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Wednesday, July 31, 2013

CU Art Alum, Douglas Boyd Johnson, Selected by Robert Storr for Exhibition at the Creative Arts Workshop

Douglas Boyd Johnson, Combat Field; Skybox Pattern, 2013, Oil on Canvas, 12x16 inches 
Three of artist Douglas Boyd Johnson's Combat Field paintings were recently been selected for inclusion in the international exhibition How Simple Can You Get? by juror Robert Storr, Dean of the Yale University School of Art.   The exhibition was on view from June 28 until July 26, 2013 at the Creative Arts Workshop in New Haven, CT.  
Boyd received his BFA in Art from Clemson University in 2004. Boyd's statement about his work reads:
"In 1977 Atari released a video game entitled Combat. It was
a representation of war as entertainment. A representation of
colored fields. A display of random variation of color
combinations. It was active geometric abstraction. Distillation
of representation into simple bits of information. Tanks, fighter
jets, airplanes, walls, patterns, barricades, and clouds were
displayed in ever changing random color combinations. These
paintings are based on this game. I do not paint them as some
commentary on combat in the real world, rather as a means of
interaction with the game’s simplified combat as an arena in which
the subtle elements of color, pattern, endless variation on
simple compositions, and methods of representation of both
visible and invisible elements in the game play out.

"Combat employed a fascinating game play
device--invisibility. The momentary appearance of a tank when
it fires a bullet, and the immediate disappearance afterward,
reveals the colored field to be a veil. It becomes a veil that
divides visible from invisible. It is the medium through which
these two states of perception are able to interact, to combat
one another. It is this observation of the colored patterns and
fields as veils that interests me and served as motivation to
make paintings based on the logic of Combat.
The paintings are translating the video game and finding
what is gained and what is lost in the translation. Errors in the
transcription are sometimes kept, even accentuated to expose
the action of painting and thereby uproot something of the
purpose of the endeavor itself. It is my hope that the language
of Combat, simple though it is, may define the surface of the
paintings as veils and display the tension that exists when the
visible meets the invisible."

More of Boyd's work may be seen via his web site:

For more information on the:

Creative Arts Workshop

80 Audubon Street
New Haven, Connecticut 06510

Friday, July 19, 2013 is an evolving independent network of contemporary artists and their work

The goal of is to help promote the professional pursuits of the artists within the community. The resources on the website will always be free and evolving, and aimed at making significant contributions to the professional reach of the artists on the site, and to the field itself. The website will always strive to be a direct and unobtrusive conduit between viewer and artist.

By compiling the work of many different artists as well as providing links to the artists' personal websites and e-mail, is providing a resource that can be used by academia, the general public, as well as the artists themselves. works to create an online community of artists that is focused on supporting the outreach of the artists and providing a direct path to the artist and their work. The artaxis community also promotes discussion, interaction, and collaboration between all interested parties.

In order to maintain the highest possible standard of work, this community uses an anonymous jury process.  Prospective candidates are juried by seven randomly selected members of, giving each member on the site an opportunity to take part in the future direction of this growing network of artists.  The jury process rotates between members and is completely anonymous; there is no contact between the members of the jury and/or the candidate.  Each juror communicates with directly with their decision regarding the acceptance or rejection of the prospective candidate.

We currently have over 175 artaxis members participating in the jury process for prospective members. This large number of jurors allows each member to have a voice in regard to the relevancy of the proposed work in the greater scope of contemporary art practice, while allowing for a more broad and diversified representation of the types of work the artaxis community represents.

When was founded? was founded during the summer of 2005 and started by hosting an initial group of 10 artists.  The site has grown to hosting over 250 artists and has been responsible for numerous exhibitions and other opportunities for its community of artists.  The site was founded by artists and remains focused on its initial mission to support the endeavors of the artists that are part of its community.

Is only for ceramic artists?

No.  Currently, most of the artists on artaxis are primarily working with clay, however the founders of the site are interested in having a broader, more interdisciplinary scope to the website.  Artists working in any media are encouraged to apply.

How is funded?
Artaxis is funded entirely by donations and application fees.  If you are interested in helping to support this resource, click here.

Are the images on copyrighted?
The images of artists and their works remain the property of the individual artists, who allow to display the images.  The goal of is to promote discussion, interaction and collaboration. Therefore, permits fair use of the images on this site. Fair use can include using the images for noncommercial, educational purposes.  Any use beyond fair use is prohibited.  Please consult our full copyright information here.

How many people are using
The site averages between 130,000 - 150,000 page views per month from as many as 70 countries worldwide. We have received countless "thank you's" from artists, curators, and educational resources that have been using the site as a source for curating exhibitions as well as a place to go to browse through a great curated collection of artwork.

Wednesday, July 17, 2013

Limited Submission CALL TO ARTISTS in NC and SC for Furman University's Herring Center Permanent Collection

Transformation, Community and Self


The Herring Center for Continuing Education (HCCE) at Furman University is pleased to announce the establishment of a permanent collection. Artists are called to submit work for a juried exhibition to be shown in the Herring Center’s Baiden Gallery. Accepted works will be considered for as many as twelve individual purchase awards. Purchased works will form the core of the Herring Center Permanent Collection.

Artists working in any two-dimensional media who reside in the following North and South Carolina counties are encouraged to apply: Anderson, Laurens, Greenville, Henderson, Oconee, Pickens, Polk, Spartanburg and Transylvania.

DEADLINE: 9/4/13 all electronic entries must be submitted by 5 p.m.

9/25/13 Notification sent to all artists
10/22/13 – 10/24/13 and 10/29 – 10/31 hand delivery of selected works (T-Thu, 8 a.m. – 4 p.m.)
10/30/13 artists notified of purchase awards
11/4/13 – 12/16/13 Exhibition
12/17 – 12/19/13 pick up of works not purchased, T-Thu 8 a.m. – 4 p.m.

Applicants must be eighteen years of age or older. Artists must show evidence of professional activity. Artists must reside in the following North and South Carolina counties: Anderson, Greenville, Henderson, Laurens, Oconee, Pickens, Polk, Spartanburg and Transylvania. Art may bin any two-dimensional medium including, but not exclusive to, painting, drawing, printmaking, photography, mixed media, hanging textiles.
  • Art must be original to the artist.
  • Work must have been completed within the past three years.
  • Limit three entries per artist.
  • Entry fee: $10 per jpg image.
  • Works must be in keeping with the Herring Center’s mission and constituency.
  • No size limits.
  • All entries must be available for purchase. Purchase awards are in amounts ranging from $300 – $1200. The Art Committee reserves the right to determine the total number of purchases up to a maximum of twelve works.
Entries must be submitted by 5 pm 9/4/13
  • Entries must be submitted electronically as Word attachments and JPG image format only to
  • Entry fee to be paid at the following link (Choose payment for 1, 2 or 3 images)
  • JPGs should not exceed 1 Mb
  • Each JPG must be numbered and labeled with artist’s last name, first name, entry number, title of work, medium, size, date, using the following format: Smith_John_1_title_oiloncanvas_15”x20”_2013_$1,000
  • Submissions not in the correct format will be disqualified
  • Entries must also include the following:
  • Separate list of images (name, title, medium, dimensions) numbered to coincide with jpgs
  • Artist’s statement
  • Resume with exhibition record
  • E-mail contact for notification by e-mail

Tuesday, July 9, 2013

CALL FOR PROPOSALS: U of Art Jackson Court Project

Realizing that constant cultural awareness and institutional identity is promoted through visually unique and supportive surroundings, this call for proposals is the first step in one attempt to create a more art-conscious environment on the River Campus.  Creativity and innovation are nurtured and promoted through every aspect of campus life at the University of Rochester.With a mission to “Learn, Discover, Heal, Create – and make the World Ever Better,” academic experiences at the U of R are on a very personal scale. We seek a public artwork that is conscious of its surroundings and environment and their histories. We want the sculpture to be in keeping with the artist’s point of view while still connecting to the university’s mission.

The north end of River Campus is a pedestrian and commuter gateway for the Rochester community.  The selected work will be installed at the intersection of several heavily trafficked walkways adjacent Jackson Court.  Depending on the scale of the selected work, it could potentially be seen at a distance from the stadium or even the trail along the Genesee River. Stronger proposals will consider the many vantage points of the site and engage the frequent users of the walkways.  Artists’ responses may propose sculptural element(s), single/multiple pieces, and/or any other tangible and durable artistic interventions.  A maximum of $60,000 will be awarded.

Click HERE to download a Site Description

Click HERE to submit a proposal

Sunday, July 7, 2013

Great Writing for the Arts Guides from Emily Carr University's Writing Centre

Stumbled across the "Handout" section of Emily Carr University of Art & Design's Writing Centre.  They have some very good posts on writing about the arts, such as:

Types of Writing

Applications and Proposals

Professional Practice

PS: If you don't know who Emily Carr is, try reading Pause: An Emily Carr Sketchbook.  Also go to: and

Truly a Sad Day for the Arts in the Carolinas: "Short-sighted NC lawmakers cut funds to life-enhancing arts"

Published: July 5, 2013, The News & Observer, Raleigh, NC.
Current budget proposals put forth by the N.C. Senate and House call for reductions in arts grants programs and substantial cuts to the staff of the Arts Council.

The board of the N.C. Arts Council focuses on three main areas that benefit all of North Carolina: Creating a strong arts infrastructure across the state, planning and implementing economic development initiatives using the arts and enhancing the creativity of our students and youth.

Perhaps our legislators are not aware that in our state there are:

•  Approximately 50,000 artist and crafts persons.
•  Over 3,000 nonprofit arts organizations.
•  90 local arts councils.
•  586 galleries and museums.
•  326 theater performing groups.
•  133 dance companies.
•  674 music performing groups.

The N.C. Arts Council receives applications annually from arts organizations, schools, local governments and other nonprofit groups interested in using the arts to improve their communities. To evaluate these applications, our staff thoroughly researches the proposals and convenes panels of members with extensive knowledge and expertise in the arts. These panels (which are open to the public) grade each application, recommend funding amounts and present their results to the full Arts Council board for review and approval.

The board’s recommendations are then presented to the secretary of Cultural Resources, who makes final decisions. This procedure has worked well over many years and promoted high standards and fairness in funding for the arts around the state.

What is the reasoning behind these severe cuts aimed specifically at our grants programs and at our exemplary staff? The arts are the primary cause of attracting thousands of tourists to the state.

Have legislators not seen the economic studies showing there is a multiplier effect of almost $20 created in the arts for every dollar invested by Arts Council grants? Arts and cultural organizations and audiences generate more than $62.3 million in revenues for the state.

It should be obvious that one of the major reasons that people want to live in North Carolina or that new businesses, manufacturing plants and corporate offices open here is because of our outstanding cultural activities, including museums, performing arts centers, ballets, symphonies and theaters that are supported by the Arts Council.

Are our legislators not aware that the creative industry in North Carolina accounts for nearly 300,000 jobs and that that has remained stable during the recession? Creative occupations provide jobs for nearly 3 percent of the North Carolina work force.

Since 2008 there have been substantial reductions in funding to the Arts Council. These reductions have negatively affected our legislative mandate, which is to “bring the highest obtainable quality in the arts to the state; promote the maximum opportunity for the people to experience, enjoy, and profit from those arts.”

The total state appropriation to the N.C. Arts Council is a tiny 0.03 percent of the state budget. This represents $0.68 per capita, which ranks us 29 in the nation. The state budgets proposed by the Senate and the House will drop us even lower relative to other states and be devastating to our mission.

The N.C. Arts Council is considered one of the nation’s most effective. Our programs enjoy a well-deserved reputation for delivering public value to residents, and our staff is frequently called on to assist other states with issues such as arts-driven economic development, arts education and cultural tourism development.

Yet the most important factor of all as to why the Arts Council’s budget should be increased instead of being substantially decreased is that the arts provide a quality of life for all North Carolina residents, young and old.

Bobby Kadis, chair of the N.C. Arts Council, is a former chair of the Penland School of Crafts in Western North Carolina and a founding partner of Centrex Properties Inc. in Raleigh.  

Read more here: