.jpg "\"Eve Sees Her Face for the First Time\" Charcoal, conte and Embedded Video (Showing image of Alida Anderson) Framed to 40x30 inches") |
| "Eve Sees Her Face for the First Time" Charcoal, conte and Embedded Video 2013. Framed to 40x30 inches |
_1.jpg "\"Eve Sees Her Face for the First Time\" Charcoal, conte and Embedded Video (Showing image of Elise Campello) Framed to 40x30 inches and heading to a NY gallery")
.JPG "\"Eve Sees Her Face for the First Time\" Charcoal, conte and Embedded Video (Showing image of Vanessa Campello) Framed to 40x30 inches")
Monday, June 10, 2013
Eve Sees Her Face for the First Time
Sunday, June 09, 2013
The return of the censored artsy underwear
The more things change...
More than a decade later... the more they stay the same.
David Woodward, a Queen's University fine arts student, planned to display 10 pairs of underwear at a university donor appreciation event. But when he arrived, the Toronto Star reports school officials quickly told him to get rid of them before the event at the Kingston, Ontario, school began.This is so old news in some many ways... sometime in the mid 1990s there was a Washington DC area artist, I can't recall her name, whose work consisted of exactly the same thematic idea, but in this case her own underwear (sexy, feminine things...) and of course it was censored. I recall this because I wrote a long article for the historic KOAN Magazine about it.
More than a decade later... the more they stay the same.
Saturday, June 08, 2013
New record for rugs... cough, cough
New record!
"A Persian carpet decorated with swirling vines and vibrant flowers that was stored for decades by the Corcoran Gallery of Art sold Wednesday for more than $30 million. That sum, fetched at a Sotheby’s sale, shattered the previous record for rugs sold at auction. But it won’t help the struggling Washington gallery overcome its financial woes because the money must be used for future acquisitions, not to help the bottom line."Read the article in the WaPo here. If the Corc needs some ideas as to how to spen the $30M... they know my number...
Friday, June 07, 2013
Opening at the Katzen June 15...
The American University Museum at the Katzen Arts Center spotlights the art of its hometown with five of its six new summer exhibitions featuring works by Washington, D.C. artists. Exhibitions open Saturday, June 15, with a reception from 6 to 9 p.m. and close Sunday, August 11.
The museum has a reputation for showing Washington art, something director and curator Jack Rasmussen initiated when the museum opened in 2005.
“Museums were not showing Washington art except on very rare occasions,” Rasmussen said in a recent interview with American magazine. “It’s important to have local artists on your side. They support you, they talk to their friends, the friends come, and all this makes it possible to have a scene in which people want to participate.”
Washington Art Matters: 1940s–1980s tells the story of art made here during five crucial decades. As such, this is the first major effort by a museum to present a comprehensive history, representing those times with works by some 80 artists. The exhibition is based on Washington Art Matters: Art Life in the Capital 1940-1990, a book published by the Washington Artists Museum and co-authored by Jean Lawlor Cohen, Benjamin Forgey, Sidney Lawrence and Elizabeth Tebow.
Tim Tate: Sleep Walker features video installations by Tim Tate, Washington’s best known contemporary glass artist, as well as collaborations with Pete Duvall and Richard Schellengberg. Videos are probably the closest medium we have to experiencing the inexplicable quality of the dream in our waking lives. Rich in symbol, metaphor, movement and mystery, videos—like dreams—enable us to participate in another reality, and, through that participation, to be transformed. Hidden within is the latent content which will give the viewer an understanding of what is happening in the mind of a dreamer.
Raya Bodnarchuk: Form spotlights sculptures by Raya Bodnarchuk, a major artist and influential mentor in Washington for 40 years. Her sculpted animals and people are beautifully and carefully observed, the mature work of a master of many different media. Bodnarchuk trained at the Rhode Island School of Art and Design and the Rinehart School of Sculpture, Maryland Institute College of Art.
Nan Montgomery: Opposite and Alternate consists of recent oil paintings by Washington, D.C., artist Nan Montgomery. Throughout her career, Montgomery’s basic signature has been the use of color as communication, the interest in the painted surface and a minimalist aesthetic. Large fields of color are painted with many color overlays using a small brush.
Kitty Klaidman: Beneath the Surface highlights recent mixed media paintings by Washington, D.C., artist Kitty Klaidman. In these paintings, richly colored acrylic pigment is applied on wood panels covered with molding paste than has been incised with organic patterns. They are then highly glazed. The over-all effect is to make explicit the subtle rhythms and tensions in seemingly static natural settings.
Chester Arnold: Accumulations and Dispersals showcases large-scale, ecologically relevant oil paintings by San Francisco Bay area figurative artist, Chester Arnold. It is the great pageant of life on earth, as seen and remembered by an individual, mixed with dreaming narrative and fictional riff that speaks of the accumulated travails of an individual and an era. The voice and vision, although sparked with critical observation, is orchestrated with an overwhelming love of visual experience. As evidence of an artistic ambition and moral commitment to the human experiment, these paintings celebrate living and art-making and accumulating in a most visible and accessible way.
The museum has a reputation for showing Washington art, something director and curator Jack Rasmussen initiated when the museum opened in 2005.
“Museums were not showing Washington art except on very rare occasions,” Rasmussen said in a recent interview with American magazine. “It’s important to have local artists on your side. They support you, they talk to their friends, the friends come, and all this makes it possible to have a scene in which people want to participate.”
Washington Art Matters: 1940s–1980s tells the story of art made here during five crucial decades. As such, this is the first major effort by a museum to present a comprehensive history, representing those times with works by some 80 artists. The exhibition is based on Washington Art Matters: Art Life in the Capital 1940-1990, a book published by the Washington Artists Museum and co-authored by Jean Lawlor Cohen, Benjamin Forgey, Sidney Lawrence and Elizabeth Tebow.
Tim Tate: Sleep Walker features video installations by Tim Tate, Washington’s best known contemporary glass artist, as well as collaborations with Pete Duvall and Richard Schellengberg. Videos are probably the closest medium we have to experiencing the inexplicable quality of the dream in our waking lives. Rich in symbol, metaphor, movement and mystery, videos—like dreams—enable us to participate in another reality, and, through that participation, to be transformed. Hidden within is the latent content which will give the viewer an understanding of what is happening in the mind of a dreamer.
Raya Bodnarchuk: Form spotlights sculptures by Raya Bodnarchuk, a major artist and influential mentor in Washington for 40 years. Her sculpted animals and people are beautifully and carefully observed, the mature work of a master of many different media. Bodnarchuk trained at the Rhode Island School of Art and Design and the Rinehart School of Sculpture, Maryland Institute College of Art.
Nan Montgomery: Opposite and Alternate consists of recent oil paintings by Washington, D.C., artist Nan Montgomery. Throughout her career, Montgomery’s basic signature has been the use of color as communication, the interest in the painted surface and a minimalist aesthetic. Large fields of color are painted with many color overlays using a small brush.
Kitty Klaidman: Beneath the Surface highlights recent mixed media paintings by Washington, D.C., artist Kitty Klaidman. In these paintings, richly colored acrylic pigment is applied on wood panels covered with molding paste than has been incised with organic patterns. They are then highly glazed. The over-all effect is to make explicit the subtle rhythms and tensions in seemingly static natural settings.
Chester Arnold: Accumulations and Dispersals showcases large-scale, ecologically relevant oil paintings by San Francisco Bay area figurative artist, Chester Arnold. It is the great pageant of life on earth, as seen and remembered by an individual, mixed with dreaming narrative and fictional riff that speaks of the accumulated travails of an individual and an era. The voice and vision, although sparked with critical observation, is orchestrated with an overwhelming love of visual experience. As evidence of an artistic ambition and moral commitment to the human experiment, these paintings celebrate living and art-making and accumulating in a most visible and accessible way.
Thursday, June 06, 2013
And the winner is...
If you read this, then you know that I am a little shocked but not surprised that the boss of one of the jurors won the Bethesda Painting Award.
I know that the subordinate recused herself when discussing her boss, but you know how it looks no matter what... I'm actually beginning to think that it wasn't her fault that her boss applied to the prize while she was the juror, nor that two other co-workers also made it to the finals.
Bethesda Painting Awards Winners
Best in Show ($10,000): Barry Nemett - Stevenson, MD
Second Place ($2,000): Christine Gray - Alexandria, VA
Third Place ($1,000): Hedieh Ilchi - Rockville, MD
Congratulations to all the 2013 Finalists!
Joan Belmar – Takoma Park, MD Dennis Farber – Lutherville, MD Christine Gray – Alexandria, VA Hedieh Ilchi – Rockville, MD Barry Nemett - Stevenson, MD Cara Ober - Baltimore, MD Erin Raedeke - Gaithersburg, MD Bill Schmidt - Baltimore, MD
I know that the subordinate recused herself when discussing her boss, but you know how it looks no matter what... I'm actually beginning to think that it wasn't her fault that her boss applied to the prize while she was the juror, nor that two other co-workers also made it to the finals.
Bethesda Painting Awards Winners
Best in Show ($10,000): Barry Nemett - Stevenson, MD
Second Place ($2,000): Christine Gray - Alexandria, VA
Third Place ($1,000): Hedieh Ilchi - Rockville, MD
Congratulations to all the 2013 Finalists!
Joan Belmar – Takoma Park, MD Dennis Farber – Lutherville, MD Christine Gray – Alexandria, VA Hedieh Ilchi – Rockville, MD Barry Nemett - Stevenson, MD Cara Ober - Baltimore, MD Erin Raedeke - Gaithersburg, MD Bill Schmidt - Baltimore, MD
Wednesday, June 05, 2013
Grammar Police on the prowl
No, not Kriston "Il Capo" Capps (who's instead Hirshhorning), but the other grammar police... see what I mean hear here... cough, cough.
The Batman in The Batcave... brooding over Robin
Newest piece... heading to Glenn Aber Contemporary Art in NY for the Hamptons art fairs... the work has a 6.5 minute loop of appropriated vintage Batman TV show video focusing on The Batman's relationship with The Boy Wonder.
Update: Thanks to FedEex, this piece arrived to the gallery with a large footprint on the box (packed by FedEx) and busted glass and frame, so it couldn't be exhibited at the fair by my NY dealer... luckily, when I got it back from him, all that it needed was reframing... so it is safe.
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| The Batman in The Batcave (Brooding Over Robin) Charcoal, conte and Embedded Appropriated Video. Circa 2013 Framed to 30x40 inches. |
Update: Thanks to FedEex, this piece arrived to the gallery with a large footprint on the box (packed by FedEx) and busted glass and frame, so it couldn't be exhibited at the fair by my NY dealer... luckily, when I got it back from him, all that it needed was reframing... so it is safe.
Tuesday, June 04, 2013
New doors for the Library of Congress
This is the culmination of a project that began 9 years ago where the Washington Glass School was tasked with replacing the doors in this most iconic of DC buildings.
The project has been ignored by the DC area media (what else is new?) but the doors were fortunate enough to receive a fantastic 4-page spread in American Craft Magazine, discussing a one-in-a-lifetime project that represents not only some of the best of what the DMV art scene has to offer, but also the perfect balance of craft and architecture.
Read the article here.
Monday, June 03, 2013
Pheo Para Alliance Fundraiser at the Katzen
The Pheo Para Alliance and
The Katzen Arts Center at The American University
cordially invite you to
THE HEALING ARTS
An Evening of Art, Discussion, Good Food, and
Live and Silent Auctions
Saturday, June 22 at 5:30pm
The American University Museum
The Katzen Arts Center at The American University
cordially invite you to
THE HEALING ARTS
An Evening of Art, Discussion, Good Food, and
Live and Silent Auctions
Saturday, June 22 at 5:30pm
The American University Museum
Sponsorship Levels:
The Andy Warhol Table For 10: $10,000
The Georgia O’Keefe Table For 8: $6,000
The Larry Rivers Table For 6: $4,500
The Sam Gilliam Table For 4: $3,000
$350/person
$175/person for patients and artists
FUNDS RAISED WILL GO TO RESEARCH FOR FINDING A CURE FOR PHEO PARA.
SCHEDULE OF EVENTS:
5:30-6:30 - Cocktails and Art Exhibit of Prominent Washington Artists (and also by yours truly, easily the prominest of all prominent DC area artists... cough, cough... I will be donating this work) . Silent Auction Opens.
6:45-7:15 - Panel Discussion “The Healing Arts”
Dr. Frederick Ognibene, Deputy Director Of Clinical Research Training, National Institutes of Health, Moderator
PANELISTS:
Susan B. Magee – Author, INTO THE LIGHT The Healing Art of Kalmon Aron
Shanti Norris – Executive Director of Smith Center for Healing And The Arts
Jerzy Sapieyevski – Award Winning Composer, Pianist, and Educator
Tim Tate – Mixed Media Sculptor, Co-Founder of The Washington Glass School
Humanitarian Award Presentation to Dr. Antonio Tito Fojo (a fellow Cuban-American by the way).
7:30-9:30 – Dinner, Entertainment, Live Auction
9:30 – Grand Finale
PLEASE RSVP BY FRIDAY, JUNE 14
Checks payable to
Pheo Para Alliance can be sent to:
6111 Western Avenue, NW
Washington, DC 20015
To register online, please visit
www.pheo-para-alliance.org
Checks payable to
Pheo Para Alliance can be sent to:
6111 Western Avenue, NW
Washington, DC 20015
To register online, please visit
www.pheo-para-alliance.org
Red Handed at MFA
RED HANDED
A gallery installation experience by ROSEMARY FEIT COVEY
Rosemary Feit Covey's Red Handed is a complete gallery installation project which combines drawings printed on both hand and commercial printers. The prints are then made into paintings, or left rough on cheap paper. Covey's exploration in media and method has evolved and is comprised of wall-wrapped images and an all-encompassing floor piece - the major part of the installation - which forces the viewer to walk on the art. The image is meant to have no beginning and no end.
Red Handed began as a set of drawings and printed columns during Covey's 2012 residency at Spiro Arts in Utah. The initial drawing appeared as a steam of conscience image. It was at first unclear why red hands kept appearing on her running figures, Covey feels it is connected to guilt.
Referencing Dore, Modigliani and Picasso's Guernica - Red Handed raises issue of collective versus personal guilt.
"Where all are guilty, no one is; confessions of collective guilt are the best possible safeguard against the discovery of the culprit, and the very magnitude of the crime the best excuse for doing nothing."
-Hannah Arendt
"For all survivors of suicide the question of guilt opens a maw that fills and envelopes adding to the pain, shock and sorrow. A murder has been committed where the murderer can not be blamed. The past becomes the framework for constant reexamination. I had to ask myself - why did this image spring whole from my imagination? I had to wait and allow my thoughts to unearth the past. Guilt is the most personal of emotions and universal only when we take it on ourselves before we look at the rest." -Rosemary Feit Covey
Select collections include the Corcoran Gallery of Art; the New York Public Library Collection of Prints and Drawings; the Papyrus Institute, Cairo, Egypt; the National Library of Australia, Canberra; The National Museum of American History; Georgetown University Library Print Collection; Harvard University Library; and Princeton University Library.
Georgetown University Library currently houses 512 of her wood engravings in their permanent collection. She has an upcoming solo exhibition at the Evergreen Museum at Johns Hopkins University in Baltimore in 2014.
Red Handed marks Covey's third annual exhibition at Morton Fine Art.
A gallery installation experience by ROSEMARY FEIT COVEY
June 21st, 2013 - June 5th, 2013
EXHIBITION LOCATION
Morton Fine Art (MFA)
1781 Florida Ave NW (at 18th & U Sts)
Washington, DC 20009
HOURS
Tuesday - Saturday 11am - 6pm
Sunday 12pm-5pm
OPENING RECEPTION
Friday, June 21st from 6pm-8pm
The artist will be in attendance.
About Red Handed:
Rosemary Feit Covey's Red Handed is a complete gallery installation project which combines drawings printed on both hand and commercial printers. The prints are then made into paintings, or left rough on cheap paper. Covey's exploration in media and method has evolved and is comprised of wall-wrapped images and an all-encompassing floor piece - the major part of the installation - which forces the viewer to walk on the art. The image is meant to have no beginning and no end.
Red Handed began as a set of drawings and printed columns during Covey's 2012 residency at Spiro Arts in Utah. The initial drawing appeared as a steam of conscience image. It was at first unclear why red hands kept appearing on her running figures, Covey feels it is connected to guilt.
Inspiration for Red Handed:
Referencing Dore, Modigliani and Picasso's Guernica - Red Handed raises issue of collective versus personal guilt.
"Where all are guilty, no one is; confessions of collective guilt are the best possible safeguard against the discovery of the culprit, and the very magnitude of the crime the best excuse for doing nothing."
-Hannah Arendt
"For all survivors of suicide the question of guilt opens a maw that fills and envelopes adding to the pain, shock and sorrow. A murder has been committed where the murderer can not be blamed. The past becomes the framework for constant reexamination. I had to ask myself - why did this image spring whole from my imagination? I had to wait and allow my thoughts to unearth the past. Guilt is the most personal of emotions and universal only when we take it on ourselves before we look at the rest." -Rosemary Feit Covey
About ROSEMARY FEIT COVEY:
Rosemary Feit Covey was born in Johannesburg, South Africa. In a career
spanning three decades she has exhibited internationally and received
countless awards. Covey's work is in numerous national and international
museum and library collections.Select collections include the Corcoran Gallery of Art; the New York Public Library Collection of Prints and Drawings; the Papyrus Institute, Cairo, Egypt; the National Library of Australia, Canberra; The National Museum of American History; Georgetown University Library Print Collection; Harvard University Library; and Princeton University Library.
Georgetown University Library currently houses 512 of her wood engravings in their permanent collection. She has an upcoming solo exhibition at the Evergreen Museum at Johns Hopkins University in Baltimore in 2014.
Red Handed marks Covey's third annual exhibition at Morton Fine Art.
Sunday, June 02, 2013
Jackie and Marilyn find a home together
Both these pieces are now in the collection of a well-known DMV collector. In my opinion this couple has the largest (I'm talking in the thousand plus) collection of DMV area artists.
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| Ave Jacquelinas ER Charcoal and Conte with Embedded electronics 20x16 inches, circa 2012 |
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| Ave Marylinas Charcoal and Conte with Embedded Electronics 20x16 inches, circa 2012 |
Saturday, June 01, 2013
Next Saturday at Blackrock
Anne Marchand, Mike Schaffer, Mark Sharp
acrylics, wood sculpture, mixed media
Exhibit: June 5-28, 2013
Location: Main Gallery
Reception: Saturday, June 8 5:30-7:30
Free!
AND
Robert O'Brien
oil paintings
Exhibit: June 5-July 26, 2013
Location: Terrace Gallery
BlackRock Center for the Arts
12901 Town Commons Drive
Germantown, Maryland 20874
301-528-2260 www.blackrockcenter.org
Arts Council of Fairfax County announces the 2013 Strauss Artist Awards
The
Arts Council awarded $5,000 each to these Fairfax County based artists:
Diane Coburn Bruning
Susan Eder and Craig Dennis
Rebecca Kamen
All Strauss artist awardees can be seen at http://artsfairfax.org/strauss-artist-awards/recipients.
Congrats!
Diane Coburn Bruning
Susan Eder and Craig Dennis
Rebecca Kamen
All Strauss artist awardees can be seen at http://artsfairfax.org/strauss-artist-awards/recipients.
Congrats!
The Batman in the Batcave
Newest piece that marries technology with contemporary drawing... heading to Glenn Aber Contemporary Art in NY for the Hamptons art fairs...
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| The Batman in The Batcave (Brooding Over Robin) Charcoal, conte and Embedded Appropriated Video. Circa 2013 Framed to 30x40 inches. |
Friday, May 31, 2013
Call to Artists: Art Bank 2013
Call to Artists: Art Bank 2013
The
D.C. Commission on the Arts and Humanities is seeking to purchase two
and three-dimensional works of art including prints, drawings, mixed
media compositions, paintings, photographs, ceramics, and moveable
sculptures. To expand the District's collection further into new media
forms of contemporary art, we strongly encourage video artists and other
technological innovators to submit as well. Submission of works in
series is strongly encouraged. Representational, conceptual, and
abstract works will be equally considered.
Each
artist is allowed to submit up to 10 images for consideration and all
artwork submitted must be available for purchase and review upon
submission (see calendar for dates). Artwork must be created with
archival materials and be no larger in size than 96" in any direction.
In addition to images of prospective artwork, a completed application must include:
- An Artist Statement
- A current CV or Resume
- An Image List, declaring the retail price of each piece of artwork listed
To Apply:
To submit prospective work for review during the Art Bank 2013 acquisition cycle, please visit http://dcarts.slideroom.com and
open an account. Your account will be assigned a login password, to
enable you to access Art Bank 2013 and any other open opportunities in
Public Art.
Artist Eligibility:
This
call is open to all artists who reside or maintain studio space in the
Washington Metropolitan Area. However, preference will be given to
District of Columbia residents.
For more information, contact Zoma Wallace, Art Bank Coordinator at zoma.wallace@dc.gov or (202) 724-5613.
For more information, contact Zoma Wallace, Art Bank Coordinator at zoma.wallace@dc.gov or (202) 724-5613.
Thursday, May 30, 2013
Opportunity for video artists
CALL FOR ENTRIES: EXPERIMENTAL MEDIA 2013 VIDEO SCREENING
JUROR: Jason Eppink, Associate Curator of Digital Media, Museum of the Moving Image, Astoria, New York
SCREENING DATES: Thursday, September 12, 2013, additional screening dates TBA
SCREENING LOCATION: The Phillips Collection, 1600 21st St, NW, Washington, DC 20009
SUBMISSION DEADLINE: Friday, May 31, 2013, 5pm
DOWNLOAD THE FULL CALL
SUBMIT ONLINE
Washington Project for the Arts announces an open call for video-based artworks to be screened at The Phillips Collection on September 12, 2013 with additional screenings dates and locations TBA. The screening series is part of Experimental Media 2013, a broader WPA program that includes the exhibition Cyber In Securities at Pepco Edison Place Gallery and a series of discussions bringing together artists, technologists, and policy experts to discuss privacy, security, and surveillance.
WPA is particularly interested in works that explore and examine privacy and surveillance in contemporary society, from satellite surveillance down to patents on human genes, from government watch lists to exhibitionism in the age of social networking, from anonymity in Internet culture to the growth in corporate micro-targeting. As moving images play an integral role in our contemporary surveillance regimes – whether government-run, corporate, or self-inflicted – video provides an ideal medium to delve into the changing nature of privacy and surveillance in our digital age.
One artist whose work is chosen for the screening will be selected to win the Kraft Prize for New Media, a $500 cash prize.
Submission Guidelines
The call is open to all artists regardless of geographic location. Artists may submit up to three works of single-channel video, with a maximum duration of 5 minutes per video, along with a CV. The selected videos will be screened sequentially in an auditorium to a seated audience. It is recommended that artists consider the viewing context when selecting work to submit.
Videos can be submitted as links to work on file sharing websites (Vimeo, YouTube, etc) or on a personal website. Videos may be password protected and a password supplied in the submission form. The full length of each work submitted should be less than five minutes. Selected artists will be required to submit a file of the video to WPA so it may be included in the screening.
The final submission deadline is Friday, May 31, 2013 at 5pm. Work may be submitted through WPA’s website.
Artists with questions regarding the call or who prefer to submit their work via mail should contact Blair Murphy, WPA Program Director, at 202-234-7103 x 1 or bmurphy@wpadc.org. For more information, download the full call.
About the Juror
Jason Eppink curates events and exhibitions, creates interactive experiences, and throws raging art parties as the Associate Curator of Digital Media at Museum of the Moving Image in New York City. When he’s not doing that, Eppink teaches digital art at New York University and makes mischief in public space and online. GOOD Magazine proclaimed him one of the top 100 most important, exciting, and innovative people making our world better and changing the way we live.
JUROR: Jason Eppink, Associate Curator of Digital Media, Museum of the Moving Image, Astoria, New York
SCREENING DATES: Thursday, September 12, 2013, additional screening dates TBA
SCREENING LOCATION: The Phillips Collection, 1600 21st St, NW, Washington, DC 20009
SUBMISSION DEADLINE: Friday, May 31, 2013, 5pm
DOWNLOAD THE FULL CALL
SUBMIT ONLINE
Washington Project for the Arts announces an open call for video-based artworks to be screened at The Phillips Collection on September 12, 2013 with additional screenings dates and locations TBA. The screening series is part of Experimental Media 2013, a broader WPA program that includes the exhibition Cyber In Securities at Pepco Edison Place Gallery and a series of discussions bringing together artists, technologists, and policy experts to discuss privacy, security, and surveillance.
WPA is particularly interested in works that explore and examine privacy and surveillance in contemporary society, from satellite surveillance down to patents on human genes, from government watch lists to exhibitionism in the age of social networking, from anonymity in Internet culture to the growth in corporate micro-targeting. As moving images play an integral role in our contemporary surveillance regimes – whether government-run, corporate, or self-inflicted – video provides an ideal medium to delve into the changing nature of privacy and surveillance in our digital age.
One artist whose work is chosen for the screening will be selected to win the Kraft Prize for New Media, a $500 cash prize.
Submission Guidelines
The call is open to all artists regardless of geographic location. Artists may submit up to three works of single-channel video, with a maximum duration of 5 minutes per video, along with a CV. The selected videos will be screened sequentially in an auditorium to a seated audience. It is recommended that artists consider the viewing context when selecting work to submit.
Videos can be submitted as links to work on file sharing websites (Vimeo, YouTube, etc) or on a personal website. Videos may be password protected and a password supplied in the submission form. The full length of each work submitted should be less than five minutes. Selected artists will be required to submit a file of the video to WPA so it may be included in the screening.
The final submission deadline is Friday, May 31, 2013 at 5pm. Work may be submitted through WPA’s website.
Artists with questions regarding the call or who prefer to submit their work via mail should contact Blair Murphy, WPA Program Director, at 202-234-7103 x 1 or bmurphy@wpadc.org. For more information, download the full call.
About the Juror
Jason Eppink curates events and exhibitions, creates interactive experiences, and throws raging art parties as the Associate Curator of Digital Media at Museum of the Moving Image in New York City. When he’s not doing that, Eppink teaches digital art at New York University and makes mischief in public space and online. GOOD Magazine proclaimed him one of the top 100 most important, exciting, and innovative people making our world better and changing the way we live.
Wednesday, May 29, 2013
What Does Copyright Protect?
Get it from the government office here.
How to Protect Your Work from Etsy’s Copyright Infringers from Art Law Journal here.
Great guide to the Copyright Act here.
How to Protect Your Work from Etsy’s Copyright Infringers from Art Law Journal here.
Great guide to the Copyright Act here.
Monday, May 27, 2013
Call for edgy, weird, unsettling and scary art
Deadline: August 1, 2013
BFSD (BIG FAT SCARY DEAL) Purdue University Galleries is curating exhibit of contemporary art that is edgy, weird, unsettling and scary, open to US artists. Oct 21 - Dec 8, 2013. Any media, limit 8 feet tall or 10 feet wide. Selections from jpeg or video files - no PowerPoints.
Artists responsible for shipping. No entry fee.
Details:
Craig Martin, Director 765-494-3061 http://cla.purdue.edu/galleries
cdmartin@purdue.edu
BFSD (BIG FAT SCARY DEAL) Purdue University Galleries is curating exhibit of contemporary art that is edgy, weird, unsettling and scary, open to US artists. Oct 21 - Dec 8, 2013. Any media, limit 8 feet tall or 10 feet wide. Selections from jpeg or video files - no PowerPoints.
Artists responsible for shipping. No entry fee.
Details:
Craig Martin, Director 765-494-3061 http://cla.purdue.edu/galleries
cdmartin@purdue.edu
Sunday, May 26, 2013
When art panels bite
And so they held an art panel in NYC to discuss "Gended Politics in the Arts"... this is what happened.
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