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Wednesday, April 29, 2015

APPLY: Artist in Residence at Guttenberg Arts Fall 2015 Sept-Dec

 
Guttenberg Arts is dedicated to promoting the visual arts by providing practicing artists with the space and time to develop their work while engaging with the public.  Guttenberg Arts aims to increase opportunities for supported artists by expanding their community through artistic collaborations and promotion to curators and collectors in the tri-state area.  Guttenberg Arts believes that exploring new technologies in the studio, while working as an artistic mentor to children and seniors in the Guttenberg community, provides Guttenberg Artists with unique opportunities for artistic evolution.

Space and Time Artist Residency at Guttenberg Arts provides artists with a $3,000USD stipend to cover material, travel, and housing in conjunction with 24/7 access to a 4,500sqft. professionally equipped workspace for the visual arts including printmaking, dark room and ceramics for three months in Guttenberg, New Jersey (West New York). Artists will also be given a one month solo show as well as three studio visits from accomplished professionals from the art world. Each artist is asked to give a free public workshop and artist talk during their residency. We highly recommend a site visit to our building. Artists are selected by a blind jury of arts professionals on the merits of their work.

DEADLINE: May 15, 2015.

APPLICATION REQUIREMENTS

1) STATEMENT OF INTENT / PROJECT PROPOSAL (500 WORDS)
2) ARTIST STATEMENT (500 WORDS)
3) ARTIST CV
4) 1-10 IMAGES (UP TO 5MB EACH)
5) LIST OF WORK STATING TITLE, MATERIAL,DIMENSIONS, DATE

APPLICATION GUIDELINES

 You must be 25 years old or older and not currently enrolled in any undergraduate or graduate degree program.

Guttenberg Arts is committed to supporting artists of diverse cultural, sexual, and ethnic backgrounds. Guttenberg Arts  does not discriminate based on age, gender, ethnicity, sexuality, or ability/disability of artists, and welcomes work whose content reflects the lived experiences of the applicants.

Incomplete or incorrect application will automatically be disqualified, please read the application requirements carefully before beginning the application online. For any questions please contact us at: studio@guttenbergarts.org.

CALL FOR ENTRIES: 51st Annual DIMENSIONS National Juried Fine Art Competition and Exhibition



June 5th – July 27, 2015
at the Womble Carlyle Gallery
inside the Milton Rhodes Center for the Arts
251 North Spruce Street, Winston-Salem, NC 27101

Entry Deadline: May 13th
Completed entries (including payment of fees) must be received in
the AAWS office by 11:59, EST. Late entries cannot be accepted.

Dimensions is a national juried art exhibition established by AAWS in 1964 to showcase outstanding visual art in two and three-dimensional fine art media. This year’s exhibition will be held inside the Womble Carlyle Gallery at the Milton Rhodes Center for the Arts in Downtown Winston-Salem, NC, the City of Arts and Innovation.

CALENDAR
Entry deadline ....................................Wedensday, May 13th by 11:59 PM
Notifications mailed or emailed.....................Week of May 18th
Shipped work due by......................................June 1st by 5 PM
Day 1: hand-delivery of accepted work…….Sunday, May 31st 2 – 4 PM
Day 2: hand-delivery of accepted work.....Monday, June 1st, 10 AM – 6 PM
Opening reception..........................................Friday, June 5thth, 5 – 8 PM
Day 1: pick up hand-delivered art..................Tuesday, July 28th, 12– 6 PM
Day 2: pick up hand-delivered art…………Wednesday, July 29th, 5 -6 PM

***Shipped work will be returned the week of July 27th

AWARDS
  • Best in Show - $1,000
  • 2nd Place - $500
  • 3rd Place - $250
  • Honorable Mentions - $50
About the Juror: Paul Bright is currently the Director of the Charlotte and Philip Hanes Gallery at Wake Forest University. He was born in Ohio and graduated from the University of South Carolina (BFA; cum laude). As an artist, he adopted collage early as an approach and continues to employ it, primarily in material collages often formed from found, de-collaged elements; and in aural collages composed from sound he records. His work has been shown in the US, Germany, England, Italy, Switzerland, and Canada. His non-artist professional life began in art museums while in college, and has additionally encompassed tenures in history museums and art galleries.

ENTRY FEES
Entry fees may be paid by check (mailed to and payable to AAWS) or by credit card. To pay with a credit card either 1) Visit http://www.associatedartists.org/donate-now and click the “Donate” tab at the bottom of the page. This will take you to PayPal where you can either pay with your account or with credit card for non-account holders. Enter the exact amount of the entry fee; or 2) Call 336-747-1463 and provide a VISA, MasterCard or American Express credit card number. Entry fees are due with submission of images and are NOT refundable.
AAWS Members: Up to 3 works - $30. For each additional work, add $5.

Tuesday, April 28, 2015

Clemson University's Joey Manson Selected for the First Installation Along the Mauldin Public Art Trail


2015 SELECTION ANNOUNCEMENT

The City of Mauldin’s Office of Cultural Affairs is proud to announce the selection of the first installation along the Mauldin Public Art Trail.  Central, SC artist Joey Manson’s sculpture entitled “The Depot” has been selected by the Mauldin Cultural Council and approved by the City and will be fabricated and installed in the next few months.

Manson’s sculpture, pictured below, was developed by combing through the history of Mauldin and embracing the theme for this year’s program, “Crossroads”.  As Manson states in his description of the artwork:

The theme of ‘Crossroads’ led me to research the history of the area and the origins of Mauldin. I discovered a map describing Mauldin’s historical borders drawn as a circle with a 1/2 mile radius centered on the original train depot. I became interested in this circular border and the crossroads formed by 107 [East Butler Road] intersecting with 276 & the railroad. The resulting shape I also found to resemble that of an impeller or a propeller, an object of great importance to the economy of Mauldin over the years. They were first found producing power from the river at nearby mills and then during WWII powering airplanes at [Donaldson Center] Air Force Base. The theme of crossroads thus led me from the roads and railway that first gave rise to Mauldin to the modern industry and development that encircles Mauldin and drives today’s economy. I added the curved, green beams to symbolize these dynamic forces that surround and connect Mauldin today. The grey beam I see as the railroad, still present, running straight through town and still working today.

The artwork is the first iteration of a new public art program in Mauldin approved by the City in December of 2014.  The Mauldin Public Art Trail is an annual program that will feature nine unique pieces of public art situated around the perimeter of the Mauldin Cultural Center’s outdoor amphitheater that are replaced every ten years.

A new work is selected each year by the Mauldin Cultural Council, a nonprofit arts organization that supports artistic efforts around the community and at the Mauldin Cultural Center, to fill one of nine predetermined slots around the amphitheater.  After all slots are filled, the oldest piece gets replaced every year and the “retired” artwork is relocated to another area in the community permanently.

“It’s a really unique program that allows us to work with numerous artists from across the state and have them interact with our community,” says George Patrick McLeer, administrator for the Office of Cultural Affairs.  Each year is guided by a special theme and the program is open only to South Carolina artists. “We were very impressed by Manson’s interpretation of this year’s theme and the way he incorporated our community’s history into his work.  We’re very proud and excited to have this piece be the first of many artwork installations to come,” McLeer said.

Once final details are dialed in, including exact schedules, materials, and site preparation, work will begin.  McLeer stated that the deadline for installation is April 2016, before the outdoor concert and festival season starts at the Mauldin Cultural Center, although it is expected to be up well before then, perhaps as early as late-Fall.
http://www.mauldinculturalcenter.org/public-art-trail/

ABOUT
The City of Mauldin’s Office of Cultural Affairs created the Mauldin Public Art Trail at the Mauldin Cultural Center in December of 2014.  This program seeks to beautify the community with public art displays created by South Carolina artists for years to come.

The Public Art Trail lines the perimeter of the outdoor amphitheater at the Mauldin Cultural Center.  A new work will be commissioned each year to fill the nine (9) pre-approved sites along the perimeter.  All nine sites will be filled within ten years.  For each year after the first ten years, the oldest artwork will be replaced, resulting in a new slate of nine pieces of artwork every ten years.  Retired artworks will be relocated to other areas around the community.

In December of 2014, Mauldin City Council approved the Public Art Trail.  The program is a partnership with the Mauldin Cultural Council, a nonprofit organization that supports the Office of Cultural Affairs.  The Mauldin Cultural Council will lead the selection process with City input and present one artist and design for final approval.

The City opens up an RFQ each winter, around January, on its website for interested artists.  Artists, and all members of their team if applicable, must be residents of South Carolina during the duration of the project.  The selection committee will choose two (2) finalists who will then be asked to develop conceptual designs.  The final artist will be selected by mid- to late-April and given no more than 12 months for project completion.  Total budget for the annual program is not to exceed $15,000 and must be inclusive of fabrication, artist fees, and installation.

Todd McDonald: Visual Feedback at Redux Contemporary Art Center Reviewed in Daily Serving

Todd McDonald. Go In to Get Out, 2014; oil on panel; 48 x 72 in. Courtesy of the Artist.
This article by Bryan Granger originally appeared in the visual arts magazine Daily Serving and can be found at http://dailyserving.com/2015/04/todd-mcdonald-visual-feedback-at-redux-contemporary-art-center/.

Todd McDonald: Visual Feedback at Redux Contemporary Art Center

April 24, 2015 Written by Bryan Granger

The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be the dynamic sensation itself. — Umberto Boccioni, et al, 1910

Todd McDonald’s Visual Feedback at Redux Contemporary Art Center addresses new modes of processing and viewing digital images as part of a painting practice. McDonald collects photographs of architectural elements and urban landscapes in order to change them with digital filtering, mirroring, and layering. These manipulation techniques are not novel; rather, they have become the prevalent tools for modifying images. But McDonald’s populist choice of image manipulation is deliberate, and is fascinating when viewed in the context of abstract art—particularly of the avant-garde of the early 20th century.

Take McDonald’s Go In to Get Out (2014), for instance. On its own, the painting appears as a scintillating abstract work that uses scale, strong lines, and vivid color contrasts to enthrall the viewer. Semblances of everyday life appear here and there, with parts of columns and doors becoming subtly recognizable. The painting also has a strong symmetry, both horizontally and vertically. McDonald carefully mirrored and layered a series of images, and then used the digitally manipulated image to create an abstracted composition on canvas with oil paint.

Todd McDonald. Bloom, 2014; oil on panel; 48 x 72 in. Courtesy of the Artist.  
While the resulting paintings are concerned with contemporary issues, they also resonate with art movements that occurred a century ago. Stylistically and conceptually, many of McDonald’s works in this format refer to visual tenets of Cubism and Futurism. Seeking to depart from traditional perspective, Cubists embraced a fragmentation that arose in a rapidly modernizing society, one in which long-held laws of science were constantly proved false. A similar fragmentation can be witnessed today in the way images reconstruct the world as we see it, and McDonald’s paintings explore this discontinuity. Many of McDonald’s works, including Go In to Get Out and Prop Interval (2014), also show a close aesthetic affinity to dynamic Futurist canvases, especially those of Luigi Russolo and Joseph Stella.[1]
Todd McDonald. Prop Interval, 2014; oil on panel; 62 x 37 in. Courtesy of the Artist.
While the connections to these two schools of modernist painting exist, McDonald’s works achieve a similar visual output with a distinct process. The paintings here are not concerned with encapsulating breathtaking speed and impressive force; rather, they present themselves as complex abstractions derived from representations of the world around us. Prop Interval displays semblances of the bland corporate architecture of airports and hospitals, and McDonald’s treatment of it appears more cynical than effusive.
Todd McDonald. Too Many Days in the Blue Maze, 2014; oil on panel; 21 x 41 in. Courtesy of the Artist.
Additionally, McDonald experiments with a technique in which fragmented photographs are connected in a collage-like format to reveal the entire subject. In the painting Too Many Days in the Blue Maze (2014), several images coalesce into a disjointed tableau of an urban parking lot or street scene. This technique, especially when portraying architecture, reminds me of a series of brilliant photo collages by Gordon Matta-Clark. However, where Matta-Clark used this technique to subvert spatial orientation, McDonald approaches it from the level of individual images. By placing each image in context by connecting it to other fragments, McDonald shows how images can both elucidate and disorient our conception of reality. The paintings complicate the world around us.

Todd McDonald. Plasticstacy, 2015; duct tape and mixed media; dimensions variable. Courtesy of the Artist
 McDonald has also created a site-specific installation using duct tape of various colors and patterns titled Plasticstacy (2015). While duct tape can have a gimmicky connotation—and McDonald does little to challenge that—his use of the material traces an impressive conceptual lineage. Referencing Thierry de Duve’s ideas in “The Readymade and the Tube of Paint,” in which the writer links the process of selecting colors and forms to the process in which Marcel Duchamp selected everyday objects as art, McDonald uses duct tape as a medium in which to conflate physical and virtual space. Hovering between the second and third dimensions, Plasticstacy uses extreme perspective to examine the perception of space. In this way, the installation is conceptually linked to his paintings, in which he explores the representation of space through digital images and painting.

McDonald’s paintings ultimately remind viewers that images—especially digital images, which are often and easily manipulated—negotiate our conceptions of and relationship to the world. By using the medium of painting to further bend these images into complex forms, McDonald explores our reliance on the very images that often mediate our own reality.

Todd McDonald: Visual Feedback is on view at Redux Contemporary Art Center through May 9, 2014.

Monday, April 27, 2015

Clemson University Art Department Alumni & Emeritus Faculty in Thirty-Sixth Annual Juried SC Artists Exhibition

Second Place Award, Book II S.H.I.E.L.D. by Tom Timond, watercolor, acrylic monoprint, inkjet transfer

The Pickens County Cultural Commission is pleased to announce that the Pickens County Museum of Art & History’s “Thirty-Sixth Annual Juried South Carolina Artist’s Exhibition” reception and awards ceremony was held on Saturday April 25. The competition was open to all artists working in any medium, 18 years of age or older and living in South Carolina. The exhibition is on view until June 11, 2015.

The panel of jurors for this year’s competition represents the best and brightest in South Carolina. Associate Professor and Gallery Director at Coastal Carolina University, Jim Arendt is an artist whose work explores the shifting paradigms of labor and place through narrative figure painting, drawing, prints, fabric and sculpture. Victoria Cooke joined the curatorial staff at the Columbia Museum of Art in January 2013. She holds an M.A. in art history, specializing in 18th and 19th century French painting from Tulane University and became a doctoral candidate in Art History at the University of Delaware before deciding to devote her career to museum work. Director of Hampton III Gallery for over 25 years, Sandra Rupp works with numerous living artists, as well as the several artists’ estates, focusing mostly on Southern artists, particularly those with a SC connection.

Arendt, Cooke & Rupp spent April 10th looking at and contemplating a vast array of paintings, drawings, photographs, prints, ceramics, fiber and other mediums created by the hands of South Carolina artists. This made for the difficult task of selecting works for, and eliminating works from, the final show. The impressive final selection of 149 works of art represents 110 individuals currently creating visual art in this state.

About the jury, Sandy Rupp stated, “A nice variety of various mediums and subjects faced the judges as we attempted to narrow down the selections for the exhibition. Congratulations to all who submitted to the jurying process and who have the courage to face an empty canvas or pick up a tool.”

Jim Arendt added, “The pleasure and difficulty of selecting this year’s show from so many outstanding submissions is a credit to all the hard-working artists who submitted work. My co-jurors and I were able to select those pieces that displayed the highest level of technical skill, content, and innovation.”

Victoria Cooke summed up the day saying, “It was thrilling to see artists that embraced such a diverse array of materials, subject matter and modes of expression. I think that every visitor to the exhibition will find art that touches them and thrills them, art that challenges their expectations and even art that amazes them and makes them laugh.”

The awards for this year’s competition represent not only a cross section of what is taking place in the visual arts of South Carolina today, but are also a fair representation of the variety of artists actively “at work”. Our panel of jurors chose the ceramic with mixed media sculpture, “Balancing Act” by Greenville’s Diana Farfán as the First Place Award. Second Place was presented to Tom Dimond (Clemson University Professor Emeritus of Art) of Seneca for his mixed media, “Book II S.H.I.E.L.D.” The Third Place honor went to Greenville’s Ryan Roth for his acrylic on paper painting, “Business Laocoön”.

Juror’s Choice Awards were bestowed upon Tanna Burchinal (MFA in Art-sculpture, 2014) of Clemson for her monoprint, “I 57”, and to Clemson’s Sam Wang (Clemson University Professor Emeritus of Art) for his photograph, “VW Van”.

In addition to the above awards, the jurors presented Honorable Mention Awards, denoting artwork of special interest, be presented to: Steven A. Chapp (MFA in Art-printmaking, 1984) of Easley for his reduction linocut print, “The Debate”; to Spartanburg’s Jim Creal for his ink monotype, “Cursive Practice”; to Deborah Feiste of Central for her assemblage, “Jack”; to Seneca’s Amanda Mensing for her oil painting, “Indian Motorcycle”; and to Kathleen B. Wood of Greenville for her sterling silver jewelry piece, “Tree Box with Pendant Lid”.

The Museum’s Director, Allen Coleman chose the acrylic with wood painting, “High Lonesome Sound # 5” by Glen Miller of Greenville as the recipient of the 2015 Director’s Choice Award.

Thanks to the kind sponsorships of Pickens County & the Pickens County Cultural Commission along with Mary Howe Benjamin, Roger Benjamin, Sherrill F. Benjamin, Mrs. Doreen Heimlich, Ms. Larissa Heimlich, Philip & Gilda Hendricks, Mr. Chris Hepler, Wayne Kelley, Shirley Reese, Mrs. Shirley Sarlin, the Susan B. Benjamin Memorial Fund and the Seth Schafer Heimlich Memorial Fund, the Pickens County Museum selected five works that, within the scope of their mission directive, will be added to the museum’s permanent collection.

The Pickens County Cultural Commission’s Purchase Award honoring Shirley Sarlin was presented to Melody M. Davis of Salem for her oil painting, “IF”.

The 2015 Susan B. Benjamin Memorial Purchase Award was presented to Mary E. Barron of Seneca for her oil painting, “First Light”.

The 2015 Seth Schafer Heimlich Memorial Purchase Award was presented to Kathy Moore of Belton for her assemblage, “Nonconformity”.

Additional Museum Purchase Awards were made to Easley’s Steven A. Chapp for his linocut, “The Debate”, and to Bev Peeples of Taylors for her photograph, “Floating”.

In addition to the fifteen works of art singled out for special mention, there are one-hundred and thirty-four others on the walls and pedestals throughout the museum’s Sealevel Gallery, G-1 Gallery and Focus Gallery. No matter where your individual taste in art may lead, you will find some satisfaction in this exhibition. The variety of work represented is a generous reflection of the community of artists presently at work in South Carolina.

Other Clemson University Art Department students and alumni represented in the exhibition include: Eric Benjamin (BFA in Art, 1996); Marty Epp-Carter (MFA in Art-printmaking, 2009); Terry Jarrard-Dimond (MFA in Art, 1979); Hilary Siber (MFA in Art-painting; Hilary Siber (MFA in Art-painting, expected May 2015); and Sam Wang (Professor Emeritus, photography);

The Pickens County Museum of Art & History is funded in part by Pickens County, friends and members of the museum and a grant from the South Carolina Arts Commission, which receives support from the National Endowment for the Arts.

No matter where your individual taste in art may lead, you will find satisfaction in this exhibition. The variety of work represented is a generous reflection of the community of artists presently at work in South Carolina.

Located at the corner of Hwy. 178 at 307 Johnson Street in Pickens SC, the museum is open Tuesdays, Wednesdays and Fridays from 9:00 a.m. until 5:00 p.m., Thursdays from 9:00 a.m. until 7:30 p.m. and Saturdays from 9:00 a.m. until 4:30 p.m. Admission is free but donations are welcomed. For more information call the museum at (864) 898-5963 or visit www.pickenscountymuseum.org.

If you’d like to learn more about events going on in Pickens County, do be sure to visit www.visitpickenscounty.com/calendar website – you’ll always be just a click away from the many great experiences throughout this area.

Nashville's Smallest Art Gallery


Nashville's Smallest Art Gallery™

About the Gallery:
It's time to think small. Nestled in the heart of Hillsboro Village, NSAG is the smallest functioning art gallery in Nashville, and dare we say, the world! The art is real. Really small, but real.

The gallery measures a miniscule 27 inches wide by 37 inches tall, but has been attracting the work of top artists from around the US world, and local Nashville artists alike.

In a former life, the gallery was a neglected, graffiti-covered display case. Soon with a little help from some Goo Gone, a razor blade, and a total interior makeover, the gallery started to take shape, and on March 15, 2008 NSAG was born.

The gallery lights are powered by a solar panel mounted to the top, making it the only 100% self-sufficient art gallery in Nashville (and again, perhaps the world).

NSAG is nestled between the Cosmetic Market and Peabody Shoe Repair in Hillsboro Village:

1807½ 21st Ave South
Nashville, TN 37212

Frequently Asked Questions:
Or at least asked once...
So I see the display case on the wall. Is the rest of the gallery upstairs?
Nope, the display case IS the gallery.

I just bought a piece of art. When will I get it?

We ship all of the art out when the show is over.

I'm an artist and interested in having a show. What should I do?
Email curator (at) smallest art gallery (dot) com with samples of your work and your idea for the show.

Can I just pay you cash for a piece of art now?
Currently we can only accept pay-pal through the website.

What are your hours?
The gallery is open 24 hours a day, 7 days a week, 365 days a year.

I noticed you charge 5 dollars for shipping. If I live in Nashville, can I just come by and pick up my piece after the show is complete.
Sure, just send an email to the curator to set up a time, and we'll refund your 5 bucks.

http://www.smallestartgallery.com/about.php

Friday, April 17, 2015

Clemson CSArt Spring 2015 Pop-Up Exhibition

Monday April 20 & Tuesday April 21, 9am - 5pm
Clemson CSArt Spring 2015 Pop-Up Exhibition
Acorn Gallery (ground floor Lee II)