CU Art Alumnus, Gene Ellenberg, Awarded Scholarship to Attend LOOK3 Education Week in Charlottesville, VA

 Mother by Gene Ellenberg

Gene Ellenberg, Clemson University alumnus (BFA, Art, photography emphasis, 2012), received a scholarship to attend LOOK3 Education Week.  In order to receive the scholarship, he had to submit for review a portfolio of  photographic work as well as a number of written essays.   With generous support from Canon U.S.A. and Leica Camera, LOOK3 was able to offer 12 full scholarships (valued at $795) to the photographers whose proposals best reflect a strong need for the type of professional development that Education Week offers.

"The heart of LOOK3’s mission is to connect and inspire. In their sixth year, they have re-imagined and restructured their educational program so that it’s unlike any other learning environment available.  Education Week is comprised of professional and creative courses, plus three 20-minute portfolio reviews or one 1-hour editing session."

LOOK3 Education Week in Charlottesville, VA will take place June 11 - 15, 2013. Gene will be attending courses and having one-on-one reviews with industry professionals such as Mary Virginia Swanson, Ann Wilkes Tucker, Alexia Dilworth, Denise Wolff, and many more. Not to mention that the conference itself will feature talks by Gregory Crewdson, Carrie Mae Weems, and Richard Misrach...to name but a few. 

To learn more about education week and LOOK3:
http://www.look3.org/education

To learn more about the scholarship:
http://www.look3.org/education/courses

To learn more about Eugene Ellenberg:
www.eugeneellenberg.com

CALL FOR ENTRIES: Site Specific Projects for ATHICA: Athens Institute for Contemporary Art, Inc., Athens, GA

ATHICA invites proposals for site-specific projects from artists, collectives, and curators. We are currently seeking exhibitions that respond to our space.

For full consideration for the 2014-2015 exhibition schedule, please submit proposals by April 30. Email a detailed one-page proposal, link to affiliated websites or low-res jpegs, artist statement, and resume to exhibitions [at] athica.org

For photos of the space see http://www.athica.org/ourspace.php

Contact Information

ATHICA: Athens Institute for Contemporary Art, Inc.
160 Tracy Street, Unit 4
Athens, GA 30601 USA
706.208.1613

To submit materials for an exhibit, please see the general submission policy under
Exhibtions: Call for Entries.

General Submission Policy General Calls:Intermittently ATHICA issues a General Call for proposals from curators, collectives & artists with challenging, progressive or innovative focused projects or cohesive bodies of work.

Only those who have developed ideas/projects along these lines should take the time to submit a proposal. The specifics of a General Call Submission will be explained in the field to the right when an imminent deadline is issued.  We ask that General Call Submissions not be sent at other times.

Artists and Curators should be aware that we generally look for focused themes that are timely and not media specific. (Groups of artists whose work have little in common, other than being friends who think it would be fun to show together are discouraged from submitting.)

We never charge fees for submitting works to this or any other Calls. We often offer curators stipends for their labors, and sometimes offer financial support for artists' travel, shipping and project materials on a case-by-case basis.

Calls for Entries:
Throughout the year we issue Calls for Entries for specific thematic exhibitions which have been pre-curated to some extent; details for submission to those exhibitions also appear in the field to the right when current.

ATHICAEmerges:In summer 2007 we started a new program to help emerging regional artists gain visibility called ATHICAEmerges. Run during our summer slot, this semi-annual exhibition is curated, but is markedly different than our main season offerings in that it focuses on artists who can install their own work and are not subject to the limits of specific thematic explorations. First-time curators are often assigned to these projects. However we still seek Mission-appropriate projects, i.e. work we deem challenging, progressive or innovative. And thematic concerns have been applied during the slection process for a given iteration. (We also offer space to artists when available via a 4Lease program with none of these parameters.) Deadlines for submission to ATHICAEmerges varies from season to season, but tend to be listed in late spring and the details are posted when current.

General submission notes:Please note that we are able to accommodate large-scale sculpture and/or installation (Please see Our Space for images and a downloadable floorplan). Projects that depend on darkness or enclosed spaces are not advisable, unless the artist can supply labor and materials to create internal spaces in an open and naturally lit space. We do not own video projection equipment at this time.

Please read our Mission Statement and visit the Past Exhibitions pages to get a more specific sense of our criteria for inclusion.

Because of limited staff, we apologize that we are not able to respond to every entry, but will contact you if we are interested.

We prefer that you submit questions via email to exhibitions[at]athica.org and not on our phone machine.
We occasionally provide travel stipends or shipping assistance for physically large projects, and free or subsidized lodgings during artist installation visits.

We never levy fees from artists, we do not take sales commissions or operate as dealers, there is never an entry fee or prospectus for an exhibit.

ABOUT ATHICA:
A non-profit arts venue, we opened in March 2002 with a mission to provide a venue for the dissemination of innovative, challenging and progressive concepts advanced via aesthetic means.

We have a relatively small budget, and an almost entirely volunteer staff. We fortunately often receive great press, have large openings--460 is a recent record--and receptive audiences that number from 600 to 800 each exhibition. We have exhibited more than 900 artists since opening in March 2002. 2/3rds reside outside the southeast region of the US, and a small number have hailed from Canada, Europe and South America. We mount between four and five exhibits annually, averaging 6 to 8 week runs.

We match curators with projects that are chosen during our annual Exhibition Committee Selection meeting, typically locally-based individuals with expertise in a particular subject area and an interest in experiencing the curatorial process or expanding their curatorial range.

Artists' submissions may be retained for a number of years until an appropriate project arises.
We are located in a vibrant college and music town. See our CVB for more on Athens, GA.

Submit to Art-O-Mat

Here at Art-o-mat®, submissions from artists are welcome at any time. Since our project is ongoing, we are always interested in new work. We fully respect the rights of artistic freedom and enjoy working with artists of all levels. However, our machines are not as forgiving when it comes to size/structure. Strict adherence to our guidelines is necessary as any deviation from the specifications below will cause vending difficulty, logistical problems and unnecessary expense (our hosts, our studio and you…the artist). Our selections are made based on effort, craftsmanship and originality. With that said, a key factor in our review process is how the final piece will be viewed in the hands of someone who may have never bought art before.

Once accepted, where your artwork is placed is based on the needs of our venues. If you have some “wish list” venues, we will try to get your work placed there. If all goes well, prepare to be asked for more. If you are only able to keep us in stock periodically, that is ok. But, consider your involvement as a long term relationship and send work when you can. We want Art-o-mat to be part of your ongoing art production/promotion.

About

The inspiration for Art-o-mat® came to artist Clark Whittington while observing a friend who had a Pavlovian reaction to the crinkle of cellophane. When the friend heard someone opening a snack, he had the uncontrollable urge to have one too.
In June 1997, Clark was set to have a solo art show at a local cafe, Penny Universitie in Winston-Salem, N.C. He used a recently-banned cigarette machine to create the first Art-o-mat®. It was installed along with 12 of his paintings. The machine sold Clark’s black & white photographs mounted on blocks for $1.00 each.
The show was scheduled to be dismantled in July 1997. However, owner Cynthia Giles loved the machine and asked that it stay permanently. At that point, it was clear that involvement of other artists was needed if the project was going to continue. Cynthia introduced Clark to a handful of other local artists and the group Artists in Cellophane (AIC) was formed.

The original Art-o-mat®

The machine remained unaltered in its original location until 2010.
AIC is the sponsoring organization of Art-o-mat®. The mission of AIC is to encourage art consumption by combining the worlds of art and commerce in an innovative form. AIC believes that art should be progressive, yet personal and approachable. What better way to do this, than with a heavy, cold, steel machine?

Here’s how you get started:

1. Think of what you would like to produce for the project. Try to avoid any mass production process that could lessen the quality of your work. The vending process is only the beginning of your Art-o-Mat® art. Once out of the machine, your work is a reflection of you and your art. Many pieces have been carried around the globe. So, think of approaches that do not convey “a Sunday afternoon at the copy shop” and consider ways that your art will be appreciated for years to come.
2. All submissions require a single vend-ready, non-returnable prototype of your art. Please do not send a prototype that is not fully rendered to the specifications below. Prototypes should be in a box or on a block and wrapped in acetate. All prototypes are inspected for suitability in the project. After inspection, they are placed into the AIC permanent archives.
3. The final size should be 2 1/8″ x 3 1/4″ x 7/8″ (54mm x 82mm x 21mm). THE FINAL SIZE OF YOUR ART (INCLUDING THE ACETATE WRAP) NEEDS TO BE EXACTLY 2 1/8″ x 3 1/4″ x 7/8″.  IF YOU CUT YOUR OWN BLOCKS…THE FINAL SIZE STILL NEEDS TO BE  7/8″ THICK. 
4. Most 2/D artists (painters, printmakers, etc) produce their pieces on our wood blocks, while most 3/D artists (sculptors, jewelers, etc.) place their work in our boxes. Watercolor paper or illustration board can easily increase the thickness of standard plywood to 7/8″. Our blocks are 3/4″ thick. So, even if you buy blocks from us…more thickness is required. If you use our boxes, all is to spec. Just, you must fill the package so it will be rigid and add some weight. So, pack it full of tissue or some sort of presentable packing material.
5. Digital prints, inkjet desktop prints, photocopies, etc are discouraged. Art-o-mat buyers like to see some sort of “human touch” vs something mechanized.
6. Once you are ready to begin, please download our Submission Form to send along with your prototype. For your prototype, you can download our box template and use your own materials: Box Template. If you would prefer to receive samples of our official boxes and blocks, we sell Prototype Kits ($10) that will help to formulate your concept and/or approach. We accept paypal (using the address clark@artomat.org) or checks sent to Artists in Cellophane, 5000 Rushland Drive, Winston-Salem NC 27104.
7. Your name and contact info is required to be clearly displayed on each piece. The most successful Art-o-mat works include support material about the artist. Think of ways to present yourself in the event someone wants to learn about your other artistic ventures. The goal of this project is to create valid, professional relationships between the artist and the patron. Keep in mind that in many cases, the Art-o-mat can be someone’s first art purchase. Artists who specifically ask “who bought me” often hear feedback and find out where their work ends up.
8. Make sure your pieces of art SHOULD NOT CONTAIN MAGNETS, BALLOONS, GLITTER, CONFETTI OR ITEMS PROCESSED WITH PEANUTS. No exceptions. Please use common sense and do not create work with materials that are potentially hazardous. If applicable, please label on the outside of your piece that it is rated “R” or “Small Parts-Not for Children”.
9. If you use our boxes, please assemble with white glue (not double stick tape as it will release). The final piece should have weight and structure so it will not easily crush. Packing material (colored tissue, micro bubble wrap, etc) also adds weight, which helps the vending process. Our boxes are light and need added structure or packing material inside. To recap: ADD WEIGHT, PACKING MATERIAL AND/OR SOMETHING TO ADD INTERNAL STRUCTURE. 
10. Wrap .003 ml acetate around each piece. Use clear “very sticky” tape to affix acetate and make sure the acetate is taut. Please do not use frosted tape or low tack labels that will release. This is important, as it will cause vending problems and incidental expense. All art must be wrapped in acetate.
11. Make a 2 X 2″ square placard to identify your column in the machine. This is the main interface between your art that the buyer. The message should be simple and clear. A brief description of your work and your name is a good place to start. Upon request, we can create placards if you are unable (or shy).
12. Print out and sign the official Submission Form (pdf) and include it with your shipment. Submission of art is confirmation that you agree to the terms and conditions stated on this site. Send your prototype to us at: Artists in Cellophane, 5000 Rushland Drive, Winston-Salem NC 27104

WHAT COMES NEXT: If your prototype is accepted, you will be notified by A.I.C. to begin production. There is a minimum requirement of 50 finished pieces. All work must be delivered to A.I.C. ready to vend and in no need of repair. All shipments of art not to specification will be sent back with an invoice for return shipping. The city and machine where your artwork will be placed is based upon the needs of our venues and is at the discretion of A.I.C. and our Hosts. Depending on your work, the needs of our hosts and the time of year, it can sometimes take a few months to get your work placed in a machine. So, please be patient.

Most vend prices are fixed at $5.00. Artists will receive $2.50 per sale, on consignment (we generally send out artist payments on a quarterly basis…sometimes sooner). The remaining percentage is split between project support, the host venue and/or donations to charity. Artists are solely responsible for content of artworks and listing of profits on taxes. We suggest that all artists should consider researching a “Certificate of Liability” insurance policy.

You can use your own materials any material can be used as long as the final art meets our guidelines. However, as a service to participating Art-o-mat artists, we sell “at cost” boxes and blocks in sets of 50. Please understand that our studio only makes income when these materials are returned as art. Official Art-o-mat boxes or blocks are NOT for use outside of Art-o-mat machines.

LEGAL STUFF: By submitting artwork to us, you represent and warrant to Artists in Cellophane (AIC) that the artwork you provide to AIC complies with all of the foregoing guidelines, which guidelines may be changed by AIC from time to time. You further represent and warrant that such artwork is of merchantable quality, free from all defects, and suitable for resale to the public via AIC’s Art-o-mat machines. You agree to defend, indemnify, and hold harmless AIC and its successors, assigns, owners, proprietors, directors, employees, volunteers, representatives, Art*o*mat machine hosts and subhosts, agents, and affiliates from and against any and all past, present, and future claims, liabilities, losses, costs, damages, and expenses (including without limitation reasonable attorneys’ fees and court costs) arising out: (a) the inaccuracy of the foregoing representation or breach of the foregoing warranty; or (b) the design, production, distribution, sale, or use of the artwork provided by you to AIC.

 http://www.artomat.org/

Prospectus for SCULPTURE SALMAGUNDI XVII MARIA V. HOWARD ARTS CENTER OUTDOOR JURIED EXHIBITION

Sculptures surround the Imperial Centre for the
Arts and Sciences in Rocky Mount,  NC

SALMAGUNDI

Meaning a heterogeneous mixture or potpourri, this exhibit brings together a wide variety of artists, materials, and ideas. The national outdoor sculpture competition is sponsored by The City of Rocky Mount through the Maria V. Howard Arts Center. The primary purpose of Salmagundi is to recognize and promote excellence in public art and sculpture. http://arts.imperialcentre.org/documents/SalmagundiProspectus.pdf

ELIGIBILITY

Work must be original, executed within the past two years, and not previously exhibited at The Maria V. Howard Arts Center. Any artist 18 years of age or older, living and working in the U.S. is eligible to enter. Work must be suitable for outdoor weather and public interaction for at least one year.

ENTRY FEE

There are no entry fee for entering up to 3 works.

EXHIBITION GUIDELINES

1.The exhibition is juried by a contracted unbiased juror established in sculpture media. Ten selected works are exhibited for an eleven month period on the grounds of the Imperial Centre for Arts and Sciences in Rocky Mount, NC.

2. Three outdoor works may be submitted per artist.

A maximum of two outdoor works per artist may be selected for the exhibition.

3. Sculpture must withstand high traffic, severe weather conditions, and pose no threat to public safety. Works must be secured to concrete pads with anchor bolts or similar devices unless they meet the above criteria without additional devices.

  

4. If at time of installation, the curator deems a selected work potentially unable to meet the criteria of high traffic, severe weather conditions or potentially dangerous to the public, the artist will be asked to sign a waiver releasing the Arts Center/City of Rocky Mount from any reimbursement or indemnity related to the sculpture.

5. Artists are responsible for timely installation and removal of all works by appointment. Artists must submit installation specifications such as crane requests, suggested concrete pad size, securing instructions and equipment required, such as a hammer drill and/or ladders. The Arts Center will supply hammer drill & bits, 3” ½ or ¾” red head bolts, socket set, 2 scheduled crane dates (all artists with this need must comply to one of the selected dates or schedule a crane at their own expense) and physical assistance in installing and removing works. Please include any additional information that may be helpful for exhibition design and installation.

The Arts Center provides 8x8ft concrete pads and is not responsible for specialized pad requirements, but artists may make special arrangements at their own expense with permission of the Arts Center.

AWARDS

• Ten sculptures will be selected for the Salmagundi exhibition and will each receive a $1,000 honorarium upon installation of the work.

• One work will be selected for an additional $1000 Best in Show Award.

JUROR

Hanna Jubran received his M.F.A. in sculpture from the University of Wisconsin-Milwaukee and is currently a Sculpture Professor and Sculpture Area Coordinator at East Carolina University in Greenville, North Carolina. His works have been included in shows, competitions, and symposiums world wide:  The International Sculpture Symposium in Granby, -->

Canada, The Ecatepec, Mexico International Monumental Sculpture Symposium, The Toyamura International Sculpture Biennial at Toyamura Village, Japan, The International Sculpture Symposium and Conference at Europos Parkas in Vilnius, Lithuania, The Second International Invitational Iron Sculpture Exhibition and Iron Pour at Tallinn University in Tallinn, Estonia and The International Woodcarving Symposium in Kemivarji, Finland. Additionally, his works have been commissioned and accessed into museum collections, historic sites, universities, and private businesses throughout the US. 

JUDGING

Preliminary judging is conducted by digital images of artist submissions compiled by the Arts Center and sent to the juror. All entries are presented to the juror anonymously. If upon delivery, an accepted artwork is found to have been misrepresented by the image sent, it may be disqualified from the exhibition. The “Best in Show” is chosen by the juror in person after installation and preceding the opening reception.

___________________________________________

ENTRY PROCEDURES

Artists may enter up to three (3) total outdoor works.  Each artwork may be represented by up to three (3) separate images showing details or alternate views of the work. Works should be submitted using the format below for preliminary judging.

Entries are due by June 14, 2013.

Digital Images must be in Jpeg format only at a minimum of 300 dpi and may be sent on a CD, DVD, or thumb drive with each entry and detail image as a separate file. PowerPoint presentation format is not accepted. No added text should appear within the image of the artwork. Any image containing the addition of the artist’s name will be disqualified. File names should identify the individual works by corresponding to the entry number, title of the work, and artist last name.

Artists wishing to have their submission materials returned after judging must supply an appropriately sized SASE to accommodate the materials. Images of accepted works will be retained by the Arts Center for our archives and publicity purposes. Notification of acceptance will be mailed on June 24, 2013.  Best in Show winner will be selected by the juror after the exhibition is installed and announced at the Fall Exhibition Opening Reception on October 6, 2013.

COMMITMENT

Entry in this exhibit establishes an agreement on

the part of the artist to all conditions listed in the prospectus and is a contract to exhibit entries

selected by the juror(s). Substitutions for entries 

sold or otherwise committed before acceptance are not allowed.

SALES

The Arts Center will retain a 40% commission on works sold. Works listed not for sale (NFS) must have a replacement value listed for insurance purposes. To receive payment for sales, awards, or honorariums, artists will need to submit a completed W-9 form.

LIABILITY

Accepted Entries will be insured by the City of Rocky Mount from the time of installation through the stated removal dates for 60% of the listed retail price. Please note in the instance of a claim, artists will be held responsible for adequate proof of value before compensation is provided. Works designated as NFS must have a stated insurance value and will be held to the same burden of proof if a claim is reported.

Insurance on works will end 30 days after the exhibition closes and will become the property of the Arts Center if not picked up by October 1, 2014 at 5:00pm unless other arrangements are made in writing and with consent of the curator. Artists whose work is deemed unable to withstand afore-mentioned conditions of weather and public interaction by the curator at time of installation will be asked to sign a waiver releasing the Arts Center/City of Rocky Mount from responsibility for insurance. Any exhibiting artist may opt to purchase additional insurance independently.

SHIPPING AND DELIVERY

Artists are responsible for all packing / shipping and return packing / shipping costs and arrangements to and from the Arts Center. Insurance during transit is the responsibility of the artist. The Arts Center cannot accept monies for shipping and is not responsible for works lost, stolen, or damaged once picked up by the shipper / transporter.

 

2013 SALMAGUNDI XVII CALENDAR

June 14, 2013	DEADLINE for receipt of all digital entries Attn: SALMAGUNDI XVII Maria V. Howard Arts Center 270 Gay Street Rocky Mount, NC 27804
June 24, 2013	Accepted Artists Notified
Aug. 15 –Sept. 30, 2013 By Appointment and coordinated among participating artists	Installation of Sculptures Maria V. Howard Arts Center 270 Gay Street Rocky Mount, NC 27804 Please make delivery appointments with the Curator, Catherine C. Lloyd Note: Artists requiring a crane for installation will be scheduled on the same day.
Oct. 6, 2013– Aug. 15, 2014	Exhibition Dates
Oct. 6, 2013 2:00-5:00pm	Artist Reception Best in Show announcement and Juror’s guided tour 2:30pm Maria V. Howard Arts Center 270 Gay Street, Rocky Mount, NC 27804. Free and open to the public.
Aug. 15– Aug. 31, 2014 By Appointment and coordinated among participating artists	Pick up of  Sculptures Maria V. Howard Arts Center 270 Gay Street Rocky Mount, NC 27804 Please make delivery appointments with the Curator, Catherine C. Lloyd
Sept. 15, 2014	Insurance Ends on Unclaimed Works
Oct. 1, 2014	Unclaimed Works become Property of the Maria V. Howard Arts Center if prior arrangements are not made in writing.

 

2013 ENTRY FORM

http://arts.imperialcentre.org/documents/SalmagundiProspectus.pdf

June 14, 2013: Deadline for receipt of entries Name: _____________________________________________________________________________________ Phone: (_________)__________________________________________________________________________ Address:  __________________________________________________________________________________ City:  ______________________________________________________________________________________ State: _______________ Zip: __________________________________________________________________ Email: _____________________________________________________________________________________ Website:___________________________________________________________________________________ Ethnicity (optional): _________________________________________________________________________ ----------------------------------------------------------------------------------------------------------------------------------------------------------- Entry No. 1 Title:_______________________________________________________________________________________ Medium:____________________________________________________________________________________ Dimensions: H _______________________W _______________________D_______________________ Retail Price: ________________________________________________________________________________ Insurance Value (ONLY if NFS):  _______________________________________________________________ Pad / Installation / Crane Requirements:  ________________________________________________________ ___________________________________________________________________________________________ Entry No. 2 Title:_______________________________________________________________________________________ Medium:____________________________________________________________________________________ Dimensions: H _______________________W _______________________D_______________________ Retail Price: ________________________________________________________________________________ Insurance Value (ONLY if NFS):  _______________________________________________________________ Pad / Installation / Crane Requirements:  ________________________________________________________ ___________________________________________________________________________________________ Entry No. 3 Title:_______________________________________________________________________________________ Medium:____________________________________________________________________________________ Dimensions: H _______________________W _______________________D_______________________ Retail Price: ________________________________________________________________________________ Insurance Value (ONLY if NFS):  _______________________________________________________________ Pad / Installation / Crane Requirements:  ________________________________________________________ ___________________________________________________________________________________________

I have read and understand the conditions within the Salmagundi XVII prospectus and with this knowledge submit the above works for consideration in the 2013 exhibition:

____________________________________________________________            ___________________

Artist Signature                                                                                                            Date

Clemson Art Department's Christina Hung Featured in the Spring 2013 Issue of Glimpse Magazine

Creativity can make art of science

by

Neil Caudle

 

 

 

Goddess|Cyborg [above], by Christina Hung, is a panorama micrograph of blood cells and a message imprinted using PDMS stamps, patterned pieces of polydimethylsiloxane. Kirk Pirlo, a former graduate student in biophotonics, helped Hung with the technology. 

"Even in childhood, Christina Hung had an interest in sci­ence. A microscope, she learned, could help her see what was hidden in plain view. Today, she uses micrographs—photographic images on a microscopic scale—to compose her art.

“'I enjoy very much photographing things at the microscopic level that I can perceive with the naked eye,' Hung says. 'Think of a leaf, for instance: It has a familiar surface and color. But with the tools of microscopy you can see an entirely different object, an entirely different world. It forces us to question what we think we know about a leaf, and this is something that contemporary art and scientific visualization have in common.'

"Working at the intersection of art and science, Hung 'tweaks the methodologies of science,' she says. Modern scientific tools can focus on a sample, convert its properties to data, and render the data automatically as images. Hung uses the tools but skips the automation. She intervenes.
'I’m looking at things and making the kind of interpretive decisions that can’t be automated,' she says. 'I gather my own data using modified microscopic imaging techniques, and a blend of scientific and artistic methodologies.'

"Sometimes, she works directly with scientists, because they offer some necessary tools and expertise. Kirk Pirlo, a former graduate student of Bruce Gao in biophotonics, helped Hung try to write words with neurons extracted from chick embryos. The writing proved elusive, but she was able to create micrographs for the first time.

"Lately, she’s been stitching micrographs into panoramas that, with magnification, seem as enormous as walls.

"In the microscopic world, she leaves her mark, her brief and poetic reminders that despite the aspirations of scientific objectiv­ity we experience the world—even the world beyond ordinary sight—in a context of history and culture, with a particular point of view. As an artist and a feminist, she intends to claim some of the territories of science on behalf of other cultures and mind-sets, starting new conversations about the nature of the world.

"All of this makes her a rather unconventional academic, an artist and critical feminist with science on her mind. She laughs and says, 'If there is a crack to fall into at Clemson, I fall into it.'

"As one of her college’s creativity professors, Hung often finds herself in conversations about what it means to be creative. “I gen­erally take the stand that creativity is deeply tied to diversity,” she says. “When we talk about creativity, we usually talk about how we shake ourselves up and break old habits, how we interrupt ourselves and introduce new ideas. What I add to the conversa­tion is the idea that diversity, as it plays out in society, also helps drive creativity.”

Boxed, from the series The Nabakov Index, 2013, by Christina Hung. Fragmented and contained Papilio glaucus.

Christina Nguyen Hung is an assistant professor of digital art in the College of Architecture, Art, and Humanities (CAAH). Bruce Z. Gao is an associate professor of bioengineering in the College of Engineering and Science. Russell Kirk Pirlo completed his Ph.D. at Clemson and now works in tissue engineering as a scientist with the U.S. Naval Research Labora­tory. Hung received support for her work from the Clemson CyberInstitute, CAAH, and the Clemson University Research Grant Committee. 

CU Art Department BFA Candidate, Joshua Kelly, (photograpy) has photo featured in USA Today's Sports Section

 

(c) 2013, Joshua Kelly, OrangeHatPhotos.com 

Clemson University Art major, Joshua Kelly, can often be been seen around the Art Department with a camera documenting various events for the CVA and Lee Gallery.  He also regularly takes photos for Clemson University's various sporting events, as well as other freelance assignments. 

On Tuesday, April 16, a photo that he shot appeared in USA Today.  The article, "NFL prospect DeAndre Hopkins steeled by tragedies," ran with the caption "Former Clemson WR Deandre Hopkins and his mother, Sabrina Greenlee," along with a photo credit that read, "Photo: Joshua S. Kelly for USA TODAY Sports." 

The article can also be found on-line at:

http://www.usatoday.com/story/sports/nfl/2013/04/15/deandre-hopkins-nfl-draft-many-tragedies/2086501/

"Ann Pegelow Kaplan’s photographic fictions" in Glimpse Magazines's Spring 2013 Issue

Creativity can venture multiple versions

"Ann Pegelow Kaplan, candidate for the master of fine arts, specializes in contemporary photography and digital arts but was trained as an anthropologist. Rather than pursue traditional scholarship in a narrowly defined specialty, she explores the con­nections between subjects.

"Before coming to Clemson, Kaplan earned a master’s degree in ethnography and folklore, and she worked as a documentar­ian and museum curator. She admires the documentary and the exhibition, she says, because they both attempt to render a true presentation of reality, but she also wants to pursue creative forms often described as fictions, written or visual, and how they might present 'an even truer representation of the world.'

"Kaplan arrived at this idea through a blend of arts and sciences. In neurobiology, she found science documenting the ways in which we construct and interpret every moment of our experience. 'We can’t really expect to truly know reality,' Kaplan says. 'It’s not how we’re built. What we do know is our own experience of it—our personal curation of reality.'

"In her photography, Kaplan presents multiple realities for a single location. A forest, a train, a seashore in Iceland—each appears in several versions.

"'If different people can have varying realities, and multiple realities appear to be possible, then the difference between truth and fiction comes into question,' Kaplan says. 'We wonder which reality is true and whose vision is most correct. The line between documentary and art becomes blurred.'"

~Neil Caudle

To view a PDF of the issue in its entirety, please go to: http://www.clemson.edu/glimpse/wp-content/uploads/2013/04/Glimpse_Spring2013.pdf

The Bellagio Experience

The Bellagio Residency program offers academics, artists, thought leaders, policymakers, and practitioners a serene setting conducive to focused, goal-oriented work, and the unparalleled opportunity to establish new connections with fellow residents from a stimulating array of disciplines and geographies. The Bellagio Center community generates new knowledge to solve some of the most complex issues facing our world and creates art that inspires reflection, understanding, and imagination.

Arts & Literary Arts Residencies are two to four weeks long. We are interested in applicants whose work is inspired by or relates to global or social issues. We also welcome applications for projects that will contribute to the Foundation's mission of promoting the well-being of humankind or in some way will connect with the Rockefeller Foundation’s issue areas. We strive to select a diverse cohort to ensure that interdisciplinary and international connections remain an integral part of the Bellagio experience. The Center welcomes collaborative residencies for two to four people working on the same project.

Collegial interaction with other residents is an essential dimension of the Bellagio experience. Meals and informal presentations of residents' work afford an opportunity for dynamic discussion and engagement within and across disciplines. During special dinners, residents often interact with participants in international conferences hosted in other buildings on the Center's grounds to help build connections and inform one another's work.

The next deadline for the Bellagio Center competition for an Arts & Literary Arts Residency is Wednesday, May 1, 2013 for a possible residency between February 18, 2014 to July 31, 2014. The online application opens Friday, March 15, 2013.

Application form: http://bellagioapplication.rockefellerfoundation.org/bellapp.aspx

Selection Process and Criteria
The Selection Committee consists of an international panel chosen for their breadth of experience and knowledge of the arts and literary arts fields. The Committee members bring a wide array of perspectives in the arts and of global scope to nominate the most qualified applicants for a residency at the Bellagio Center. The Foundation seeks applications from outstanding creative artists at all career stages with a record of significant achievement in their field. The Foundation is specifically interested in artists and literary artists whose work is inspired by or relates to global or social issues. We also welcome applications for projects that share in the Foundation's work and mission of promoting the well-being of humankind. Applicants from developing countries are particularly encouraged to apply.

Selections are based on:

• how closely the art project compliments the Foundation's work and mission;
• the likelihood of the art project's impact within its field and/or on global and social issues;
• the quality of the proposed project;
• how innovative the project is;
• the ability of the applicant to articulate the project's purpose/meaning;
• the professional qualifications and achievements of the applicant; and
• the suitability of the Bellagio Center for the proposed activity.
• In addition, reviewers will take into consideration:
• personal qualities that are likely to make an applicant a contributing member of an international, interdisciplinary community—curiosity, breadth of interests, ability to honor other viewpoints, and sensitivity to other cultures.
• since the Center aims to host an international mix of residents, the geography and nationality of those invited may be taken into account.

Facility and Travel Information
Residents are housed in two main buildings and each resident is given a private room with a bath and a study/studio, either adjoining the bedroom or on the grounds. High-speed Internet access is available free of charge in all bedrooms and most studies. A small library includes basic reference books and online research tools; the works of many former residents and those resulting from Bellagio meetings are also available. The visual artist studio is quite small, and not suited for large works or installations. There is no kiln or darkroom at the Center.

Spouses/life partners may accompany residents. Accommodations are not available for children, other family members, friends or pets. Room and board are provided to all residents and their spouses/partners, but they are responsible for their airfare and local transportation to and from Bellagio. However, the Foundation does have a limited travel assistance program, based on income level of invited residents.

Several resident suites are available for those with restricted mobility, and several of the buildings now include an elevator. Nonetheless, prospective applicants should be aware that the hillside setting of the facility and the surrounding area restricts the mobility of people who have difficulty walking or climbing stairs.

The Center is not equipped to provide medical services or assisted care. The nearest major hospital is in Lecco, a 40-minute drive away.

Artisphere welcomes Clemson University Art Department MFA Candidate David Gerhard to the first ever DIY Artist Demonstration Stage at the 2013 Festival

 

Please join Artisphere in welcoming David Gerhard to the first ever DIY Artist Demonstration Stage at the 2013 Festival. This event will be located right outside of Spill the Beans where David Gerhard will be taking the stage on 1pm and 3pm on Saturday, May 11^th. David Gerhard will be showing the audience at 1pm how to do Kitchen Printmaking. This involves low-tech way to make prints at home or in a minimal art studio. At 3pm David Gerhard will be showing the audience how to use a variety of iPhone applications to create interactive panoramas and other manipulated photos. Along with this demo David will be live-casting the demo online for people to view on their own smart phones. To check out more of David Gerhard and what he does with media art check out at: http://davidgerhardart.com/.

More about the Artist: David Gerhard is one of our DIY artists that works in the area of printmaking and new media art. David Gerhard work stems from an exploration of printmaking’s future in the digital age. This was triggered by the ever-changing world of technology and the collapse of the traditional printmaking methods. David has a strong background with both areas including his work in 2009 with an iPhone application review start-up where he was introduced to art making and social sharing. To find out more about this innovative art form and about David Gerhard check out his website at: www.davidgerhardart.com.

http://blogs.furman.edu/hwilson/2013/02/12/diy-stage-weekly-post/

Audience Engagement Grant

The Audience Engagement Grant supports photographers to take an existing body of work on a social justice or human rights issue and devise an innovative and effective way of using that work as a tool for social change. We are looking for projects that serve as interventions on pressing problems and provide concrete ways for photographers, organizations, and their target audiences to create a positive impact.

We are interested in well-designed projects that:

• inspire audiences visually and create meaningful interactions with photographic content
• utilize photography as the basis for programming or tools that move people beyond the act of looking and directly involve them in activities or processes that lead to concrete forms of social change
• provide deeper, more nuanced understanding of human rights and social justice issues
• pairs photographers with organizations that are currently working on related issues and connected to the target audience

Eligibility Criteria
Proposed projects should include the following elements:

Partners: The Audience Engagement Grant supports photographers who are partnering with organizations on collaborative projects. Each project partner should have the skills and track record to realize the project and must commit time and resources to implement it. Partnership should include:

• Photographer or Curator/Project Organizer, whose expertise is in the production or presentation of documentary photography
• Audience Engagement Partner(s), with expertise in a specific issue and already connected to the target audience 
• OPTIONAL: Distribution Partner with expertise in the dissemination or presentation method

Projects: We are seeking projects that include the following:

• An existing body of compelling photographs that documents a human rights or social justice issue. Preference will be given to projects that address issues and geographical areas of concern to the Open Society Foundations.
• Effective and innovative ideas for using photography to spark deeper engagement with a particular community on a social justice or human rights issue
• Well-designed dissemination strategies that are uniquely tailored to meet the needs and interests of a target audience
• A detailed plan for engaging targeted audiences in concrete ways
• Clearly articulated theory of change that explains how the project will result in concrete solutions

Ineligibility Criteria
The following projects are not eligible for funding:

• Requests to shoot new work
• Dated material, unless the purpose is to collect and preserve untold, alternative, or historically significant narratives about a particular community or historical event
• Projects whose only goal is to fundraise and/or raise awareness in a general way
• Projects geared toward “the general public,” and do not identify a primary target audience
• Exhibitions that serve only the interests of the photographer or the gallery
• Book production
• Documentary film or video
• Lobbying activities

Guidelines
We will provide between five to eight grants ranging from $10,000 to $30,000. Grant funds cannot be used to shoot new imagery. When selected projects closely align with the work of the Open Society Foundations, we will facilitate contact with relevant foundation staff and grantees.

Full application due June 18, 2013 (5:00 p.m. EST).

http://www.opensocietyfoundations.org/grants/audience-engagement-grant