The Jacksonville University Alexander Brest Gallery, in Jacksonville, FL, is seeking proposals for exhibitions for the 2017 – 2018 academic calendar. The newly renovated, 2300 square foot gallery is suitable for installation, video, 2-d, and 3-d exhibitions. Solo and group exhibitions will be considered. Selected exhibiting artists may be awarded a stipend up to $200. Deadline for submissions is November 25th.
The Caldwell Arts Council and the City of Lenoir, NC seek sculptors interested in participating in our outdoor sculpture sales gallery located on pedestals throughout downtown Lenoir NC. Tucker’s Gallery is a public/private partnership project between the City of Lenoir and the Caldwell Arts Council.
Interested sculptors will find the application form and more details at http://www.caldwellarts.com/245-tuckers-gallery/. This call for sculpture artists is ongoing; sculptures are placed in the gallery for one year.
Tucker’s Gallery was started with a Grassroots Arts Grant from the State of North Carolina. Caldwell County is known for its signature sculpture collection of 81 pieces of original sculpture that are on display throughout the county. People travel to our community to see this unique offering. While the permanent collection is installed county-wide, Tucker’s Gallery allows visitors to see a concentrated number of sculptures within a small geographic area, and unlike the permanent collection, allows for purchases of artwork.
Tucker's Gallery gets its name from Lenoir's history books. The Tucker family settled in the area around 1797 and their barn was likely located on what is now Norwood Street, not far from the Caldwell Arts Council. Tucker's Barn was a voting precinct, a muster ground, a store and a place for "frolics" and celebrations. At least one large Fourth of July celebration included a drum corps, a march of Revolutionary veterans and speeches by General William Lenoir. Tucker's Barn became a large meeting place for many gatherings and was so popular a fiddle tune was composed and written titled "Tucker's Barn." Doc Watson eventually recorded this tune in 1964 on an album titled, "The Watson Family Tradition."
Will Mueller's Artist statement: The inspiration for this sculpture came from listening to the news on NPR each morning; stories about how China's currency has been devalued; how financial institutions in this country are under the gun for illegal, and immoral dealings; how the Fed can't make up its mind about raising or not raising the interest rate; how middle class people are having an increasingly hard time keeping their homes and food in their stomachs. So much these days is about $$MONEY$$
Carly Drew, Katelyn Chapman, and Kolton Miller are all Drawn South through their childhood immersion in and reverence for South Carolina's culture and landscape. Their images explore and narrate their home landscape with layers of media that present a "compression of history" according to Carly and "multiple perspectives" says Katelyn. Kolton may speak for all three when he says, "It is important that the work questions the time, place, and realness of your standard landscape, pushing something normally thought of as concrete into an unearthly event." While studying together at Clemson University, the three became friends and colleagues.
Carly builds bucolic Appalachian landscapes explaining, "My work examines our ever-changing relationships to place through the layers of personal history, industrial changes to the terrain, and the rich American landscape painting tradition. The reason drawing is my media of choice is that it parallels these layers by always holding evidence of decisions made during the working process and showing changes in the work that have taken place over time."
Katelyn comments "through drawing and painting mediums, I layer line and pigment to capture the authentic in-between moments of life in the American South; the moments before, the moments of, and moments after, in order to initiate the act of looking from all perspectives to discover ourselves in the truth of the world." Katelyn's painting "A Good Plenty" is a familiar detail of a "mess" of fish, an integral image of the rural South.
Kolton continues to utilize linear and geometric elements of drawing in his paintings and explains, "My paintings capture the past, present, and future through abstracted landscapes imbedded with psychological connections. Within my work I combine vectors between solidity and transparency through layering imagery and place."
Carly, Katelyn, and Kolton are Drawn South as artists and friends who continue to live in, work in, and interpret the South. Carly, a Greenville Technical College graduate, received her BFA from Converse College in 2011 and her MFA from Clemson University in 2013. She is an adjunct instructor at both Clemson and Greenville Tech and exhibits widely. Katelyn received her BFA from Clemson University in 2014 and is a MFA candidate at the University of Georgia. Kolton, also a Greenville Tech graduate and 2014 Clemson BFA alum, lives and paints in Charleston.
To learn more about these artists, please go to their web sites:
RIVERWORKS Gallery is operated by and for the faculty and students of the Department of Visual Arts at Greenville Technical College. RIVERWORKS Gallery is located at 300 River Street, Suite 202, along the scenic Reedy River in downtown Greenville, SC. The Benson Campus Galleries are located at 2522 Locust Hill Road in Taylors, SC.
For more information, call:
Fleming Markel, Director
RIVERWORKS Gallery
(864) 271-0679 or email
Sam Wang, Clemson University Alumni Distinguished Professor of Art Emeritus, and Sandy King, Professor Emeritus of Languages, represented the United States and Clemson University at the October 22-23, 2016, 1st International Seminar of Alternative Photography Education held at Nanjing University of the Arts (formerly the Nanjing Arts Institute), in the College of Digital Media, Nanjing, China. Other notable photographers included Australian photographer Ellie Young as well as photographer from across China. The seminar also included manufacturers of art papers, UV exposure units, portfolio box makers, frame designers, and exhibition installation designers.
On my way home from the SECAC Conference in Roanoke, Virginia - great conference, too, by the way! - I took the longer way home to Clemson through Winston-Salem, and I stopped by Edward McKay Used Books & More, a favorite haunt. I was hoping for some more of those unexpectedly cool CD boxed sets I've so often found there: Billy Bragg, ELO, Jamaican Ska, etc.
But being in one of those post-conference moods where one knows it's really important to go and consort with one's friends and colleagues, make professional connections, see some shows, hear inspiring lectures and panels, etc., yet at the same time the weight of what's not been done at home and work feels like a Sisyphean stone that's getting heavier by the minute. I certainly wasn't in the mood to sift through the novels for a hidden gem...
So I quickly perused the art section and happened upon a copy of Lynda Barry's What it Is, her book on writing. I grabbed it just because I've always been a fan of her character, Maryls, but I really didn't think much about the purchase until today.
What I discovered - a bit late to the game admittedly since the book was originally published in 2008 and has had seven printings! - was a wonderfully sincere, funny, melancholic, and, ultimately, hopeful and hugely encouraging book on the act of creating. What should be required reading for all art teachers - well, any teacher, really - are her sections about her experiences drawing (pp. 75-80, pp. 100-105, pp. 111-122, and 123-136).
So, sometimes even when one is besieged by the boulders of time and responsibility beginning their seemingly inevitable downward roll, being open - even momentarily - to the potential for potential, can unlock new modes of understanding, thinking, seeing, and doing.
PPS- Lynda Barry also has books on art and teaching such as Syllabus: Notes from an Accidental Professor, and Picture This: The Near-sighted Monkey Book, plus Blabber Blabber Blabber: Volume 1 of Everything, about her life. I've ordered all three and can't wait!
Naomi Nakazato was a 2015-2016 recipient of a Brandon Fellowship.
Brandon Fellowship
The two founders of the Brandon Fellowship have a deeply felt motivation for initiating this opportunity for young artists. They consider themselves fortunate in being beneficiaries of The Rhodes Scholarship. The Donors explain, "The Scholarship provided us with a great education and welcomed us into a community that challenged us to explore and reach farther than we could have otherwise. We made new friends from all walks of life, friendships which continue to broaden our perspectives and enrich our lives over thirty years later.” This is exactly what they hope the Brandon Fellowships will do for young artists in our community, that they will reap the benefits and share them with those around them, and with those who will come after them.
2015 was the Brandon Fellowship program's inaugural year; the launch coincided with the opening of the Greenville Center for Creative Arts in Greenville, SC. The program supports the Center's mission to be inclusive and serve the whole community with exhibits from local and regional artists, high caliber art classes and workshops and onsite artists' studios.
The selection panel for the Brandon Fellowship will be composed of prominent artists and business leaders from the Greenville arts community, and advised by Dr. Leo Twiggs, Professor Emeritus at South Carolina State University and recipient of the Verner Award (Governor's Trophy) for outstanding contributions to the arts in South Carolina.
Overview
The Brandon Fellowship will provide university-style studio space at GCCA for a period of six months, renewable for one additional six-month period, along with a stipend for supplies and access to a number of classes taught at GCCA. The three main goals of the Brandon Fellowship are:
to support talented artists who may not otherwise have access to a formal art education;
to foster a sense of community;
to promote diversity at the Greenville Center for Creative Arts.
Criteria for eligibility
Criteria for eligibility may vary over time depending on the demographic make-up of the active artist community at GCCA. To fulfill the goal of promoting diversity, initially and for the foreseeable future, the basic criteria for selection are as follows:
Successful candidates will be highly talented, self-motivated artists with the discipline to work on their own. They will also be community-minded and eager to participate in group activities with other Brandon Fellows, such as museum and studio visits, lectures, and occasional volunteering activities in the schools and at GCCA.
Three fellowships will be offered to artists from targeted communities in Greenville County: one artist from the African American Community, one artist from the Hispanic Community, and one Community-at-large artist.
Applicants must be resident of Greenville County.
At the time of application an applicant must be a citizen of the United States or a lawful permanent resident of the United States for at least 5 years, and between 21 and 30 years of age.
Prior professional art training or post-secondary education is not required.
Selection will be made without regard to marital status, sexual orientation, religion, or disability.
Benefits of the Brandon Fellowship
A dedicated university style studio space at GCCA. Brandon Fellows must spend a minimum of 25 hours per week in the studio. (Studio access is available from 7:30 am to 10:30 pm, seven days a week.)
A $250 stipend for art supplies per six-month period;
Dedicated tutors, assigned based on stated interest and preferred medium, who will guide Brandon Fellows during their residency;
Access to 1 GCCA class per session plus access to any class that is not filled;
Support and mentorship from GCCA studio artists and exhibiting artists;
Participation in group exhibitions and community events;
Participation in alumni events.
* Please note that in 2017, as the program transitions to an academic year schedule, the Brandon Fellowship will be offered for an eight-month period, from January 1st until August 31st. Subsequently, it will be offered for a full year starting September 1st.
Purpose Fellowships recognize and reward the artistic achievements of South Carolina's exceptional individual artists. Fellowship awards are made through a highly competitive, anonymous process and are based on artistic excellence only. The fellowship awards bring recognition that may open doors to other resources and employment opportunities.
New This Year The fellowships application process is now an online submission through Submittable. No paper applications will be accepted.
Eligibility Requirements
Applicant must:
be a legal resident of the U.S. and S.C. with a permanent residence in the state for two years prior to the application date and throughout the fellowship period;
be a practicing individual artist (duos, collaborative works, and other ensembles are not eligible);
not be a degree-seeking, full-time student during the award period;
be 18 years of age or older at the time of application.
Restrictions There is a limit of three fellowships in an artist’s career and a period of ineligibility of 10 years after the first fellowship is awarded. Artists who received fellowships prior to the 2007-2008 fiscal year (July 1, 2007 - June 30, 2008) are now eligible to apply. Fellows may not receive any other S.C. Arts Commission grant awards during their fellowship year. An artist may apply in more than one category, but is only eligible to receive one fellowship. If applying in more than one category, a different body of work must be submitted for each category.
Deadline: November 1, 2016. Applications must be submitted online by 5 p.m.
FY (Fiscal Year) 2018 Award Categories
1 award in Visual Arts
1 award in Craft
2 awards in Media:
Media: Production
Media: Screenwriting
Award Period: July 1, 2017-June 30, 2018
Award: $5,000 per fellowship. There are no restrictions on the use of fellowship funds. Fellowship awards are considered taxable income in S.C.
Position Each fellowship is open to an emerging or mid-career artist working in any medium. Artist fellows travel to St. Louis twice during the academic year to work on their exhibition while in residence and teach for two months in the fall semester. The residencies typically take place for an eight-week period between mid-September and mid-November in the fall, and for a two-week period between early March and early April in the spring. In the fall, fellows conduct studio critiques primarily with graduate students and may also deliver guest lectures for the first-year graduate seminar. Teaching and advising averages eight hours per week. During their residency, artists prepare new work for their solo exhibition at the Saint Louis Art Museum. The fellow’s exhibition opens in the spring with a public lecture at the Museum.
The Sam Fox School of Design & Visual Arts is a unique collaboration in architecture, art, and design education, linking professional studio programs with a university art museum within the context of a nationally prominent research university. Washington University, a medium-sized, independent university, is dedicated to challenging its faculty and students to produce original creative work and to seek new knowledge and greater understanding in an ever-changing, multicultural world.
The Saint Louis Art Museum is the region’s major encyclopedic art museum with collections that include works of art of exceptional quality from virtually every culture and time period. Recent Freund Fellows exhibited in the Museum’s “Currents” series, which focuses on the work of contemporary artists, include Ellen Gallagher, Matthew Buckingham, Cameron Martin, Angelina Gualdoni, Sarah Oppenheimer, Claudia Schmacke, Bruce Yonemoto, Ian Monroe, Chelsea Knight, and Renata Stih & Frieder Schnock, Won Ju Lim, Mariam Ghani, and Andréa Stanislav.
Criteria for application Fellows are required to have an MFA or equivalent, teaching experience, and a growing record of exhibitions and/or publications. Preference will be given to candidates possessing knowledge of contemporary art issues across disciplines.
Compensation Each fellow will receive compensation of 22,000 USD, which is inclusive of flights, car rental, lodging, food, and incidentals. Compensation will be paid through payroll, and taxes will be withheld from the payments. Foreign national awardees will be brought to the University on J-1 status, and taxes will be withheld subject to applicable tax treaties between the United States and their country of residence.
Application procedure Applicants must apply online at samfoxschool.slideroom.com. Submission materials include a letter of application, resume, 10–20 examples of work, and three references.
Application deadline Applications received by Friday, January 6, 2017, will be considered for an interview at the College Art Association (CAA) conference held in New York in February 2017. Reviews will continue until filled. Washington University in St. Louis is committed to the principles and practices of equal employment opportunity and affirmative action. It is the University’s policy to recruit, hire, train, and promote persons in all job titles without regard to race, color, age, religion, gender, sexual orientation, gender identity or expression, national origin, veteran status, disability, or genetic information.
Questions: Patricia Olynyk, Florence and Frank Bush Professor of Art, Sam Fox School of Design & Visual Arts.
Morin's presentation will talk about her project, Strong Correlations:
The project Strong Correlations embraces the context that allows me to be an academic and jock, fiber artist and computer geek. It is also a challenge to the lingering assumptions and power dynamics that complicate my experience as woman, artist and athlete. This collection of felt and fabric sculptures, chalk drawings and data visualizations uses weightlifting as subject matter while working through questions about disciplinary structures, levels of representation and the relationship between information and meaning.
Molly Morin is Assistant Professor of Art at Weber State University. She received her MFA in Art from Clemson University and her BFA from The University of Notre Dame. She uses digital methods, including computer coding, 3D modeling, and digital photo-editing to produce work that explores the difficult relationship between information and meaning. Her projects visualize data sets generated from a wide range of texts, from poetry to text messages, and reflect on the impact of communication technology on daily life. Her digital prints, animations, and sculptures have been exhibited at University galleries and museums throughout the US. Recent solo and two person shows include Traces of Awe at Whittenberg University, Fragile Traces at The University of Dallas, and Red Baloons at The Clemson Center for Visual Arts, Greenville.
“Its not the strongest of the species that survives, nor the most
intelligent that survives. It is the one that is most adaptable to
change.” Charles Darwin
Since the beginning of our time on earth we have responded to the
impact of change in every aspect of our human experience. In the
ever-expanding social, technological, biological and digital era, change
is taking place at unprecedented speeds while the world is becoming a
much smaller place. We are compelled to adapt, process and transform
our understandings and perspectives on a daily basis. What we knew
yesterday has mutated into a different context today, which will
ultimately inform how we think about tomorrow.
This exhibition is an investigation of change and how we as
individuals and as a culture process the world around us. The forces of
change are present in all facets of our lives and can be found on a
universal scale down to the smallest of microbes. How has climate change
transformed our ideas about consumption? How has genetic engineering
changed how we understand identity or food safety? How do we adapt
ourselves to answer questions and meet new challenges?
The aim of the exhibit is to present an exploration into the nature
of change and the responses it elicits through a wide variety of
contexts. The exhibition will explores the range of our adaptability
to our ever evolving and changing environments.
Juror
Sydney A. Cross, received her Bachelor of Fine Arts: Northern Arizona
University in 1977 and her Masters of Fine Arts: Arizona State
University in 1980. She taught at Clemson University for 33 years and
retired in 2015. She held the office of Vice President and then
President of the Southern Graphics Council (1996-2000), the largest
printmaking society in North America. She has also been awarded
residencies at Frans Masareel Graphic Center in Kasterlee, Belgium and
the Virginia Center of Creative Arts in Sweet Briar, VA. She has given
presentations at the Print Odyssey Conference in Cortona Italy in 2001,
and at the 2003 National Association for Humanities Conference in
Austin, Texas. As an artist she has participated in several important
portfolio exchanges, including Suite X, Printer’s Almanac, Tempe Suite,
and Images 2010 and Drawn to Stone, a celebration of Two Hundred Years
of Lithography. Her work can be found in numerous collections including
the Whitney Museum of American Art, The Smithsonian Museum,
Nelson-Atkins Museum of Art, Kansas City, MO, Boston Museum of Fine Art,
Boston, MA, Fogg Art Museum, Cambridge, MA, The Museum of Fine Art,
Antwerp, Belgium, and the Library of Congress, Washington, DC.
Eligibility
All U.S. artists at least 18 years old may submit original prints and
drawings in any medium except photography. Works must not have been
previously exhibited at the Lee Gallery.
Deadline
Completed entries must be submitted to CAFÉ by Friday, October 14, 2016, MST
Awards
First prize — $500.00
Second prize — $300.00
Third prize — $100.00
Entry Fee
The fee is $30 for up to three entries. The entry fee is nonrefundable.
Entry
Each artist may submit up to three images using Café (https://www.callforentry.org).
No artwork may exceed 40” in any dimension, including frame or
installation requirements. Please label each file with the artist’s last
name, entry number and artwork title. For example: “Smith, # 1, Place.”
Accepted Works:
All work must be framed under plexiglass and must be wired for hanging.
The gallery reserves the right to reject works from the exhibition,
including works that are deemed unstable or unable to be
properly installed or potentially dangerous.
Accepted work that differs significantly from the submitted image will be disqualified.
No accepted entry may be withdrawn prior to the close of the exhibition.
Upon acceptance artists agrees to supply gallery with a bio,
statement about the work, web address, and an optional 2” x 2” x 300dpi
headshot. Other support materials will be accepted.
Shipping
Accepted works should be sent to Clemson Print and Drawing
Exhibition, Lee Gallery, Clemson University, 1-101 Lee Hall, 323 Fernow
Street, Clemson, SC 29634-0510. All accepted entries must be shipped in
well-labeled reusable containers. Artists are responsible for shipping
expenses to and from the exhibition. All work must arrive accompanied
with a return shipping label using Fed Ex or UPS.
Stamps or other forms of shipping payment will not be accepted. Any work
arriving without a prepaid label will not be returned until a label is
supplied. After 60 days artwork any artwork remaining in the gallery
storage will be dealt with at the discretion of the Lee Gallery.
Reproduction Rights
Clemson University reserves the right to use digital images of
accepted works in the exhibition catalog, as well as for publicity
purposes.
Sales
All works will be for sale unless otherwise noted on the entry
application. Lee Gallery takes a 30% for all sales. Return shipping
labels will be destroyed if works are sold.
Exhibition Timeline October 14, 2016 Submission of Images to Café https://www.callforentry.org November 21, 2016 Artist Notification January 18, 2017 Deadline for arrival of accepted works February 15, 2017 Exhibit opens at Lee Gallery February 17, 2017 Juror’s lecture, 6:00pm
Awards presentation, 7:00pm March 15, 2017 Exhibit closes April 3, 2017 Return of work to artists begins
The Windgate ITE International Residency is a collegial
experience in which the resident fellows explore new work through
research, exploration and collaboration.
The Center for Art in Wood awards for seven prestigious fellowships
for the annual Windgate ITE International Residency Program. The program
selects from an international pool of applicants, one photojournalist,
one scholar/educator, and five artists who work either solely in wood or
who work with wood in combination with other materials.
The Windgate ITE International Residency Selection Committee decided,
in 2015, to address a need by adding an eigth fellowship to be awarded
to a student. The intent is to encourage the inclusion of a person that
is at the beginning of their career as opposed to those who are more
established in theirs. Applicants must exhibit proficiency in
techniques in woodworking as well as exhibiting creativity in design in
their work. Their participation in this residency will be as a peer
with the other residents and will be included in the exhibition at the
conclusion of the residency.
Applications for the Windgate ITE Fellow Student Artist are open to
anyone who is currently a BFA, MFA, undergraduate, graduate, or one year
out from an undergraduate or graduate program, or equivalent formal
education. A reference letter from a teacher is required.
Resident artists have been selected through 2017; the call for a resident scholar and a resident student artist remain open.Applications are welcome, and the PDF of the application is available here.
Applications for the 2017, 2018, and 2019 residencies are welcome, and the PDF of the application is available here.
For more information on the Windgate ITE International Residency
Program or the application process, please email Karen Schoenewaldt,
Registrar, at karen@centerforartinwood.org.
Roanoke, Virginia
Thursday, October 20
8:00-9:45 am
As a part of the panel, "Unearth: A Conversation between Natural and Cultural Landscape," Chaired by Professor Shona Macdonald, Department of Art, UMass Amherst, Clemson University MFA alumna, Mary Cooke (MFA 2015--Art, sculpture emphasis), will present, "Diminishing Connections: Nature, the Domestic, and Thingness," on Thursday, October 20, 2016.
The session will explore shifting perceptions between what we have traditionally considered "natural" and "cultural," within our landscape. For example, many pastoral views are as culturally manufactured as strip malls or condominiums and the notion of landscape or nature as a retreat may now be as illusory as a painting of a landscape. Further troubling these waters, new technologies such as webcams and Google Earth blur the boundaries of constructed landscape, (that which we consider "cultural") and wilderness, (which no longer exists in a "pure" form.)
This panel invites and encourages explorations of how artists, art historians, and art critics navigate the residual tensions between what is still considered natural and what is considered cultural? How have new technologies affected our perception and experience of the landscape? Can the landscape still be viewed as a retreat or sanctuary or is this an outmoded impossibility? How do artists define natural and cultural landscapes? Do these definitions retain value or are they obsolete?
The other presenters are:
Shona Macdonald | University of Massachusetts Amherst
Micah Cash | University of North Carolina at Charlotte
Jason Brown | The University of Tennessee, Knoxville
Presentations will take place at the:
HOTEL ROANOKE 110 Shenandoah Avenue NW Roanoke, Virginia 24016 (540) 985-5900
Greg Shelnutt, Chair of the Art Department at Clemson University, will also present at the conference, chairing the session, "Shaky Ground, Scorched Earth, Falling Waters, and Rising Tides: Protecting and Sustaining Studio Practice and Arts Agencies in the Era of Catastrophe," on Friday, October 21st at 3:15 pm.
SECAC 2016 - Roanoke, VA
The city of Roanoke, Virginia, Virginia Tech, and Hollins University are proud to host the 72nd annual SECAC meeting October 19-22, 2016. Kevin Concannon, Director of the School of Visual Arts and Professor, Art History, at Virginia Tech, serves a conference director.
Join us in the
beautiful mountains of Southwest Virginia for SECAC 2016. Sessions will
take place at the official conference hotel, the Hotel Roanoke &
Conference Center. The Hotel Roanoke, which was added to the National Register of Historic Places in 1996, is
located in the heart of vibrant downtown Roanoke within easy walking
distance of the Taubman Museum of Art, The Harrison Museum of African
American Culture, and the O Winston Link Museum, and many restaurants
and bars.
Opening Reception on Thursday, February 2nd 2017
from 4-6PM. Presentation at 5PM
by Curator Greg Shelnutt
The Sechrest Art Gallery seeks submissions for
the exhibition, Visions 2017: Food for Thought. Our
Fifth Annual Invitational exhibition ties in with the university’s Common
Experience theme for the academic year. In January the emphasis will be on Exercising Food Justice, looking at
connections related to injustice, and hunger as well as food production. In
February the topic will be The Culture of
Food which is about food diversity. This exhibition will address those
issues and more. It will be curated by Greg Shelnutt who is the Chair of the Department of
Art at Clemson University. Awards to entry winners of 1st
place $200, 2nd place $100, 3rd place $50.
Calendar
Entry Deadline:December 2, 2016
Jurying and Notification: December
12-14, 2016
Accepted Work Due: January 7,
2017
Shipped Work returned:
Artists are responsible for the costs of shipping their works to the Sechrest
Gallery in North Carolina. You must provide a pre-paid shipping label for
works to be returned. All shipped work must arrive by January 2-4, 2017
HOW TO ENTER
METHOD OF
SELECTION: All work
selected by digital image. The Sechrest Art Gallery reserves the right to refuse
any art not conforming to entry requirements. Artists may enter up to four
works. Provide title, medium, dimensions, and insurance value and/or sales
price.
ELIGIBILITY:
Works in all fine art media completed
within the last 2 years are eligible. Art must be original. Hand-pulled prints,
original digital prints, and photographs are acceptable.
DELIVERY
OF ACCEPTED ART:Accepted art may be hand delivered or
shipped. Artist is responsible for all shipping charges both to and from the
exhibition. Shipped work should include a letter outlining return instructions
and a return address label. Please let us know how much insurance to put on the
work. You may include a prepaid, completed shipping form from any major
shipper. Shipping forms must have a bar code or the shipping company will not
pick them up. Work will be returned in the same packing material in which it is
received. Follow guidelines provided by your shipper and be sure that you
understand their insurance policies. Allowed coverage for original artwork varies,
and glass broken during shipping is not covered by most shippers. All accepted
work must remain for the duration of the exhibition.
INSURANCE:The Sechrest Art Gallery will take every
reasonable precaution to prevent loss of or damage to your work, but will not
be responsible for any loss or damage. Artists must provide their own insurance
for shipping. High Point University holds insurance for accepted works for the
duration of the show. Let us know the sale price or insurance value of each
work. Works brought before or left after designated dates are NOT covered by
insurance. Works left for over 90 days after the pick up date become the
property of the Sechrest Art Gallery.
PRESENTATION: Work
may not exceed 360 inches in perimeter or 150 pounds in weight. All 2-D work
must have gallery quality framing and wire for hanging. Canvas edges must be
finished or framed with no visible staples or unpainted canvas. Sculpture must
sit on a flat surface or be ready to hang. Improperly presented work will not
be exhibited.
SUBMITTING DIGITAL
IMAGES: Be sure that your images follow the stated guidelines before
sending. Due to the number of entries, we cannot resize or correct incorrectly
submitted images.
Send JPEGS with .jpeg extension, no more than
1000 pixels in the long dimension at a browser resolution of 72dpi.
File name of each image: your last name first
and middle initials and an entry number. For example, Jane S. Smith’s first
entry would be SmithJS1.jpeg. For multiple views of a 3-D work add a,b, or c.
Letters and numbers only, with no special characters or spaces.
EMAIL images
as individual attachments to a single e-mail. PutFood for Thought 2016 in
the subject line, put your full name and address, and a numbered inventory with
sizes and value in the body of the e-mail. Send to: amorgan@highpoint.edu
ENTRY FEES: $35
entry fee for two submissions, $10 for each subsequent entry, 4 entries maximum.
Checks for entry fees made payable to : High Point University
JUROR: Work
will be juried by Greg Shelnutt, Art Department Chair at Clemson University.
Ship to:
HIGH POINT UNIVERSITY
Sechrest Art Gallery Attn: Ariel Morgan