital printer. Writing Fellows are housed in two- to three-room apartments. The Stanley Kunitz Common Room is handicapped accessible, as are two living spaces and several working studios.

Applications for the 2013-2014 Visual Arts Fellowship must be completed and submitted electronically on or before 11:59 pm February 1, 2013. The application fee is $57. All applications must be submitted online. To submit your application, go to Applications will be available by November 15th, 2012.


The Fine Arts Work Center provides seven-month Fellowships to ten emerging artists and ten emerging writers each year from Oct.1 through April 30. Visual Arts Fellows are provided with a private, furnished apartment, a separate work studio of approximately 400 sq ft and a monthly stipend of $750. More information regarding the Fellowship program and our facilities can be seen in our ABOUT section.


The Fellowship is open to all emerging visual artists creating two-dimensional, three-dimension and time-based work. Applicants are judged on the quality of their work. The jury disqualifies applicants it deems to be already emerged. Tenure track professors in Fine Arts who are on sabbaticals are considered ineligible.

Collaborative teams may apply under one application and if selected they will only be awarded one Fellowship to share. Applicants who would like to apply as an individual artist as well as part of a collaborative team may do so if these two bodies of work are completely different and distinctive.

Artists must be in residence during their Fellowships. Absences may not exceed more than fourteen consecutive days or total more than thirty days during the seven-month Fellowship. Please consider any personal or professional commitments you have made or anticipate before applying. The Fine Arts Work Center welcomes family members and partners of Fellows during the Fellowship Term. There is one pet-friendly apartment available for a Visual Artist.

International applicants are welcome to apply. The Fine Arts Work Center actively seeks applicants from all backgrounds, and does not discriminate on the basis of race, creed, color, religion, national origin, sex, age, sexual orientation, marital status, ancestry, disability, HIV status or veteran status.


Our application does not require recommendations or artist statements. It entails a simple questionnaire, a space for listing artistic/professional experience and work samples. Any essential information about your work can be pasted into the description box upon uploading each work sample. Please do not list your name in your resume, description boxes, or in any of your work samples (including title and credit screens) or descriptions as the jury is anonymous, and applicants are identified by work sample ID.

Experience: You will be asked to paste a resume or brief list of artistic/professional experience of no more than three pages total. If your application advances to the final round the Visual Coordinator and Committee Chair will review your professional/artistic experience provided to confirm your eligibility.

Work Samples:

Applicants should upload the following:

IMAGES: 10 JPGS, (5MB maximum for each image)

up to 5 minutes total of video of time based work such as film, video and animation (maximum of 61 MB for each file; accepted formats are mov, wmv, flv and mp4). If you are submitting more than one work, we suggest uploading separate files due to size constraints.

BOTH: You may submit a combination of both images/video using the following equation 1 image= 30 seconds of video. (For example 6 image and 2 minutes of video)

Note: SlideRoom allows up to 20 work sample submissions because our selection entails multiple rounds. Only the first 10 work samples/5 minutes of video will be considered in the first round. If selected as a finalist you’re application you will have the opportunity to add more images/video and edit/reorder your portfolio.

Former or current Fellows who would like to apply for a Second Year should notify the Visual Arts Coordinator. Second Year applicants should upload the following:

20 JPG images, (5MB maximum for each image)

OR 10 minutes total of video of time based work such as film, video and animation (maximum of 61 MB for each file; accepted formats are mov, wmv, flv and mp4).

Or a combination of both using the following equation 1 image= 30 seconds of video. (For example 8 images and 6 minutes of video)


The fee for visual arts online submission process is $57 payable by credit card. This includes FAWC’s $45 application fee plus SlideRoom’s $12 usage fee.

Former or current Fellows applying for a Second year fellowship are only required to pay the $12 usage fee, paid directly to FAWC by cash or personal check.


All applicants will be notified via email whether or not their application has advanced to the final round in mid March. The finalists are then invited to supplement their portfolio on SlideRoom by uploading up to ten additional images/5 minutes of video. While these extra work samples are not required, applicants must resubmit their application online before April 15th for the final jury. All finalists who are selected as Fellows in the final round will receive notification in early May. Please contact the Visual Coordinator if you change the email address that you listed on your SlideRoom application.


Composition of Juries: The Visual Arts Committee Chair, with the assistance of the Visual Coordinator, enlists and instructs the Visual Committee members in the first jury round. Visual Committee members are practicing accomplished artists, including but not limited to former Fellows of the Fine Arts Work Center. The Visual Chair, the Visual Coordinator, and the second-year Visual Fellows serve in the first jury round.

For the second and final round of the jury, the Visual Chair with the help of the Visual Coordinator charges a three-person outside jury, which changes each year, to review digital work submitted by the finalists as well as digital work submitted by current or former Fellows trying for a second-year Fellowship. Only the Visual Chair, the Visual Coordinator, and the three jurors will be present when reviewing work for the final jury. The three jurors are responsible for the final selection of the Visual Fellows. The Visual Chair and the Visual Coordinator do not enter into or interfere with the final selection of the Fellows. Throughout the whole process the applications are reviewed anonymously, by applicant ID only.

First Round: In the first round, the Visual Arts Program Committee members will jury all digital applications in two phases:

Phase 1: In late February, the Visual Committee members will be divided into sub-committees to view online submissions over a two-week time span on their individual computers. The data from the Committee members will be collected and collated by the Visual Chair and the Visual Coordinator, and the applicant pool will be to roughly 150 applications.

Phase 2: The Visual Committee will meet as a group (alternating annually between New York City and Provincetown) in early March to review the remaining online submissions and cut the applicant pool to less than 50 finalists. The Visual Coordinator and Committee chair will review the resumes of all finalists to ensure their eligibility. Jurors who determine that a very close personal relationship with an applicant presents either an actual conflict of interest or the appearance of one must recuse themselves from voting for that applicant at the final meeting. The voting tally is then weighted to compensate the applicant for the loss of a potential source of votes, so that the recusing juror neither helps nor harms the applicant at issue.

Second Round: Finalists will be invited to supplement their portfolio on Slide Room by submitting up to ten additional images or up 5 minutes of additional video by April 15th. All applicants must login to Slide Room and re-submit their application whether they have changed their portfolio or not. Members of the Visual Committee will invite an outside jury of three professional artists to travel to Provincetown in late April to review the digital submissions of the finalists, and second-year applicants. The three jurors will select seven or eight first-year Fellows with five alternates, and two or three second-year Fellows with four alternates.

Second-year Fellows: All current and former Fellows who have not already won a second-year Fellowship are eligible to apply. Current and former Fellows trying for a second-year residency are asked to notify the Visual Coordinator of their submission and must submit their initial application to Slide Room by February 1st. Second year applications will not be juried in the first pre-jury round and but will have the opportunity to adjust their application for the final jury along with first year finalists, by April 15th.

Please direct all questions to:

Guest Artist Program Southwest School of Art

The Guest Artist Program offers ways for artists and non-artists to work together and connect through the process of creating a work of art. The Guest Artist Program is also an opportunity for artists to develop ideas that challenge assumptions about art by emphasizing creativity in daily life.

Selected projects will emphasize new and/or under-served audiences as well as collaborative and/or interdisciplinary approaches. Collaborations might include social service agencies, schools, health workers, government groups, or any other group or entity.

Two recent guest artist programs at the SSA were Audrey Niffenegger, author of the Time Traveler’s Wife and a well-regarded artist as well as author, led writers across the intersection of words and book art. Drew Cameron and Drew Matott led a collaborative project titled Combat Paper that used art as a way to help veterans reconcile personal past experiences and also broaden the community’s narrative around service, honor and the military.

Selected artists will receive a stipend of $1500, a materials budget, and access to studio facilities, equipment and tools, as well as housing and reimbursement for transportation. The projects should have a specific beginning and ending date.

Proposals for the Guest Artist Program will be accepted from any artist living in North America. All proposals must take into consideration the goals of the program.

To apply, please send a proposal to:
Director of Programs
Southwest School of Art
300 Augusta
San Antonio, TX 78205

Include in your proposal:
  • A current resume
  • 10 – 20 images of recent work
  • A one-page project description
  • Pertinent supplemental materials
  • 2 – 3 Letters of reference
Deadline: February 1
Notification: March 28

Yaddo Residencies

Founded in 1900 by the financier Spencer Trask and his wife Katrina, herself a poet, Yaddo is an artists' community located on a 400-acre estate in Saratoga Springs, New York. Its mission is to nurture the creative process by providing an opportunity for artists to work without interruption in a supportive environment.

Yaddo offers residencies to professional creative artists from all nations and backgrounds working in one or more of the following media: choreography, film, literature, musical composition, painting, performance art, photography, printmaking, sculpture, and video. Artists may apply individually or as members of collaborative teams of two or three persons. They are selected by panels of other professional artists without regard to financial means. Residencies last from two weeks to two months and include room, board, and studio.

January 1, for residencies starting May 1 of the same year, through February of the following year. August 1, for residencies starting late October of the same year through May of the following year. The application portal at is now open for the January 1, 2013 deadline.

Artists are eligible to apply once each calendar year – either January 1 or August 1, but not both. Late applications will not be accepted. Yaddo is no longer accepting paper applications. Artists working in all genres should go to for specific instructions on completing an application for residency.

Notification of results will be sent by postal mail March 15 and October 1. No information about results will be released before these dates. Artists living abroad may request results by e-mail after the response mailing date.

Artists who qualify for Yaddo residencies are working at the professional level in their fields. An abiding principal at Yaddo is that applications for residency are judged on the quality of the artist's work and professional promise. Yaddo accepts approximately 200 artists each year.

Yaddo encourages artists of all backgrounds to apply for admission. Yaddo does not discriminate in its programs and activities against anyone on the basis of race, creed, color, religion, national origin, gender, age, sexual orientation, marital status, ancestry, disability, HIV status, or veteran status.

All artists seeking residency at Yaddo must submit a complete application, including recent work samples. The criterion for repeat visit requests is the same as for first visits – the quality of the artist's work. However, preference is normally given to persons who did not visit Yaddo in the previous year.

There is no fee for residency. Yaddo's nonrefundable application fee is $30, to which is added a fee for media uploads ranging from $5 to $10, depending on the discipline. Application fees must be paid by credit card.

Residencies vary in length – the average stay is five weeks. The minimum stay is two weeks; the maximum is eight weeks.

Funds exist to provide limited financial aid to artists, based on need. Only individuals who have already been invited for visits may apply for financial assistance. Specific instructions and an application form are included with each letter of invitation.


Applications are considered by five independent admissions committees in the artistic disciplines represented at Yaddo: Literature, Visual Art, Music Composition, Performance, and Film & Video. Membership in these committees rotates frequently and the members are artists whose work is recognized and esteemed by their peers.

Five admissions panels consider applications to Yaddo in the following disciplines:

  • Literature, including fiction, nonfiction, poetry, drama, translation, and librettos
  • Visual Art, including painting, drawing, sculpture, printmaking, photography, mixed media and installation art
  • Music Composition, including instrumental forms, vocal forms, electronic music, music for film, and sound art.
  • Performance, including choreography, performance art, multi-media and/or collaborative works incorporating live performance.
  • Film & Video, including narrative, documentary and experimental films, animation, and screenplays
Applicants should apply to the Admissions Panel that best represents the project they wish to undertake should they be invited for a residency. Applicants may apply to only one admissions panel, and in one genre, at a time. Applicants with concerns about choice of panel should contact the Program Director before submitting an application.

Abbey Awards Fellowship and Scholarship in Painting

About the Awards

One of the studios (north view)
One of the studios (north view)
The Abbey Scholarship offers an early career painter a full academic year (October to June) at the British School at Rome.
The Abbey Fellowships offer mid-career painters three months at the School during the same period.
All living expenses are covered and stipends are paid. The Abbey Scholar will receive £700 per month and the Abbey Fellows will receive £800 per month. The Abbey Scholar will also receive a travel award of £100 established in memory of Rosa Lee who was a member of the Abbey Council until her death in 2009.
Candidates must decide whether they wish to apply for the Scholarship or for a Fellowship. They cannot apply for both.
The Incorporated Edwin Austin Abbey Memorial Scholarships were founded by Gertrude Abbey in 1926 to enable British and American painters to spend time at the British School in Rome. There has been an Abbey Scholar at the British School almost without interruption since then. The Abbey Fellowships (formerly awards) were established in their present form in 1990.
Artists' GalleryArtists' Gallery
An Abbey residency at the British School is an unique opportunity for painters to get away from the pressures of their everyday lives and work without interruption, with the added charm of living in and becoming familiar with the most fascinating city of the ancient and modern world.
There is Classical Rome, still part of the living city, the Catholic Rome of the Vatican and the many churches, Renaissance Rome, the Rome of Caravaggio and his contemporaries, and the Rome of the cinema.
But there are also the many attractions of modern Rome with its dynamic contemporary art scene, to which artists at the British School have ready access.
One of the studios (south view)
One of the studios (south view)
The Assistant Director, Fine Arts, is responsible for all the artists during their stay. He organises many visits to places of interest in Rome and excursions to other parts of Italy, some of them to sites normally closed to the public.
Artists are encouraged to talk about their work and are given the opportunity to put on studio shows, to which Italian critics and gallerists, among others, are invited.
There is a separate small gallery at the School, where exhibitions by resident and non-resident artists are held. Each year the British School publishes a Catalogue of artists' work and an Annual Report which also features the work of resident artists.

Am I eligible?

Abbey Awards are open to citizens of the UK and the US. Abbey Awards are also open to painters of other nationalities provided they have been resident in the UK or US for at least five years.
The Abbey Scholarship offers an early-career painter a full academic year (October to June) at the British School at Rome.
The Abbey Fellowships offer mid-career painters three months at the School during the same period.
There is no age limit.

How to apply

  • Download the information sheet from Application Materials and read it carefully.
  • Download and fill in the application form (following the detailed instructions in the instruction sheet).
  • Create a CD ROM with 8 jpeg images of your work (not PowerPoint or video clips).
  • Post the application form, CD ROM and a cheque, bank draft, international money order or postal order for £25 or US$50 made out to 
    E Abbey Scholarships to the address given.

Completed applications must arrive with the Administrator no later than 18:00 on Monday, January 14th 2013 (postmarked that date is not acceptable). US candidates must use postal methods that do not attract customs and other fees payable on arrival.
Applications may be submitted after October 1 2012.
Shortlisting will take place in London during early February 2013 and candidates will be notified whether or not they have been shortlisted for an interview by the end of February
Interviews will be held in London in the first half of March 2013. Candidates from the USA may be interviewed by telephone, but experience suggests that they have a better chance of success if they come to London for the interview.
Contact details for submission of applications and enquiries:-

Administrator, Abbey Awards
1 St Lukes Court,
136 Falcon Road
London SW11 2LP, UK

email:   web:

Friday, November 16, 2012

Publication by Clemson University Associate Professor of Art History, Dr. Andrea Feeser

The Materiality of Color

The Production, Circulation, and Application of 

Dyes and Pigments, 1400-1800

 Although much has been written on the aesthetic value of color, there are other values that adhere to it with economic and social values among them. Through case studies of particular colors and colored objects, this volume demonstrates just how complex the history of color is by focusing on the diverse social and cultural meanings of color; the trouble, pain, and suffering behind the production and application of these colors; the difficult technical processes for making and applying color; and the intricacy of commercial exchanges and knowledge transfers as commodities and techniques moved from one region to another. By emphasizing color's materiality, the way in which it was produced, exchanged, and used by artisans, artists, and craftspersons, contributors draw attention to the disjuncture between the beauty of color and the blood, sweat, and tears that went into its production, circulation, and application as well as to the complicated and varied social meanings attached to color within specific historical and social contexts.

This book captures color's global history with chapters on indigo plantations in India and the American South, cochineal production in colonial Oaxaca, the taste for brightly colored Chinese objects in Europe, and the thriving trade in vermilion between Europeans and Native Americans. To underscore the complexity of the technical knowledge behind color production, there are chapters on the 'discovery' of Prussian blue, Brazilian feather techné, and wallpaper production. To sound the depths of color's capacity for social and cultural meaning-making, there are chapters that explore the significance of black ink in Shakespeare's sonnets, red threads in women's needlework samplers, blues in Mayan sacred statuary, and greens and yellows in colored glass bracelets that were traded across the Arabian desert in the late Middle Ages.

The purpose of this book is to recover color's complex-and sometimes morally troubling-past, and in doing so, to restore a sense of wonder and appreciation for our colorful world. With its nuanced and complex depiction of how color operated within local contexts and moved across the globe, this book will appeal to art historians, social and cultural historians, museum curators, literary scholars, rhetoric scholars, and historians of science and technology.

Contents: Introduction: the value of color, Andrea Feeser, Maureen Daly Goggin and Beth Fowkes Tobin; Part I Color's Social and Cultural Meanings: Colorizing New England's burying grounds, Jason D. LaFountain; The extra-ordinary powers of red in 18th- and 19th-century English needlework, Maureen Daly Goggin; Coloring the sacred in 16th-century Central Mexico, Molly Harbour Basset and Jeanette Favrot Peterson; The expense of ink and wastes of shame: poetic generation, black ink, and material waste in Shakespeare's Sonnets, Mitchell M. Harris; 'Luscious colors and glossy paint': the taste for China and the consumption of color in 18th-century England, Vanessa Alayrac-Fielding. Part II Producing and Exchanging Pigments and Dyes: Seeking red: the production and trade of cochineal dye in Oaxaca, Mexico, 1750-1821, Jeremy Baskes; Red ochre, vermilion and the transatlantic cosmetic encounter, Jean-François Lozier; Indian Indigo, Padmini Tolat Balaram; The exceptional and the expected: red, white, and black made blue in colonial South Carolina, Andrea Feeser; Prussian Blue: transfers and trials, Sarah Lowengard. Part III Making Colored Objects: Glass bracelets in the medieval and early modern Middle East: design and color as identity markers, Stéphanie Karine Boulogne; The colorful court of Gabriel Bethlen and Catherine of Brandenburg, Éva Deák; The evolution of blackface cosmetics on the early modern stage, Richard Blunt; Crafts of color: Tupi Tapirage in early colonial Brazil, Amy Buono; Colors and techniques of 18th-century Chinese wallpaper: Blair House as case study, Elaine M. Gibbs; Butterflies, spiders, and shells: coloring natural history illustrations in late 18th-century Britain, Beth Fowkes Tobin; Bibliography; Index. 

About the Editor: Andrea Feeser is an Associate Professor of Modern and Contemporary Art, Theory, and Criticism at Clemson University, USA. Maureen Daly Goggin is Chair in the Department of English, Arizona State University, USA. Beth Fowkes Tobin is Professor of English and Women's Studies at the University of Georgia, USA. 

Reviews: The Materiality of Color is a remarkable collection of essays on the meaning of color as found in social and cultural contexts. While the aesthetics of color is duly taken into account, the focus is on color production-technology transfer, monopolies, labor regimes, and economies of exchange. The authors make clear that the substances of color production, such as arsenic, mercury, urine, and dung, are as important as the dazzling colors they produced. Blending the histories of technologies and commodities as well as cultural and literary history, the volume makes a distinctive contribution to understanding of the global context in which the modern world of color was born.Robert Finlay, Department of History, University of Arkansas.

Extracts from this title are available to view:

Prelims including full contents list


  • Imprint: Ashgate
  • Illustrations: Includes 45 colour and 16 b&w illustrations and 2 maps
  • Published: November 2012
  • Format: 244 x 172 mm
  • Extent: 390 pages
  • Binding: Hardback
  • ISBN: 978-1-4094-2915-9
  • ISBN Short: 9781409429159
  • Price : £65.00 » Website price: £58.50
  • BL Reference: 306.4'6-dc23
  • LoC Control No: 2012002949

Tuesday, November 13, 2012

2012 Travel Photography Scholarship to Oman with World Nomads & Nat Geo! in conjunction with National Geographic Channel are offering one talented individual the chance to be mentored by National Geographic photographer, Jason Edwards, one of the world’s leading wildlife and remote landscape photographers.

The scholarship recipient will go on assignment to explore the stunning landscapes of Oman from the historic mosques of Muscat, to remote canyon villages and rugged desert terrain by 4WD.

On assignment, they will have the opportunity to learn the ropes from a globally renowned Nat Geo photographer and find out why Oman is both the Arabia of Aladdin’s dreams and a modern society.

The winner of the scholarship will be flown to Muscat, Oman on Etihad Airways from their country of residence where they will join an 8-day trip with Peregrine Adventures and Oman Tourism. They will also receive a photographer’s dream kit to take on assignment, courtesy of Canon (which includes a Canon EOS 6D, 2 lenses, a PIXMA PRO100 printer and enrollment into the Canon Academy).

Applicants for the scholarship must shoot a series of photos (maximum of 5) that tell a story about a place they have visited and tell us about their photos and why they should be awarded the 2012 Travel Photography Scholarship to Oman.

All interested students should visit the Scholarship page for more information.

The deadline for entrants is January 14, 2013.
We would appreciate you forwarding this information on to your students and lecturers, and uploading the information to the appropriate section of your website as this opportunity is open to all students.

Who can apply
* This opportunity is open to any non-professional trying to start a career in Travel Photography - photography students or keen amateurs/pro-amateurs looking for a foot in the door.

* Minimum age 18 by the application deadline with a good level of physical fitness.

* This is a global opportunity - you may be a resident of any country.

* You should be an exceptional photographer with a lust for adventure, have a strong desire to be mentored and grow your photographic knowledge and skills, an ambition to forge a career in Travel Photography, and of course a desire to travel to Oman.

* Remember this is a scholarship, a learning experience, and therefore will not be suitable for professional or semi-professional photographers.

Am I eligible? What makes a non-professional?
We appreciate that the photography industry is difficult to break into and there are a lucky few who can count themselves as professional full time photographers.

This scholarship is very much about the mentorship opportunity, and the judging panel will be selecting the person or team who they feel will most benefit from the learning opportunity. So, if you currently make more than 25% of your income from photography activities, you are not eligible.

You will be asked to outline your experience to date in the submission process, and it will be the judging panel who decides who is most suitable based on their photos and written component.



The Gladys Krieble Delmas Foundation announces its 2013-2014 program of grants (predoctoral and postdoctoral) for travel to and residence in Venice and the Veneto. Grants will be awarded for historical research specifically on Venice and the former Venetian empire, and for study of contemporary Venetian society and culture. Disciplines of the humanities and social sciences are eligible areas of study, including (but not limited to) archaeology, architecture, art, bibliography, economics, history, history of science, law, literature, music, political science, religion, and theater.

Applicants must (i) be citizens or permanent residents of the United States, (ii) have experience in advanced research at the graduate level or equivalent, and (iii) if graduate students, have fulfilled all doctoral requirements except completion of the dissertation (but including acceptance of dissertation proposal) by December 15, 2012. Candidates for the British and Commonwealth Program are urged to contact Professor Julian Gardner, 44, Foundry House, Eagle Works, Walton Well Road, Oxford OX2 6AQ. Applications for the British and Commonwealth Program are due by April 1, 2013.

Applications will be entertained for grants up to a maximum of $19,900 for a full academic year. Grants for the maximum amount are rarely awarded, and successful applicants are frequently awarded less than the amount requested. Funds are granted primarily for research in Venice and the Veneto only, and for transportation to, from, and within the Veneto. Scholars who have already received and accepted a Delmas grant for work in Venice and the Veneto are eligible to apply for one-time grants of up to $3,000 (one month maximum), to work exclusively on Venetian materials in other European libraries or museums. The proposed research must be related to the previous Delmas grant. Applicants may not submit funding requests for both grants within the same year. Funds may also be made available for aid in the publication of studies made possible by Delmas grants.

Completed applications for grants must be received by the Foundation by DECEMBER 15, 2012. Grants will be announced by April 1, 2013.


CALL FOR ENTRIES: Harper College Small Works Exhibit

36th Annual National Juried Art Exhibition
March 25 - April 18, 2013

 Harper College Logo

The College's annual national juried exhibition highlights work selected from entries by artists from across the country. The show typically features a wide array of media ranging from photography and prints to painting and sculpture.

Download the 2013 Small Works Prospectus (PDF).

1/23/13  Postmark deadline for entries

2/28/13  Jury notification posted to website
3/11/13  Deadline for artwork to be received
3/25 - 4/18/13  Exhibition at Harper College
4/26/13  Return of works begins

For more information about Small Works, contact:

Juror for 2013 Exhibit
Staci Boris, Chief Curator, Elmhurst Art Museum in Elmhurst, Illinois, will serve as the Small Works 2013 show juror. Previously, Boris served as Executive Director of Art Chicago. She also served as Senior Curator at Spertus Museum in Chicago from 2004 to 2009, where she curated the inaugural exhibition, The New Authentics: Artists of the Post-Jewish Generation, and co-organized the exhibition A Force for Change: African American Art and the Julius Rosenwald Fund, producing major publications for both.

Boris served for 12 years as a curator at the Museum of Contemporary Art in Chicago, where she organized a series of noteworthy exhibitions including: the first U.S. retrospective of William Kentridge, the first survey of John Currin and the first solo museum show of Sarah Sze.

Ms. Boris holds an Master of Arts in Art History and Museum Studies from Boston University, and a Bachelor of Arts in Art History from the University of Wisconsin-Madison.

All entries will be judged from digital files. Submit up to three (3) digital files in jpg form on a CD (CDs only. We cannot accept e-mailed files.) The files must be 1600 x 1200 pixels
(minimum file size), high resolution (fine quality), with RGB color profile. The file name should read: Artist’s last name_First initial_number of image.jpg (example: Smith_J_1.jpg). Use a maximum number of 15 characters not including the jpg tag. Use letters, numbers and underscore only (no spaces or other characters). The number of each image must correspond to the number on the Entry Card and Identification Tag on the application. Do not type your name into the actual digital image. Do not apply a label to the submitted CD. CDs WILL NOT BE RETURNED.

All forms are available online at A nonrefundable fee of $25 entitles each artist to submit a maximum of three entries. Make check or money order payable to: Harper College Educational Foundation. Complete all the cards on the prospectus. Please type or print legibly. Retain the identification tags. Send fee, entry card and CD with digital files, postmarked no later than January 23, 2013, to:

Small Works
Art Department
Harper College
1200 West Algonquin Road
Palatine, IL 60067-7398

Selected artists' work will be on exhibit from March 25 through April 18, 2013, Monday through Friday, from 8:30 a.m. to 4:30 p.m. The Harper College Educational Foundation sponsors this exhibit.

Sunday, November 11, 2012

CALL FOR PAPERS: International Conference: War in the Visual Arts

Cork, Ireland, September 13 - 14, 2013
Deadline: Feb 14, 2013

An interdisciplinary conference will be hosted at University College
Cork, Ireland to bring together multiple perspectives on
representations of war in visual culture. It is intended that the
conference will lead to the formation of a multidisciplinary,
international scholarly community with its own calendar of events and
digital presence.

Speakers will include:
Dr Laura Brandon, Canadian War Museum
Dr Sabine Kriebel, University College Cork
Dr Éimear O’Connor, Trinity College Dublin
Dr David Woods, University College Cork

Topics may include but are not exclusively restricted to the following:
Art history, political and military history; social and cultural
history; religious history; discourse analysis; legacy, memory;
propaganda, the perspectives of colonial powers and the colonised in
the visual art; the perspectives of war artists, both as participants
in warfare and as official war artists; war trauma; Irish and
international perspectives on Northern Ireland.

The visual arts for the purpose of this conference will include the
fine arts, cinema, advertising, graphic design and photography (to
include photojournalism) and documentary.

We welcome all suggestions for the conference as well as offers to
chair sections and round-table discussions.

Abstracts should be no longer than 500 words, including references. It
will greatly assist the conference committee if proposals are as
concise as possible (e.g. fit on one A4 page).

The deadline for submission of abstracts is 14th February 2013.

Please address all initial enquiries to:
Ann Murray
Department of History of Art
University College Cork