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Opportunities for artists

Deadline: September 1, 2004

The 30th Bradley International Print and Drawing Exhibition - formerly the Bradley National will be excepting applications until September 1, 2004. Exhibition dates will be March 8 - April 7, 2005. There is a catalog published of the exhibition. The juror, Judy Collischan, Ph.D, is currently an independent art consultant, was the Associate Director for Curatorial Affairs at the Neuberger Museum of Art, SUNY-Purchase; Director of the Hillwood Art Museum and Public Art Program at Long Island University, C.W. Post campus and Administrative Director for The Printmaking Workshop, NY, NY. The entry fee is $25.00 for three entries and $5.00 for each additional entry. Please send a self addressed stamped envelope to:
Bradley International
Bradley University Department of Art
1501 West Bradley Av
Peoria IL 61625

Or to print the prospectus go: here.

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Deadline: September 1, 2004

Call for Public Art. Seeking professional artists to construct public art for up to 18 sites. Traditional sculptures preferred. Submit 6+ images of proposed work, 10 slides or prints of outdoor sculpture work, description, statement, materials list, resume, letter/interest, budget, references and timeline to:
Karen Hokansson
Newport News Public Art Foundation
Box 120648
Newport News VA 23612

Email: nnpaf@cox.net

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Deadline: September 3, 2004

The Barrett Art Center's 20th Annual National Contemporary Art Competition. Juror: Tina Kukielski, Contemporary Art Curatorial Dept, Whitney Museum of American Art, New York, NY. Cash awards/exhibition opportunities. Painting, drawing, sculpture, printmaking, photography and mixed media. Send SASE for prospectus to:
The Barrett Art Center
55 Noxon St
Poughkeepsie NY 12601 or call 845-471-2550

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Deadline: October 29, 2004

Digital Concentrate Art and Technology Exhibition. Deadline for entries is Friday, October 29, 2004. Dates of exhibition are March 7 through April 24, 2005. Open to artists over the age of 18. The exhibition conceives of a broad intersection of art and technology. Entries may include but are not limited to: web-based art, works for monitor display, digital video, digital prints, sensor-based and/or interactive work, and robotics. Work will be selected by a curatorial team comprised of a contemporary art historian and a digital artist from the Division of Art & Design at Purdue University, and the director of Galleries. Selections will be made from review of 35 mm slides, jpeg files, CD-ROM/DVD, VHS format video and URLs. Please observe resolution restrictions for jpeg images sent via e-mail (maximum dimension of eight inches in image size-maximum resolution of 300 dpi). Include an artist statement and description of necessary hardware and software for display. Submissions will be accepted by ground mail or e-mail. A non-refundable entry fee of $20 will entitle the artist to submit up to three (3) original works for consideration. Entries must be made on the official entry form or PDF file from the Purdue Galleries website: here.

For more information, contact:
Craig Martin-Director
Purdue University Galleries
Physics Building Room 205
525 Northwestern Av
West Lafayette IN 47907-2036

Or call 765-494-3061 OR email cdmartin@sla.purdue.edu.

Blake Gopnik makes a couple of good points about two new local museums while Gopnik's colleage Jessica Dawson reviews Andrew Krieger's 30-year retrospective at the Corcoran Gallery of Art and makes some really good observations.

Both are in today's Washington Post's Sunday Arts section - first time that I recall the Gopnik-Dawson combo.

Since Jessica is now sharing the "Galleries" column with Glenn Dixon, it would be nice to see an occasional review from her or anyone else continue to appear in Sunday Arts to augment Gopnik's museum-only look at our region.

I've been working on a list of the 10 most influential people in the Washington, DC area as far as the visual art scene in our region is concerned. I was hoping to have it ready today - but it is not. I will try to have it posted here in the next few days.

Today I'll be co-hosting the Success as an Artist Seminar in Bethesda.

Today is the last day to sign up for the Success as an Artist seminar that I am teaching tomorrow. There are 3-4 spaces left. Call 301/718-9651 before 6 PM to register.

I've been retained by Art.com to curate a worldwide call for artists in an homage to Frida Kahlo.

More details as the call for artists is finalized. There will be no entry fees and there will be a substantial prize. In 1997, together with the Mexican Cultural Institute, I curated this Homage to Kahlo. It was a tremendous success, with several reviews across the nation and a really plain website that has attracted over 10 million visitors since then!

An alert DCARTNEWS reader catches Artspeak at its most absolutely mind blowing sillyness:

A fountain made of blobby cast metal by Lynda Benglis has a nice grotesquely organic presence; and a field of wiggly green lines on a hot pink ground by Sue Williams is sexy and optically captivating. But these are absorbed into a generally leveling, pluralistic hodgepodge.

The above is from a NY Times review.

Thanks Jim!

Artist Slides

Last Friday I went through a few hundred slides from all over the world for Gallery International's first ever All-Media Competition and Show, which will run from September 2nd through the 24th, 2004, with an opening reception on Thursday, September 2nd, from 6-8pm.

A few years ago I wrote an article for Art Calendar Magazine in which I discussed a variety of tips and advice to artists who enter juried competitions. I will see if I can find that writing and post it here, as it is as topical as ever.

The vast majority of the work that I reviewed was excellent (and as usual), as a juror, one is often forced by space and other constraints to reject work which is good and interesting. But I think that it will be a good show. The Best of Show winner will be selected from the actual work and he/she will get a solo show at the gallery next year.

However, I am always surprised by a couple of recurring things that I see time after time in all the juried competitions (including ours) that I see every year and have seen in the last 25 years.

The first is the fact that nearly 75% of all entries arrive on the last two days of the competition - OK, OK so we all know that artists leave everything to the last minute. But, what gets me is that a lot of these entries come via FEDEX or UPS, which means that the artist is paying $25 or $30 bucks just to have the slides delivered on time. This is a waste of money; with a little planning, the slides can be sent via regular mail for under a buck or via USPS Priority for $3.95.

The second is the poor quality of slides being submitted. I would say that at least 10% of all entries consist of really dark (I've actually have seen completely black or unexposed) slides, which make seeing (and jurying) the artwork nearly impossible. Or slides that are out of focus, or artwork shot under glass with a flash, where all you see is the bright flash reflected on the glass. You get my point: bad slides!

As an artist, if we go through the trouble of entering a competition, the few seconds that it takes to actually project the slide (if you have a slide projector that is...) or at least look at it with one of those hand-held slide viewers, should be a part of the procedures we must all do before submitting that slide for jurying.

By the way, for all you digital people out there.... you can get slides made from your digital files at Slides.com.

A good source for juried competitions is Art Deadlines, or Kara Art in Europe, or nothing still beats a subscription to Art Calendar Magazine.

Henri Cartier-Bresson died Tuesday in France and the Post's Pulitzer-prizewinning art critic Henry Allen has a brilliant piece on Cartier-Bresson in today's Post.

Adams Morgan Day Festival

There are still a few booth spaces left for the annual Belmont Street art show, a key part of the annual Adams Morgan Day Festival. This year's show is one day only, Sunday, September 12th, from 10 am to 6 pm. It always draws a great crowd and features a fun group of local artists. For more information and an application, please contact Michele Banks at (202) 625-6249 or email her at miche@null.net.

Success as an Artist Seminar offered on August 8, 2004.

Almost as soon as we opened our first gallery in Georgetown in 1996, artists began pouring in seeking representation. This continues to this day, and between visits, emails, packages in the mail, etc. we generally receive around 600-800 inquiries a year.

Because we obviously cannot represent or sell the work of such a huge number of artists, a lot of good, talented artists are turned away, after we have recommended follow on steps on what to do. However, in our first few months, Catriona soon discovered that she was spending most of her of time with emerging artists discussing many of the same things over and over, which generally consisted of giving out career advice about such things as gallery representation, contracts, grants, competitions, resumes, etc.

This was not only time consuming with scheduled appointments, but many unscheduled visits caused her to spend several hours a day just meeting with artists and essentially passing out the same information, over and over.

Then her mother came out with a brilliant idea: Why not come up with a structured, formal seminar for emerging artists to pass out this information as well as other important information. Not theory, not review of artwork, but practical advice, usable handouts and a forum to answer questions all at once.

We held our first seminar in 1999 – it was supposed to run for four hours but it ran for seven. So eventually we changed it to a full day, seven hour seminar, and have now presented it to over 1,000 artists and art administrators from nearly every Mid Atlantic state – with attendees coming from as far north as New York and as far south as South Carolina.

It has been spectacularly successful in offering practical business advice to the emerging artist on many areas not covered by any art school curriculum that we know of. The information, advice and details taught at the seminar are not based on theory, but on actual practical experience and hands-on effects. That’s why it has been so successful!

The seminar lasts for seven hours and is now offered twice a year. It costs $80 and the next one is scheduled for August 8, from noon to 7 PM at our Bethesda gallery. Interested artists can read more details or print a registration form online at www.thefrasergallery.com/seminars.html or just call Catriona at 301/718-9651.

The seminar is held at the Fraser Gallery of Bethesda, located at 7700 Wisconsin Avenue, Suite E, in Bethesda. The gallery is one block from the Bethesda Metro stop on the Red Line. Ample free parking is also available.

The Corcoran in the news...

The New York Times. Writer Carol Vogel interviews David C. Levy, profiling the Corcoran's planned renovation and new Gehry wing in Inside Art: Corcoran to Expand.

The Washington Post's art critic Michael O'Sullivan reviews In Search of Self: Paintings and Drawings by Anil Revri, lauding Revri's "shimmering, meditative abstractions" as "vertiginous and thrilling."

Metro Herald. In the newspaper's center spread, writer P.J. Robinson applauds the juxtaposition of three exhibitions at the Corcoran (The Eyes of History 2004, Sally Mann: What Remains and In Search of Self: Paintings and Drawings by Anil Revri) as a "powerful trio" that ultimately "gives us hope."

On the Line: machines, maps, and memory, curated by Karey Kessler and Pat Goslee is at Maryland Art Place from August 3 through September 11, 2004.

Each artist uses the idea of memory as a map-making machine, recording places both seen and unseen, nightmarish and utopian, hallucinatory and real. Artists included in the exhibition are Andy Holtin, Andrew Krieger, Walter Ratzat, Scott Reynolds, Dylan Scholinski, Perry Steindel, Jennifer Swan, Katy Uravitch, and Sylvie van Helden.

There's a gallery talk on Thursday, September 9, from 6-7 pm and a closing reception on Thursday, September 9, from 7-9 pm.

On the Line: machines, maps and memory first appeared at the District of Columbia Arts Center (DCAC) in Washington DC. The show ran from April 30-May 30, 2004. Curators Karey Kessler and Pat Goslee are both well-known Washington area artists who have formed a Visual Arts Committee with DCAC Board Member Philip Barlow to raise the quality of gallery installations, and expose new artists through exposure at DCAC. The Curators’ Incubator at MAP allowed for a broader exploration of the theme and a second venue in Baltimore.

National Cherry Blossom Festival Call for Artists.

Deadline: August 31, 2004.

Presented by the National Cherry Blossom Festival. Open to all artists painting in any 2D media (oil, water media, acrylic, casein, pastel, pencil, mixed media, collage, other) or working in digital arts. Each year the festival holds a poster contest to select a new image that expresses goodwill between the United States and Japan which incorporates the delicate flowering cherry blossoms. Artwork should associate the theme(s): the cherry blossoms, the beauty and the people of contemporary and historic Japan and Washington DC, and the amity and friendship between the two countries.

Max size: 8x10 inches, vertical orientation. The cherry blossom trees that surround the Washington, DC Tidal Basin were a gift from the people of Japan in 1912. The tradition of a Cherry Blossom Festival to mark the arrival of spring in Washington, DC began in 1935.

Prizes include $1,000, tickets to certain events, 2-night stay in a local D.C. hotel, and more. There is no entry fee.

A prospectus is available for viewing on their website. Address: National Cherry Blossom Festival, 2005 Art Contest, 1250 H Street, NW Suite 1000, Washington, DC 20005 USA. Phone: 202.661.7584 Email: ncbf@downtowndc.org Website: www.nationalcherryblossomfestival.org

Opportunity for Photographers

Deadline: August 15, 2004

Washington Gallery of Photography Second Annual National Juried Gallery Show and Exhibition. The Washington School of Photography presents its second annual National Juried Gallery Show and Exhibition, October 8 to November 8, 2004. All photographic works from residents of any state or territory are eligible. Slides are due August 15, opening is October 8. Cash and exhibit opportunities awarded. Prospectus can be downloaded here or SASE to: WGP/WSP, 4850 Rugby Avenue, Bethesda, MD 20814.

Gallery closing

I am told that the Elizabeth Roberts Gallery will be closing in the near future as Miss Roberts is getting married and moving away.

Congratulations to Elizabeth and we hope that the building (which previously housed the Anton Gallery for many years) remains in use as a gallery space.

"Great Expectations" and the need to Create Value in one's artwork.

By (and printed here with the permission of) Malik Lloyd, Publisher of the Find Art Information Bank.

Attending a recent seminar, "Starting Your Own Art Collection" at the Smithsonian's Anacostia Museum and watching the film version of Charles Dickens' classic novel "Great Expectations" served as the impetus for this editorial. They got me thinking how the latest buzzword of "creating value" actually translates to an artist.

Serious collectors are spending inconceivable amounts of money on art. In 2003, the late Jean-Michel Basquiat's painting Profit I sold for a hefty $5 million at auction, placing him in an elite cadre of contemporary artists. While it is commonplace for Impressionist paintings to command tens of millions in today's market, the irony is most people did not think that they were worth the canvas on which they were painted during their day. It begs the larger question, how is value determined? In addition, who determines it? Artists? Collectors? How do art critics and curators fit into the equation?

As artists, we must ask ourselves a series of introspective questions: How does creating value affect me? Will the value of my artwork increase over time? How can I make this a reality? Is adding value to my artwork even something worth considering or will it take care of itself? Is adding value to one's artwork and marketing one's artwork one in the same? Does having wonderful artwork ensures you of having value applied to it?

How does an everyday artist create value, which may translate to how can an artist professionally establish themselves with a view to sell their work in today's marketplace?

In true Hollywood fashion, the movie "Great Expectations" shows Ethan Hawke as, an artist named, Finn, being rescued from his life as a fisherman with the promise of an exhibit in an exclusive New York gallery. Robert DeNiro's character, Luftig, is a criminal and thus, Finn's unlikely benefactor, has arranged an exhibition; rented an apartment to serve as his studio; has provided him with a new image-improving wardrobe; and paid for the show's marketing. To top it off, Luftig then purchases all the artwork in the show. Luftig's actions have led to creating value for Finn for he has raised his artistic profile and created a demand for his work. The concluding scene reveals that Finn has built upon this early success and has become an acclaimed artist.

Since most artists are not actors in a Hollywood movie, this notion of creating value is trickier. During the seminar, the speaker emphasized that an artist creates value by developing what the seminar speaker identified as a "solid " career path. The good news is all artists can do this by doing what comes naturally, e.g. becoming formally educated; receiving awards; participating in juried and museum shows; receiving commissions and making actual sales; and ultimately, having gallery representation.

The latter is key because it aids in documenting sales and many of the aforementioned components. Of course, the more prominent or exclusive the gallery, the better. For most artists, discipline, hard work, and time, lots of time, are the ingredients of creating a solid career path and therefore, value. Unfortunately, the expenditure of time and effort does not guarantee successful results. Some artists have raised the value of the their artwork more expeditiously both through their own direct efforts and being the fortunate object of art collectors' desires.

At the seminar's end, the speaker proposed his own Hollywood scenario of how art collectors can create value for a particular artist regardless of the solidness of his/her career path. He simply stated, "If everyone present [at the seminar] purchased a particular artist's work, the value of his/her work would most likely rise."

This very scenario sheds light on the role of individuals, in particular collectors, no matter how serious, can affect an artist's commercial success. Orson Wells once said "people know the price of everything and the value of nothing." Yet, these same "people" could very well determine the value of our artwork. Far be it for me to "say," but perhaps people, price and value share a more intimate relationship than we ever imagined.

Malik M. Lloyd

Opportunity for Photographers in London...

Deadline: August 26, 2004.

Re-Focus Now in the UK is inviting entries for Originate 2004 returning for it's 2nd successive year. Last years winning entries can be viewed online here.

This competition is open to all areas of creative media to interpret the theme 'ORIGINATE' and support the promotion of talent within the fields of digital imaging, photography, painting, sculpture and mixed media. Final deadline 26th August.

The selected winning entries will be showcased in their stall at ON THE WALL at Olympia in London 29th September - 03 October 2004. They are stall A16.

For entry forms and guidelines on this competition e-mail info@refocus-now.co.uk with ORIGINATE 2004 in the subject line

In Baltimore today; will post some good stuff later in the day. Visit again.

I've been asked by Baltimore's Gallery International to jury and select their first ever All-Media Competition and Show, which will run from September 2nd through the 24th, 2004, with an opening reception on Thursday, September 2nd, from 6-8pm.

So I'll be in Baltimore tomorrow looking at around a thousand slides... more on that later.