The Franz and Virginia Bader Fund
Deadline: September 15, 2009
The Franz and Virginia Bader Fund welcomes applications from visual artists aged 40 years or older, who live within 150 miles of Washington, D.C. and can demonstrate that they have the potential to benefit as artists from a grant.
The Franz and Virginia Bader Fund does not, however, accept applications from filmmakers, video artists, and performance artists.
The deadline for applications is September 15, 2009. Application forms may be downloaded from the fund's web site: www.baderfund.org or may be requested by sending an email to grants@baderfund.org or by sending a request to:
Bader Fund
5505 Connecticut Avenue, NW #268
Washington, D.C. 20015
Thursday, August 20, 2009
Wednesday, August 19, 2009
Opportunity for Artists
Columbia Journal is an arts and literature annual publication that is edited, designed, and produced, entirely by graduate students at Columbia University. The Journal was founded in 1977 and has published work from such writers and artists as Raymond Carver, Jorge Luis Borges, Lorrie Moore, Louise Gillick, Phillip Gourevitch, Noam Chomsky, Kara Walker, Wayne Koestenbaum,and many others.
They are currently extending an open call for the arts section of their next issue
Please find a sample below:
"How do you create a warning system to prevent an accidental unearthing of 200 million pounds of radioactive nuclear waste? A simple sign, some chain link and a military post might work today. But what about 10,000 years from now? In 2002 the U.S. Department of Energy brought together engineers, archaeologists, anthropologists and linguists and asked them this question. What type of warning system can be put in place so people, 370 generations from now, won't open the glowing door?
What they came up with is hardly inspiring: a large earthen mound with a salt core and two identical Dr. Strangelove-esque control rooms with a warning message written in the six official languages of the U.N. and Navajo. Construction of this Waste Isolation Pilot Plant is scheduled to begin in less than three years.
What if an artist designed the system?
Columbia: A Journal of Literature and Art is asking artists, architects, cartoonists, computer engineers, graphic designers, scientists-and anyone else up for the challenge- just that question.
Design a warning sign or create a work, a system, that speaks to the nuclear gravesite issue. Graphic novelists might translate the project and solution into story panels.
Architects may offer a blueprint for the facility itself. The artistic focus may be as narrow as an image on a sign, or as broad as a full-scale vision of the future. The Journal is encouraging maximum interpretation and creativity.
Further Information: www.columbiajournal.org or email to columbia.journal.arts@gmail.com
Job in the Arts
Deadline: August 30, 2009
The Torpedo Factory Artists’ Association is seeking applicants for an Administrator of the Torpedo Factory Art Center. This person will manage daily operations of the facility and its staff as well as also promoting the objectives of the TFAC by enhancing its reputation among both the Washington arts community and the general public.
The Administrator will report to the TFAA Board of Directors through its President, working closely with Board committees and ensuring that all activities further the goals of the TFAC.
Requirements include: Bachelor’s degree (Master’s preferred), with 5 to 8 years’ management experience working with a board of directors, preferably in an art-related organization; Experience including personnel management, time management, and oversight of financial operations; Excellent verbal and written skills assumed; Familiarity with computer applications and website control a plus.
Qualified applicants should apply in writing by August 30, 2009. No phone calls please. Please send letter and resume to:
Torpedofactorystaffing@gmail.com
Website: www.Torpedofactory.org
Tuesday, August 18, 2009
Put me in coach...
I may have to start watching baseball again... click on cartoon below for a better view.
"The Nats signed Stephen Strasburg, probably the most heralded young pitcher of the last 50 years. Who knows what portion of his collegiate and Olympic fame will prove justified. But not only did the Nats sign him for a fair price of $15.67 million, despite the howls of his crusading agent Scott Boras, but Strasburg also did what has been unthinkable in baseball until now.
He chose here.
No 21-year-old deserves such responsibility; but Strasburg has put the Nats squarely on baseball's map, on the list of can't-miss attractions in the game that must be seen. Does he really throw 100-102 mph with command? Or is that partly scouts' mythology? Is his slider really his best pitch, so sharp it actually seems to hit something in mid-air and deflect?"
Well, beat the drum and hold the phone - the sun came out today!
We're born again, there's new grass on the field.
A-roundin' third, and headed for home, it's a brown-eyed handsome man;
Anyone can understand the way I feel.
Oh, put me in, Coach - I'm ready to play today;
Put me in, Coach - I'm ready to play today;
Look at me, I can be Centerfield.
Well, I spent some time in the Mudville Nine, watchin' it from the bench;
You know I took some lumps when the Mighty Casey struck out.
So Say Hey Willie, tell Ty Cobb and Joe DiMaggio;
Don't say "it ain't so", you know the time is now.
Oh, put me in, Coach - I'm ready to play today;
Put me in, Coach - I'm ready to play today;
Look at me, I can be Centerfield.
Yeah! I got it, I got it!
Got a beat-up glove, a homemade bat, and brand-new pair of shoes;
You know I think it's time to give this game a ride.
Just to hit the ball and touch 'em all - a moment in the sun;
(pop) It's gone and you can tell that one goodbye!
Oh, put me in, Coach - I'm ready to play today;
Put me in, Coach - I'm ready to play today;
Look at me, I can be Centerfield.
Oh, put me in, Coach - I'm ready to play today;
Put me in, Coach - I'm ready to play today;
Look at me, I can be Centerfield.
Yeah!
Colleen Henderson at Multiple Exposures
Colleen Henderson, Chatham Light Beach
If you're a photography fan in the Greater DC area, then you know that
Multiple Exposures Gallery is a showcase to view quality fine art photography produced in our community. I have always been impressed with the professionalism, variety, and quality of photographic images exhibited at Multiple Exposures.So I'm never surprised when I wander into MEG and discover yet another strong show.
But this time the photographs by Colleen Henderson... the set on the red wall of the gallery, floored me! It is the mastery and simplicity that she has achieved with the work that faces the viewer as one enters the gallery that merits this glowing adjective.
This is as close as painting with a camera as a photographer will ever get. How Henderson has managed to dilute and trap color, and then use her magical photography skills to re-hue them and present us with works that suddenly become a photographic cousin to the legendary colors of the Washington Color School and even would have drawn a gasp from Mark Rothko... is beyond my understanding of the mysteries of the camera at the hand of a master.
Colleen Henderson, Blue Clearing
And in "Blue Clearing" she traps that scene that all of us have aimed a camera at; that sudden instant when the marine clouds and the beach light and the ocean all become one lazy dreamscape that re-enchants us with our blue planet. We all get crappy pictures that look good to us. Henderson gets a photographic painting that belongs in a Richter exhibition.
Colleen Henderson, Cambridge Dawn
In "Cambridge Dawn" we're brought back to Earth a little, as she offers us more hints of real life, besides dazzling us with color and fantasy, as the dark marine forms in the water anchor an otherwise ethereal scene.
There's an artists' reception on Sept 10th 6:30 - 8:30PM.
Multiple Exposures Gallery
Torpedo Factory Art Center
Studio 312
www.multipleexposuresgallery.com
703.683.2205
Tolbert on the Torpedo Factory
I asked for input on the issue facing the Torpedo Factory and I continue to receive good constructive comments and suggestions and opinions.
Norfolk artist Susan Tolbert has the following to contribute:
I have been following the discussion about the Torpedo FactoryWhat do you readers and TF artists think?
and Kevin Mellema’s observations seem right on the money.
Though I have never been to the Torpedo Factory, I did have a studio for several years in Norfolk’s original D’Art Center, which claims to be modeled after the Torpedo Factory, and am familiar with the problems. So here's my two cents.
Professional artists have degrees and resumes and after browsing their website, the work of the Torpedo Factory artists sure looked to me like that of “Professional Amateurs” -- artists interested in producing work that would sell to the tourists.
In fact, the work at the Torpedo Factory was remarkably similar to that of Norfolk’s D’Art Center.
I think it would be safe to say that most of the artists showing in the Target Gallery have degrees and resumes while the Torpedo artists, like those at the D’Art Center, have taken a class here and there but have avoided any real intellectual discipline and rigorous criticism.
Kevin hit the nail on the head when he by described the studios as little commercial stores. And that’s a problem, as stores are not studios. The word studio implies that there is creative work in progress — ideas are being played with, risks are being taken, things are in a constant state of flux.
If the city is subsidizing the Torpedo Factory, it would seem that the best artists should have subsidized studio space rather than the merely mediocre. After my experience with the D’Art Center, I don’t think you can have a small shakeup and achieve any real change. It’s not a matter of getting in a few younger artists—will they just be younger Professional Amateurs — degreeless wonders. The same boring work would be produced by younger versions of the artists that are there now.
Norfolk’s D’Art Center did give studio spaces to younger artists with degrees and most left in about 16 months, though the ones without art degrees did seem to last longer.
Having the artists re-jury for studio space every two years on a point system would change the dynamics of the spaces dramatically. The best studios would go to the artists with the highest number of points, with major points being awarded for BFA and MFAs.
Artists would be required to have their work selected in a state or national juried exhibit at least once every two years.
Will this idea be popular with the artists at the Torpedo Factory? My prediction would be hell no, and I hope I’m far enough away so they can’t find me for even suggesting this. But then change is never easy.
Best,
Susan Tolbert
Norfolk VA
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