Wednesday, August 15, 2012
Opportunity for Photographers
Submissions accepted: June 15–September
15, 2012.
The Center for Documentary Studies / Honickman First Book Prize in Photography is a biennial prize offering $3,000 in grant money, a solo exhibit at the Center for Documentary Studies, and most importantly, the publication of a book of photography, published by Duke University Press in association with CDS Books.
To learn more, go to firstbookprizephoto.com or send an SASE to:
CDS/THF First Book Prize in Photography
Center for Documentary Studies
1317 West Pettigrew Street
Durham, NC 27705.
Website: http://firstbookprizephoto.com
The Center for Documentary Studies / Honickman First Book Prize in Photography is a biennial prize offering $3,000 in grant money, a solo exhibit at the Center for Documentary Studies, and most importantly, the publication of a book of photography, published by Duke University Press in association with CDS Books.
To learn more, go to firstbookprizephoto.com or send an SASE to:
CDS/THF First Book Prize in Photography
Center for Documentary Studies
1317 West Pettigrew Street
Durham, NC 27705.
Website: http://firstbookprizephoto.com
Tuesday, August 14, 2012
Saturday: Procedures for Ground Loss Safety
Washington Project for the Arts and the Corcoran Gallery of Art and College of Art + Design present Procedures for Ground Loss Safety, a performance by Sarah Levitt, taking place on Saturday, August 15, from 12pm to 5pm.
Procedures for Ground Loss Safety asks the question: What
happens if the ground has an expiration date, if the solid foundation
on top of which we've built our homes, roads, and bridges suddenly gives
way? Taking inspiration from cheery Cold War safety films from the 1950's, Sarah Levitt will demonstrate Procedures for Ground Loss Safety,
instructing the audience through movement and sound on the appropriate
steps to prepare for sudden ground loss. Exploring the idea's literal
and metaphorical potential, the artist will investigate the relationship
between the body and the ground, utilizing the Performance Bridge's
invisible floor and proximity to the White House to further amplify the
body's new relationship to eroding foundations.
Procedures for Ground Loss Safety is part of Take It to the Bridge,
a nine-week series of installations and performances taking place
through September 15 in the new Performance Bridge located inside the
Corcoran's glass entryway on 17th Street. The Performance Bridge was first constructed at the Corcoran Gallery of Art as the stage for Holly Bass's performance Moneymaker,
a seven-hour endurance work that took place on February 11, 2012,
during the final weekend of the Corcoran's landmark fall exhibition 30 Americans. For Take it to the Bridge,
eleven artists living and working in the DC-Baltimore region will
present nine installations and performances, investigating the Bridge's
physical characteristics and pushing the boundaries of this
non-traditional space to explore a variety of social, political, and
aesthetic issues. Installations will open on Wednesday and remain on
view through the following Sunday for all museum hours. Performances
will take place on Saturdays, from 10 am to 5 pm unless otherwise noted.
The first seven weeks of the series coincide with the Corcoran's Free Summer Saturdays promotion, which run from May 26 - September 1, 2012.
Monday, August 13, 2012
Tomorrow: Chat with Lionell...
Join us on Tuesday, August 14th to chat with D.C. Commission on the Arts
and Humanities' Executive Director, Lionell Thomas.
and Humanities' Executive Director, Lionell Thomas.
Do you have a question about upcoming programs?
Log on and ask.
Log on and ask.
Do you have a question about a funding application?
Log on and ask.
Log on and ask.
Have questions about deadlines, calls to artists,
or just want to be heard?
Log on and be heard.
LIVE DIRECTOR CHAT
Tuesday, August 14th, 2012
2PM - 3PM
Sunday, August 12, 2012
George Bellows at the NAG
June 10–October 8, 2012 at the National Gallery of Art
When George Bellows died at the age of forty-two in 1925, he was hailed
as one of the greatest artists America had yet produced. In 2012, the
National Gallery of Art will present the first comprehensive exhibition
of Bellows' career in more than three decades. George Bellows
will include some 130 paintings, drawings, and lithographs. Bellows is
arguably the most important figure in the generation of artists who
negotiated the transition from the Victorian to the modern era in
American culture. This exhibition will provide the most complete account
of his achievements to date and will introduce Bellows to new
generations. The accompanying catalogue will document and define
Bellows' unique place in the history of American art and in the annals
of modernism.
The exhibition will begin with Bellows' renowned paintings of tenement children, boxers, and the urban landscape of New York. These iconic images of the modern city were made during an extraordinary period of creativity for the artist, from shortly after his arrival from Columbus, Ohio, in 1904, up to the Armory Show in 1913, and remain his best-known works. They include Forty-Two Kids, 1907 (Corcoran Gallery of Art), New York, 1911 (National Gallery of Art), Stag at Sharkey's, 1909 (Cleveland Museum of Art), and Snow Dumpers, 1911 (Columbus Museum of Art).
Complementing the earlier signature masterpieces will be groupings that bring to light other crucial, yet less familiar aspects of Bellows' prodigious achievement, including his Maine seascapes, sporting scenes (polo and tennis), World War I subjects, family portraits, and Woodstock, NY, subjects. Drawings and lithographs will illuminate Bellows' working methods and the relationships between his various media. The show will end with paintings from 1924, the year before his sudden death from peritonitis. These last works, including Dempsey and Firpo (Whitney Museum of American Art) and The White Horse (Worcester Art Museum), will prompt visitors to contemplate the artist Bellows might have become had he lived into the 1960s like his great contemporary, Edward Hopper.
Organization: Organized by the National Gallery of Art, Washington, in association with The Metropolitan Museum of Art, New York, and the Royal Academy of Arts, London.
When George Bellows died at the age of forty-two in 1925, he was hailed
as one of the greatest artists America had yet produced. In 2012, the
National Gallery of Art will present the first comprehensive exhibition
of Bellows' career in more than three decades. George Bellows
will include some 130 paintings, drawings, and lithographs. Bellows is
arguably the most important figure in the generation of artists who
negotiated the transition from the Victorian to the modern era in
American culture. This exhibition will provide the most complete account
of his achievements to date and will introduce Bellows to new
generations. The accompanying catalogue will document and define
Bellows' unique place in the history of American art and in the annals
of modernism.The exhibition will begin with Bellows' renowned paintings of tenement children, boxers, and the urban landscape of New York. These iconic images of the modern city were made during an extraordinary period of creativity for the artist, from shortly after his arrival from Columbus, Ohio, in 1904, up to the Armory Show in 1913, and remain his best-known works. They include Forty-Two Kids, 1907 (Corcoran Gallery of Art), New York, 1911 (National Gallery of Art), Stag at Sharkey's, 1909 (Cleveland Museum of Art), and Snow Dumpers, 1911 (Columbus Museum of Art).
Complementing the earlier signature masterpieces will be groupings that bring to light other crucial, yet less familiar aspects of Bellows' prodigious achievement, including his Maine seascapes, sporting scenes (polo and tennis), World War I subjects, family portraits, and Woodstock, NY, subjects. Drawings and lithographs will illuminate Bellows' working methods and the relationships between his various media. The show will end with paintings from 1924, the year before his sudden death from peritonitis. These last works, including Dempsey and Firpo (Whitney Museum of American Art) and The White Horse (Worcester Art Museum), will prompt visitors to contemplate the artist Bellows might have become had he lived into the 1960s like his great contemporary, Edward Hopper.
Organization: Organized by the National Gallery of Art, Washington, in association with The Metropolitan Museum of Art, New York, and the Royal Academy of Arts, London.
Saturday, August 11, 2012
Congrats! ... And an NBC gaffe?
Congrats to the US Women's B-ball team on their fifth consecutive Olympic gold!
Gaffe to NBC talking head Mary Carillo, who when referring to US basketball superstar Diana Taurasi, brings us the fact that "she's Italian, even though her parents are from Argentina..."
Come again?
Now, if you've ever been to Argentina, then you know that this huge nation is very diverse, almost as much as the US, when it comes to its European ancestry, and also that Argentines of Italian ancestry make up the largest historical block of immigrants to Argentina, so a slight majority of Argentines are of Italian ancestry, which reflects powerfully on the Italianate accent of their Spanish language. Case in point: if we look at the last names of the 15 players in the strong Argentine Olympic team we see that out of the 12 players, five have Italian surnames, five have Spanish and two have German... that's pretty much the Argentine demographic make-up plus a lot of Welsh in the city of Trelew, Argentina (founded in 1886 by Welsh settlers) and a lot of Scots in Patagonia.
And to trip over the fact that the daughter of Argentines, now in the US, is now Italian (again) instead of... what? See how difficult and silly this Latino label is?
Those of you who know me well, and those of you who know me through my writing, know that one of my pet peeves is the usage of "labels" to box people and art, or art and people, into easily distinguishable categories.
One such label is the American invention of the Hispanic (now apparently not a PC term because technically it includes two European nationalities) or Latino label to pass for ethnicity and often and always wrongly for race.
What does that mean in art? And what does it mean to "Latino" artists? Does it mean anything?
If you want to hear my opinion on the subject then start by penciling in October 11, 2012, where starting at 5PM I will be presenting a lecture titled "On Identity in the Arts: What Does It Mean to be Latino?" at Montgomery College in Silver Spring, MD.
Gaffe to NBC talking head Mary Carillo, who when referring to US basketball superstar Diana Taurasi, brings us the fact that "she's Italian, even though her parents are from Argentina..."
Come again?
Now, if you've ever been to Argentina, then you know that this huge nation is very diverse, almost as much as the US, when it comes to its European ancestry, and also that Argentines of Italian ancestry make up the largest historical block of immigrants to Argentina, so a slight majority of Argentines are of Italian ancestry, which reflects powerfully on the Italianate accent of their Spanish language. Case in point: if we look at the last names of the 15 players in the strong Argentine Olympic team we see that out of the 12 players, five have Italian surnames, five have Spanish and two have German... that's pretty much the Argentine demographic make-up plus a lot of Welsh in the city of Trelew, Argentina (founded in 1886 by Welsh settlers) and a lot of Scots in Patagonia.
And to trip over the fact that the daughter of Argentines, now in the US, is now Italian (again) instead of... what? See how difficult and silly this Latino label is?
Those of you who know me well, and those of you who know me through my writing, know that one of my pet peeves is the usage of "labels" to box people and art, or art and people, into easily distinguishable categories.
One such label is the American invention of the Hispanic (now apparently not a PC term because technically it includes two European nationalities) or Latino label to pass for ethnicity and often and always wrongly for race.
What does that mean in art? And what does it mean to "Latino" artists? Does it mean anything?
If you want to hear my opinion on the subject then start by penciling in October 11, 2012, where starting at 5PM I will be presenting a lecture titled "On Identity in the Arts: What Does It Mean to be Latino?" at Montgomery College in Silver Spring, MD.
Opportunity for Artists
Deadline: August 31, 2012
The Howard County Center for the Arts is seeking proposals
from artists for Art Maryland 2012, a biennial multi-media juried
exhibit. The juror for Art Maryland 2012 is my good bud Philippa Hughes, Founder and
Chief Contrarian of The Pink Line Project. A minimum of $1,000 will be
awarded by the juror. The exhibit will be on view from October 26 –
December 14, 2012 with a reception and remarks by Ms. Hughes on October
26 from 6-8pm.
Entry is open to all artists 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, MD. Artists may submit digital images of up to three works completed in the last two years and not exhibited previously in the HCCA galleries. All work must fit through a standard doorway measuring 54” x 80” and fit appropriately in the HCCA galleries. The Center’s two galleries total over 2000 square feet, with 9 ½ foot high walls, professional track lighting and hardwood floors. There is a $25 Art Maryland entry fee. The fee is waived for current Howard County Arts Council members.
Art Maryland 2012 is the eighteenth multi-media statewide juried exhibit sponsored by the Howard County Arts Council. The exhibit began in 1984 as Maryland’s Best, an annual show running through 1989 and open to all Maryland artists. In 1990, when the show became a biennial, its name was changed to Art Maryland. Since the Baltimore Museum of Art ended its Maryland biennial exhibits in the early 1990s, Art Maryland has been a premier juried showcase for artists in the region. In 2000, Art Maryland expanded to include Delaware and Southeastern Pennsylvania in addition to Maryland, Virginia, and Washington D.C.
For more information or to download a prospectus, visit www.hocoarts.org/exhibits.php
Entry is open to all artists 18 years or older, residing in Maryland or within a 100-mile radius of Ellicott City, MD. Artists may submit digital images of up to three works completed in the last two years and not exhibited previously in the HCCA galleries. All work must fit through a standard doorway measuring 54” x 80” and fit appropriately in the HCCA galleries. The Center’s two galleries total over 2000 square feet, with 9 ½ foot high walls, professional track lighting and hardwood floors. There is a $25 Art Maryland entry fee. The fee is waived for current Howard County Arts Council members.
Art Maryland 2012 is the eighteenth multi-media statewide juried exhibit sponsored by the Howard County Arts Council. The exhibit began in 1984 as Maryland’s Best, an annual show running through 1989 and open to all Maryland artists. In 1990, when the show became a biennial, its name was changed to Art Maryland. Since the Baltimore Museum of Art ended its Maryland biennial exhibits in the early 1990s, Art Maryland has been a premier juried showcase for artists in the region. In 2000, Art Maryland expanded to include Delaware and Southeastern Pennsylvania in addition to Maryland, Virginia, and Washington D.C.
For more information or to download a prospectus, visit www.hocoarts.org/exhibits.php
Community and Web Relations Assistant
Howard County Arts Council
8510 High Ridge Road
Ellicott City, MD 21043
p: 410.313.ARTS
f: 410.313.2790
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