Global Art Times March 2008
Choice articles from leading newspapers and art sources from around the world.
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Guggenheim’s Provocative Director Steps Down
Banksy’s Laugh Now, (detail above) sold for £228,000
Bonhams’ top Banksy on its way to Hong Kong? Viv Lawes The Art Newspaper
Thomas Krens in front of the Guggenheim Museum in Bilbao, Spain, in 2005. By Carol Vogel New York Times After nearly 20 years, Thomas Krens, the provocative director of the Solomon R. Guggenheim Foundation, is stepping down, its board announced on Wednesday. The move comes three years after Mr. Krens triumphed in a him-or-me showdown with the foundation’s biggest benefactor, the Cleveland philanthropist Peter B. Lewis. Mr. Lewis resigned after arguing that Mr. Krens was spending too much money and should focus more on the foundation’s New York flagship museum rather than on funneling resources into developing Guggenheim satellites around the world. In a statement on Wednesday the foundation emphasized that Mr. Krens would remain at the foundation as a senior adviser for international affairs, overseeing the creation of a 452,000-squarefoot museum in Abu Dhabi to be designed by Frank Gehry. In resigning as director Mr. Krens is clearly taking his cue from the Guggenheim’s board. “This is something that Tom and the board decided together,” Jennifer Stockman, the board’s president, said. She characterized Mr. Krens’s new position as a “natural transition.” She added, “The museum is in a strong position to move on.” The foundation said that Mr. Krens would remain as director until a successor was hired, and that the search would begin immediately. But it added that the institution would revert to the management structure that existed until 2005, appointing a director who would run the Manhattan flagship and Guggenheim satellites. In September 2005 the foundation promoted Lisa Dennison, then a deputy director and chief curator, to director of the Manhattan museum. She served less than two years, departing last summer to join Sotheby’s auction house as an executive. Curators and other museum directors have been saying privately for months that the
Guggenheim has been unable to fill the crucial job of director of the New York museum. They said that candidates who were informally approached were not shy about communicating that they would not work under Mr. Krens, who is known as a difficult personality. Supporters of Mr. Krens, however, say he has been disappointed with the foundation’s board, especially its shortage of particularly generous donors. With no replacement for someone like Mr. Lewis, who gave the Guggenheim about $77 million overall — nearly four times as much as any other board member in its history — the Guggenheim may not have the financial muscle to keep growing, some art-world insiders say. Mr. Krens cast his job change in a positive light on Wednesday. “This is a great move for everyone,” he said in a telephone interview after stepping off a flight from Paris to New York. “In July I will have been at the Guggenheim for 20 years, and I like that round number.” A towering 6 foot 5, with an M.B.A. in management from Yale and a manner that is often taken for arrogance, Mr. Krens, 61, has long been synonymous with the Guggenheim. He is best known for his ambitions for developing an international network extending from Las Vegas to Bilbao, Spain, and for the types of high-profile exhibitions he presented, including shows like “The Art of the Motorcycle,” a personal passion, and ones that tackled entire countries like China and Brazil. He has also organized trend-setting shows of contemporary artists, among them Matthew Barney, Richard Prince and, most recently, Cai Guo-Qiang. Mr. Krens has drawn criticism for some of his programming choices, including a show devoted to Armani suits underwritten by the fashion house itself.
Photo: Luis Tejido/European Pressphoto Agency izing high-profile exhibitions. In addition to overseeing the New York museum, the director will have authority over the Peggy Guggenheim Collection in Venice, the Guggenheim Bilbao, the Deutsche Guggenheim Berlin and the Guggenheim Hermitage Museum in Las Vegas. “The New York museum is the center of the entire constellation,” Ms. Stockman said. Although some critics argue that Mr. Krens has in effect turned the Guggenheim into a McDonald’slike franchise at the expense of expanding its collections and endowment, he has actually created a model for expansion that is being copied by institutions around the world, including the Tate in Britain and the Louvre in France. The titanium-clad Guggenheim Bilbao, designed by Mr. Gehry, is viewed as a major success, attracting more than a million visitors every year since it opened in 1997. During his tenure Mr. Krens has increased the Guggenheim’s endowment to $118 million from $20 million, although he has been known to dip into the endowment to cover operating costs. (The museum’s endowment dropped by 20 percent from 1998 to 2005, when it was $45 million, which drew harsh criticism from Mr. Lewis.) In 1989 Mr. Krens negotiated a gift of Impressionist paintings from the widow of Justin K. Thannhauser, acquired the Panza di Biumo collection of Minimalist art and oversaw the commissions of major artworks by Jeff Koons, James Rosenquist, Rachel Whiteread and Gerhard Richter at Deutsche Guggenheim Berlin. These works later became part of the Guggenheim’s collection.
The new director of the Guggenheim will face the task of balancing growth with acquisitions for the
In Bilbao Mr. Krens led an acquisitions program that has included major installations of works by Richard Serra, Mr. Koons, Jenny Holzer and Louise Bourgeois. He also has doubled the size of the Peggy Guggenheim Collection and partnered with the State Hermitage Museum in St. Petersburg, Russia,
permanent collection and organ-
and the Kunsthistorisches Museum
in Vienna on programming. Twice Mr. Krens has overseen the restoration and expansion of its landmark Frank Lloyd Wright building on Fifth Avenue. The first, completed in 1992, was an $80 million restoration of the building’s interior, along with the construction of a 10-story tower gallery and office building designed by Gwathmey Siegel & Associates. The second, a $29 million restoration of the Wright building, is to be completed this summer. Mr. Krens said Wednesday that the proposed Guggenheim in Abu Dhabi, capital of the United Arab Emitates, was his most ambitious project to date. “It’s 35 percent larger than Bilbao,” he said, adding that the new museum’s programming would be more ambitious, too, and that a staff of about a dozen people would be dedicated exclusively to the Abu Dhabi branch. “It will be truly global,” he said, “representing art from the Middle East, Russia, Eastern Europe, Asia, Africa, as well as Europe and America. It will change the model of the art museum.”
LONDON. A consortium of four people led by an antiquarian book dealer paid £228,000 ($443,000) for a row of spray-painted chimpanzees by the anonymous street artist Banksy at Bonhams first Urban Art Sale on 5 February. Laugh Now, measuring six metres across, had been estimated by the auction house at £150,000£200,000. It was originally commissioned for the backdrop of the Ocean Rooms Night Club in Brighton in 2002 and was consigned to the sale by the bar’s owner. The work’s poor condition—it has many scuffs—did not deter lively bidding, most notably from Ian Brown, frontman of the British band the Stone Roses, who was the lot’s underbidder. Another underbidder was Andreas Andipa of the Andipa gallery which is currently hosting a Banksy exhibition in Mayfair (until 29 March). Speaking to The Art Newspaper after the sale, antiquarian book dealer James Allen said he started buying and selling Banksy’s work in 2003. “We’ll keep [Laugh Now] on hold for a while but there’s a possibility of it going to a collector in Hong Kong. It was extremely cheap.” Indeed another Banksy canvas with a single spray-painted chimp, one of an edition of five, sold later in the evening for £74,400 ($144,000) and the artist’s 2005 screenprint Kate Moss (edition of 50), after Warhol’s famous
image of Marilyn Monroe, sold for £96,000 ($186,000). Doubling pre-sale expectations, the auction, which included 74 lots, made a total of £1.3m ($2.5m). All but one of the works sold. The 21 works by Banksy made £867,600 ($1.7m). Other high-selling lots included Nick Walker’s original Moona Lisa, 2006, which sold for considerably above its estimate of £3,000£5,000 for £54,000. Also included were five works by Japanese artist Takashi Murakami, a mainstay of contemporary art auctions at Sotheby’s and Christie’s and not previously recognised on the urban art scene. Even more intriguing was the lack of the Droit de Suite symbol next to lots by eight different artists who are eligible to receive the payment. Droit de Suite became law in Britain in February 2006 and obliges vendors to remunerate artists 4% of the hammer price when a work is resold for over e1,000 ($1,450). This would suggest that the works were consigned for the sale directly by the artists themselves or their dealers—in effect a primary market auction. On 14 February three Banksy works in the charity Red auction at Sotheby’s New York made $2.9m against an estimate of $650,000$950,000. This total includes the artist’s collaboration with Damien Hirst, Keep it Spotless, 2007/8, which made $1.9m (est $250,000-$350,000).
Dealer ‘lost out’ on lost Diane Arbus art By John Marzulli New York Daily News
Photos taken by late Diane Arbus of denizens of Hubert’s Dime Museum and Flea Circus with letter addressed to R.C. Lucas, circus ringleader. A Brooklyn collector of African-Americana says another collector tricked him into selling a trove of previously undiscovered photographs by the legendary Diane Arbus for a mere $3,500.
The photographs, depicting eccentric characters and freaks from Hubert’s Dime Museum and Flea Circus in Times Square in the 1950s, are to be auctioned next month in Manhattan. They could be worth hundreds of thousands of dollars. “I feel victimized,” said Bayo Ogunsanya, 50, of Fort Greene, who bought a storage trunk containing artifacts that belonged to Richard (Charlie) Lucas, a manager and ringmaster at the wacky sideshow. Ogunsanya sold the first batch of photos in late 2002 to Philadelphia collector Robert Langmuir for $1,500, unaware of the Arbus connection. Several weeks later, Langmuir paid an additional $2,000 for the rest
of the pictures and offered to give more if the photos turned out to be valuable, Ogunsanya said in court papers. “He was morally bound to give me a fair price especially since he had more knowledge [about the photos] than I did,” Ogunsanya said. The Brooklyn Federal Court suit seeks to stop next month’s sale of the photos at a Manhattan auction house. Langmuir’s spokesman dismissed Ogunsanya’s complaint as sour grapes. “Mr. Ogunsanya is a professional who seems to have had a case of seller’s remorse and is trying to wring a few dollars out of my client,” lawyer Peter Meltzer said.
Global Art Times March 2008
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Reuters/Alessia Pierdomenico
Jeff Koons’s taste for the classics
Paul Jeromack and Jason Edward Kaufman The Art Newspaper NEW YORK. Jeff Koons, the artist known for his kitsch sculptures inspired by pop imagery, has emerged as a major spender on traditional masters. Last month, Koons paid $6.3m at Sotheby’s in New York for a large limewood carving of St Catherine, dating from around 1505, by the great German 16th-century sculptor Tilman Riemenschneider.
Good art should unsettle not soothe - Gormley By Jeremy Lovell Reuters UK
He had previously been identified by The New Yorker as the lender of an 1866 Gustave Courbet nude to the Metropolitan Museum’s current exhibition on the French artist. He acquired this at Sotheby’s London on 27 June 2007 for £1.64m ($3.2m). Koons currently holds the record for the most expensive living artist: his nine-foot suspended Hanging Heart sold for $23.6m to his dealer Larry Gagosian at Sotheby’s New York in November. In a lecture delivered at the 92nd Street Y community centre in New York last month, Koons professed his affinity for Courbet, comparing works from his “Made in Heaven” series—which show him having sex with his former wife, the Hungarian-born Ilona Staller, a former porn star and then MP in Italy—with Courbet’s l’Origine du Monde (1866) in the Musée d’Orsay. Koons told the audience that while his own work is based
Koons paid $6.3m for this sculpture of St Catherine at Sotheby’s New York
on balloon rabbits, porcelain figurines and flower puppies, he collects older art, including a Dalí gouache that he bought as a memento of his visit to the Catalan artist at New York’s St Regis hotel in the early 1970s.
LONDON - Good art, says Antony Gormley, should make you feel unsettled, even challenged, and not fit neatly into your everyday life. The role of the artist is to foment revolution not confirm the status quo says the man who created the monolithic Angel of the North statue and has turned his own body into an art industry. “We have to continuously break our own rules. Artists are capable of falling foul of their own conventions, of getting lazy,” Gormley told Reuters at the opening to the public on Wednesday of his two new works “Lost Horizon” and “Firmament”. “Art should be an agent of destabilisation, an agent for change,” added the 57-year-old Londoner. Following the success of his first major retrospective at the Hayward Gallery and Event Horizon exhibition on the rooftops of London last year, Gormley’s new installations at the White Cube, Mason’s Yard are again based on his body. “Lost Horizon” has 32 life-sized solid iron copies of Gormley’s body adorning the floor, walls and ceiling of one room in the gallery. “Firmament” has 1,770 steel rods welded together in a giant structure depicting the human form that arches across another, subter-
ranean chamber. “It is all about questioning where human beings fit into the world,” Gormley said. “When you walk into these rooms they should unsettle you, make you reexamine your place.” “Art that makes you feel comfortable is likely to be craft, not art. It will naturally fit into conventions, not be evolving, challenging,” he said. Gormley is surprised at the success of last year’s simultaneous exhibitions which drew record crowds to London’s South Bank and prompted numerous calls to police from members of the public who mistook his rooftop figures for suicide jumpers. “That was very surprising. In my view good art is unlikely to be immediately accepted. But this clearly was,” he said. Best known for the Angel of the North, a project he describes as an “absolute experiment” that towers over the A1 road in northeastern England, Gormley has also exhibited in Venice, Germany, Australia, Singapore, Portugal and China. Despite being best known for public space installations, Gormley complains than most of today’s public art is lazy and meaningless, dismissing it as “garnish” for badly designed buildings. “On the whole we have not reinvented the statue for the 21st century very convincingly,” he said.
Tate buys Charles Saatchi’s Chapman sculptures Martin Bailey The Art Newspaper Tate has bought a group of fauxethnographic sculptures by British artists Jake and Dinos Chapman. The Chapman Family Collection consists of 34 pieces carved in wood and then painted. They first went on display at the Chapman’s London gallery, White Cube, in 2002 where they were acquired by British collector Charles Saatchi. He is said to have paid £1m for the set. At the time he said that this was what “great art should be” (an edition of three painted bronzes was also produced). The Chapman Family Collection was mainly responsible for the brothers being shortlisted for the Tate’s Turner Prize in 2003. In October that year, the work was shown at the Saatchi Gallery in County Hall and it was later lent to an exhibition in the Kunsthaus Bregenz in Austria. Most recently, Saatchi loaned the set for a Chapman Brothers retrospective at Tate Liverpool, which opened in December 2006. It was after this that discussions began on a sale to Tate. The deal was arranged through White Cube. It is not known if the gallery bought the works back from Saatchi before selling them on to Tate or whether they served as intermediaries in the negotiations.
Bought by Tate The Chapman Family Collection consists of 34 pieces carved in wood and then painted.. The price paid by Tate will not be disclosed until the publication of Tate’s next biennial report, but the acquisition is likely to be one of the gallery’s most expensive purchases of contemporary art in recent years (in 2004-6, a Sigmar Polke triptych was bought for £817,000). In December 2004 (p1) we revealed that Mr Saatchi had offered his entire collection of British contemporary art to the Tate, although it was unclear whether a donation or sale had been intended.
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Can you do me a quick cow’s head? From Damien Hirst to Mark Wallinger, many major artists now rely on legions of helpers. How do they feel about their often uncredited roles? Patrick Barkham The Guardian, UK
Cai Guo-Qiang, Inopportune: Stage One, 2004.
Cai Guo-Qiang makes an explosion at the Guggenheim Alexis Wang NYU News Art Review When you enter Cai Guo-Qiang’s new exhibition “I Want to Believe” at the Guggenheim, you are faced with a series of nine cars spiraling towards the heavens with blinking neon light projections, frozen in a sort of static explosion of fantasy and hypermodernity. The immediate reaction from virtually any visitor to this show will undoubtedly be “wow,” as nearly every viewer spends the first five minutes gazing upwards, transfixed in a childlike state. And indeed, one is not disappointed by the rest of Cai’s oeuvre, which fills all six levels of the Guggenheim’s circling rotunda. This might just be the Guggenheim’s best use of its space to date. Cai is the first Chinese-born artist to have a solo show at the Guggenheim in the museum’s inaugural installment of a new effort to reflect Asia’s presence in the contemporary art scene. And this first show could not be more fantastically conceived. Cai represents a small group of Chinese artists who, since the late ‘80s and ‘90s, has become increasingly successful in the international art market. While many of these artists’ works are superficially devised to appeal to a Western conception of the Chinese experience, Cai is perhaps the only one who has maintained a strong sense of his identity, refusing to submit his work to an easily identifiable “Chinese” aesthetic. After the cars, one comes upon Cai’s next work, which involves con-
torted and twisting life-size tigers pierced with arrows. This piece, called “Inopportune: Stage Two,” was first created in 2004 and uses the tiger in context of its Daoist symbolism of purity and simplicity. One might interpret this work as a critique of civilization’s vicious negation of the environmental and spiritual harmony of Daoism. The next piece, the impressive “Head On,” consists of 99 wolves suspended from the ceiling with cables. They majestically hurdle up the ramp of the museum in a beautiful sweeping motion until they crash into a glass wall at the top, perhaps alluding to the dangers of crowd mentality with a particular reference to East Germany, the Berlin Wall and Communism. The next level of the rotunda displays Cai’s interest in the creative products of decay, appropriation and political history. In “New York’s Rent Collection Courtyard,” Cai addresses Maoist ideology by recreating the pivotal Social-realist sculptural installation created in the ‘60s in Sichuan that the Chinese Communist Party praised for its clear and expressive portrayal of China’s laboring farmers. But these clay sculptures are left unfired and unfinished, which means that within a few weeks, they will have dried out so much that only clumps of dusty clay will remain on the museum’s floor. With China’s entry into the capitalist market and most of its citizens leading increasingly “bourgeois” lives, it is easy to see why this paragon of proletariat
glorification has begun to crumble. Cai’s use of gunpowder is what first made the artist famous, and the rest of the exhibition focuses on his use of this medium for artistic creation. A video installation shows Cai’s working process, which is strikingly reminiscent to Jackson Pollock’s action painting, but Cai takes it to the next level by sprinkling gunpowder onto the horizontal canvas instead of paint. He then lights a fuse, which creates a small explosion, leaving traces of burnt ash on the canvas. Often the subject matter alludes to nuclear weaponry and the atomic bomb, features of the 21st century that have violently altered humanity’s conception of itself. These works are arrestingly beautiful, subtle in their expression and powerful in their conception. He also uses gunpowder to create explosions in the sky, notable for their transience, whimsy and metaphysical spirituality. Cai treats gunpowder, the Chinese invention that has most dramatically affected the world, as a representation of both catastrophic warfare and ethereal beauty. It is through destruction that Cai creates. The title of the exhibition is “I Want to Believe.” And with Cai’s confidence in art’s capacity to move and spark the individual in our digitized global society, you most certainly will believe. Idealistic? Perhaps. But who cares? Cai is a refreshing and welcome reminder that art still has the power to inspire our faith in ourselves and the future. Runs through May 2008 Boris has got a quarter of a million or more, and now we’ve caught up with him. It’s going to be a much fairer fight now.” Most of the money came from a single canvas by the graffiti artist Banksy, which sold to an anonymous bidder for £195,000. The painting shows two children pledging allegiance to a Tesco shopping bag, and is a preliminary sketch for a life-size graffito which appeared on Wednesday on the wall of an Islington pharmacy.
Art sale gives Livingstone £230,000 boost Martin Hodgson The Guardian, UK Ken Livingstone’s campaign for re-election as mayor of London received a shot in the arm last night, when an art auction raised £230,000 in support of his candidacy in just over an hour. The sale featured 38 works by artists including Anthony Gormley, Marc Quinn, Banksy, Mona
Hatoum and Ralph Steadman, and in all it brought in nearly a quarter of the total amount each candidate is permitted to spend on campaigning. Speaking after the auction at the Aquarium gallery in Islington, Livingstone said the event had yielded more than any fundraising event so far, enabling him to match the sums already raised by his Conservative rival, Boris Johnson. “We are allowed to spend up to £1m on campaigning. We know that
Livingstone himself bought a print of a Steadman cartoon for a £140. He said: “The art world is very in touch with what happens in London. They recognise that if Boris gets in, society would collapse back into barbarism.” A spokeswoman for Rootball, which organised the event, said: “The artists here do not consider themselves political artists, but they do want to affect the political process and support progressive policies for the capital.”
Artists have always had assistants, but the days of a few dedicated individuals toiling endlessly in draughty garrets are long gone. Today, ambitious modern art - made, perhaps, from space-age materials - is increasingly likely to be constructed by teams in either spark-filled factories or computerfilled design practices. Big-name artists like Damien Hirst outsource their work, employing project managers and young artists to realise their lucrative ideas. So perhaps it’s not surprising that dedicated companies are now springing up, such as Millimetre in Brighton, which bring together artists, designers and engineers to produce works of art for others. But does it help the assistant to learn, or does it sap their own time and energy? And how do their egos cope with seeing the fruits of their labour applauded under another’s name? These concerns have faded for someone as successful as Emily Mayer, an artist and taxidermist regularly used by Hirst. “My expertise in dealing with dead things is what they go for,” she says, surrounded by a macabre menagerie of dead things in her Norfolk studio: hedgehogs, rats, cats, blue tits, crows, woodpeckers, mice, squirrels, pigeons, a black bear and, most disturbingly, a raccoon’s penis. Mayer’s work for other artists began when chef Marco Pierre White asked her to preserve him a pike. He introduced her to Hirst. Mayer’s first piece for Hirst was a huge stuffed bear: she bought the skin from a Canadian taxidermist, spent two days at Heathrow filling out paperwork, and created an orthodox piece of taxidermy, which towers over an unmade bed in Hirst’s Last Night I Dreamt I Didn’t Have a Head. Mayer also made two “rotting” cow’s heads for Hirst’s 1000 Years, using “erosion moulding”, a process that gives extraordinarily lifelike results. Hirst’s studios are famed for being lively places, and the artist has a reputation as a generous boss. Mayer visits his Gloucestershire studio now and again, and gets the odd visit in return, but she is content to be a semi-detached cog in his vast machine. At the moment, she is repairing a zebra skin for him, as well as mounting 11 fish skeletons on stainless steel rods. These, like many other products of the Hirst empire, are cloaked in secrecy, with Mayer usually receiving telephoned instructions from several different project managers. Does Hirst ever explain the overall project? “He never tells me. He asks me to do something and I don’t know what the finished project will be. I suppose he doesn’t need to tell me. Probably no one knows until he exhibits them.” Sometimes, she admits, it would be helpful to know. She once began creating two enormous
sides of beef the wrong way up because Hirst hadn’t warned her they were to hang upside-down. Mayer’s expertise doesn’t come cheap. She won’t say exactly, but her day rate runs to hundreds of pounds, and she tends to pick only the projects that interest her. She feels her labours for others have taught her valuable skills: “Maybe without Damien’s work, I wouldn’t have the luxury of being able to buy new tools and materials, and to experiment. I could never have worked on such a scale. I’ve learnt a huge amount and got ideas for other things.” Mayer says she “gets a real kick” from seeing her contributions in the final works; Hirst always invites his collaborators to his shows. “He is a lot more open about what I have done for him than I am,” says Mayer. “It’s not my work. A proportion of it is, but the idea is not mine.” Michael Smith, an art graduate of similar vintage to Hirst, stretched canvasses for tutors and then, by word of mouth, became fixer and fabricator for dozens of young British artists. “If someone dropped a bomb on Mike Smith’s studio,” sculptor David Batchelor once quipped, “it would change the face of London’s contemporary art world.” At Smith’s studio by an old gasworks on London’s Old Kent Road, 12 full-time staff brave hot metal and flying sparks in a warehouse almost the size of a football pitch. Smith is very discrete. He admits that, over the years, some of his clients - Rachel Whiteread, Gary Hume, Gavin Turk, Keith Tyson, Jake and Dinos Chapman, Mark Wallinger - have been sensitive about publicising the fact that he makes works for them. “In a way, it’s more to do with the demands being made upon them, and the nature of the art world,” he says. Indeed, fast turnover is essential if a hot young artist is to make the most of their quite possibly fleeting time in the spotlight. “The number of opportunities offered to exhibit their work outstrips their ability to produce it,” says Smith. Smith won the Turner prize last year. Well, Wallinger won it for State Britain, an exact replica of peace protester Brian Haw’s banners in Parliament Square. Wallinger photographed the rambling protest before it was impounded by police in 2006. Smith’s team worked from those images to create a replica, which reportedly cost £90,000, dwarfing the £25,000 win. There was almost no mention of Smith in the press, with Haw’s protest being described as having been “lovingly recreated” by Wallinger. The fabricator didn’t mind. Smith is full of praise for Wallinger, saying his client produces a lot of his own work but takes on help because he uses so many mediums: film, sculpture, painting, installations. “It would’ve probably driven him insane if he’d tried to produce it himself,” says Smith, who was once a sculptor himself. “I’m really comfy with it. I enjoy making things.” He finds it “liberating” to be
under no obligation to explain and promote a work. “We can produce State Britain and don’t have to take responsibility for the whole artistic endeavour. We don’t have to answer questions of whether it is art, who it is for and why it is relevant.” He sounds relieved.
Some artists turn to engineers and scientists to help with complex ideas. Tristan Simmonds - the engineering mastermind behind Antony Gormley’s ambitious new work, Firmament, to be unveiled tomorrow at White Cube, Mason’s Yard, London - first collaborated with the sculptor on Quantum Cloud, which sits at the back of the Millennium Dome. A specialist engineer with Arup, Simmonds spends most of his time designing buildings and bridges, although he has worked for Anish Kapoor on Marsyas, the huge installation that dominated Tate Modern’s Turbine Hall in 2002. “That was terrifying and exhilarating,” he says, adding that they weren’t entirely sure if it would stay suspended. “If the calculations had been 1% out, it would have been sitting on the ground.”
Simmonds finds working for an artist a refreshing change from the long labour of designing a building. With architecture, it can be years before you see an end product and “there is always compromise along the way”. The nice thing, he says, about working with these artists is that the first idea, the concept, is taken all the way through. Buildings require expensive fittings and must meet certain standards; in comparison, he insists, “sculpture is actually quite simple”.
Smith thinks one reason young artists are turning to artisans to build their work is because of a lack of facilities in art colleges; students can’t experiment and never learn basic practical skills. He thinks this problem began when he was at college: “It was all to do with health and safety fears. The colleges were becoming paranoid about being sued because someone lost a finger or burnt themselves.”
Does all this subcontracting matter? Critics who sneer about artists who are unable to make anything themselves are “just idiotic”, says art writer Louisa Buck, once a jurist for the Turner prize. “You wouldn’t ask a film director to shoot every scene or an architect to lay bricks,” she says. “Artists are smart enough to know that other artists make the best technicians and studio assistants, while working in a studio is the best way to learn. You only have to look at art history to see it’s also a time-honoured tradition.” Some artists, such as Jeff Koons, have studios full of assistants working to meticulous instructions on paintings; others, like Peter Doig, paint their own. “It doesn’t make it any greater or lesser a work,” says Buck. “It’s just a different way of making work” .
The List Pros Trust No. 97 March 2008
Art Opportunities Monthly Selected for Fine Artists a studioNOTES publication Competitions, Grants, Shows, Public Art Commissions, Residencies and More
International Edition These listings, prepared by Art Opportunities Monthly (AOM) (info@ ArtOpportunitiesMonthly.com, www.ArtOpportunitiesMonthly.com), are in capsule form, arranged by deadline and identified by media, so that you can tell at a glance if something might be suitable for you. The general structure of each entry is:
Media: (See Key) Deadline: (Date due) Local restrictions, if any || Short description || Entry fee and/or number of slides being requested || Award–what is being offered || Jurors, if named ||=> Contact name or title of show for prospectus || Address. Phone #; Fax; Email; Web address. These opportunities have been selected from several hundred as most appropriate for serious fine artists, traditional or contemporary. We favor things that are free to the entrants, offer good rewards in relation to the fees, increase the exposure of those accepted, or are prestigious or special in some other way. Where an opportunity seems to be a particularly good fit, we have marked it with..|+| as an “editor’s choice. Entries marked with ~ are generally better for artists living nearby or with limited experience. Please keep in mind that these judgements are made only on the basis of the information available in the prospectus; nothing herein is an endorsement or criticism of any kind. Unlike other listing services, we do not knowingly include for-profit galleries that charge fees to look at slides, individuals pretending to be galleries or contests that exist only to turn a profit for the promoters. (See www. artopportunitiesmonthly.com/notlisted. html for some of the reasons.) Please report such listings to us. The listings are in capsule form, arranged by deadline and identified by media, so that you can tell at a glance if something might be suitable for you. The general structure of each entry is: Media: (See Key) Deadline: (Date due) Local restrictions, if any || Short description || Entry fee and/or number of slides (images) being requested || Award–what is being offered || Jurors, if named ||=> Contact name || Title of show for prospectus || Address. Phone #; Fax; Email; Web address. KEY: AU= Audio, BA = Book Arts, CE = CEramics, CO = COllage, CR = CRafts, CU = CompUter, DR = DRawing, FI = FIlm, FR = FibeR, FU = FUrniture, GL = GLass, GR = GRaphics, IN = INstallation, JE = JEwelry, ME = MEtal, MM = Mixed Media, NM= New Media, PA = PAinting, PE = PErformance, PH = PHotography, PP= PaPer and papermaking, PR = PRints, PS = PaStel, PU = PUblic, QU = QUilt, SC = SCulpture, TX = TeXtiles, VI = VIdeo, WC = WaterColor; WE = WEb or Net art; WM = WaterMedia; WO = WOod. x before code = “except.” RFP = Request For Proposal, RFQ = Request For Qualifications, |N| = new listing, not in previous issue, |C| = changed since last issue. Other abbreviations: sl = slide, appl = application, digi = digital, CV =curriculum vitae or résumé, K=thousand, M=million, BPS = British Pounds Sterling, EUR = Euro. All amounts in US Dollars unless otherwise specified. Always download prospectus from web if available or send email or #10 SASE for it or more information.
Media: PS. Deadline: Mar 3 International. Juried show, 80% of image area must be dry pastel. $40/3. $10K+. => Jerry Boyd, 2008 Open, Pastel Society of the West Coast, 686 Ceader Flat Av, Galt CA 95632,USA. 530-885-3253; jerry@geraldboyd.com. Media: PH. Deadline: Mar 5 ~ International. Online juried contest on work showing horses, 7 categories including, performance, horse and humans, head study, horse at liberty, extreme action, black and white and details. $15/1 (online as jpg only), entry form. Ribbons, etc. Jury: Leslie Heemsbergen photog.; Laura Cotterman, commercial photog., specializing in horse, farm and agriculture images. => Equine Ideal: Spring 2008, Equine Photographers Network, White Hill Rd, Walton NY 13856, USA. 607-8655215; info@equinephotocontest.com; http://xrl.us/AOM96ak. Media: VI. Deadline: Mar 7 |+| International. Screening of non-narrative AV productions of 30 sec. - 3 min., w/original soundtrack. No fee/1 (Quicktime DATA format DV_NTSC 720 x 480 pixels, 48 Khz stereo). Awards for best animation, video editing, sound editing, etc. => DêRAPAGE 7, êcole de design de l’UQAM, 1440, rue Sanguinet, Montréal (Québec) H2X 3X9, CANADA. info@derapage.ca; http://xrl. us/AOM96ah. Media: 2D 3D. Deadline: Mar 7 International. Juried show of work (by men or women) reflecting positive or negative interplay between people and the landscape they are changing. $24/3 (sl or email digital via online form), statement. => Her Mark 2009: Art & Poetry, Woman Made Gallery, 685 N Milwaukee Av, Chicago IL 60622-8021, USA. 312-738-0400; exhibits@womanmade.org; http://xrl. us/AOM84u. |N| Media: All. Deadline: Mar 10 International. Show of work about recycle/reuse or focusing on reusable materials in the pieces. No fee/5 (email as jpg), resume, bio including descrip. of how work pertains to show theme. One image selected for postcard representing show. => Recycle/Reuse, 100th Monkey Studio, 110 SE 16th Av, Portland OR 97214, USA. 503-2323457; monkeysubmissions@yahoo. com; http://xrl.us/AOM97bt. |C| Media: IN NM PE AU etc. Deadline: Mar 10 International. Installations allying art and architecture and occupying the public space, while using new media components, and electronic art and microarchetecture, preferably by collaboration. No fee, documentation (DVD or Mini-DV), CV, statement of creative process, bio. => Forest/Forest, Champ Libre, C. P. St-André, B. P. 32130, Montréal QB, H2L 4Y5, CANADA. 514-393-3937; fax -4176; champ@champlibre.com; http://xrl. us/AOM95ad. Media: All. Deadline: Mar 11 International. Juried show of role “painting plays both historically and in modern art by comparing and contrasting media, styles, and genres.” $25/5. $100. Jury: Darby Bannard, prof. of photog., U. of Miami. => Mary Wilson, Classicism, Modernism and Beyond: Lasting Tradition, Gallery RFD, 106 N Green St, Swainsboro GA 30401, USA. 478-237-6873; galleryrfd@gmail. com. Media: PH VI. Deadline: Mar 11 International. Competition of work used for advertising, design, editorial, cinematography and any other area of
the communication arts. $25-$120/category (printed samples, CD or DVD as appropriate), appl., explanation. Certificates, publication in 70,000 copy Photography Annual. Jury: distinguished designers, art directors and photographers. => 2008 Photography Annual, Communication Arts, 110 Constitution Dr, Menlo Park CA 94025-1107, USA. fax 650-326-1648; competition@commarts.com; http://xrl. us/AOM95am. Media: Illustration. Deadline: Mar 11 International. Competition of Advertising Illustration, Books, Editorial, For Sale, Institutional, Motion/Animation, Self-Promo and Unpublished. $30-$120/category (printed samples, sl, CD or DVD as appropriate), appl., explanation. Certificates, publication in 70,000 copy Communication Arts Annual. Jury: distinguished designers, art directors and illustrators. => 2008 Illustration Annual, Communication Arts, 110 Constitution Dr, Menlo Park CA 94025-1107, USA. fax 650-3261648; competition@commarts.com; http://xrl.us/AOM95am. |N| Media: FI VI. Deadline: Mar 15 International. Showing Narrative Features, Narrative Shorts, Docs, Animation, Experimental. $50/1 (VHS or DVD - PAL or NTSC). $80K. => Brooklyn Int’l Film Festival, 180 South 4th St Ste 2 South, Brooklyn NY 11211, USA. submit08@wbff.org; http://xrl.us/AOM97cd. Media: 3D IN NM. Deadline: Mar 15 International. Juried show of original ways of approaching theme of global warming and exploring diverse ramifications of climate change, esp. w/ interactive, multi-media and installation work. $25/3 (CD only). $750 stipend ea. Jury: Adelina Vlas, assist. cur, modern and contemp. art at Phila Mus. Art; Cheryl Harper, independent. cur. => Leslie Kaufman, Global Warming at the Icebox, Philadelphia Sculptors, 1315 Walnut St Ste 202, Phila PA 19107, USA. 215-413-9126; fax -9127; lesliekaufman@verizon.net; http://xrl. us/AOM96bE. Media: PR xPH. Deadline: Mar 15 International. 28th ann. year-long traveling juried exhibit of mini-prints (10x10 cm max any technique, style, subject. $80US (80 EUR)/4 prints (not slides, preferably different images), CV. Catalog, 50 purchase prizes. => Mini Print International of Cadaqués, ADOGI, Apartado de Correos 9319, Barcelona 08080, SPAIN. 93 211 26 24; adogi@miniprint.org; http://xrl. us/AOM94aw. Media: FR. Deadline: Mar 15 |+| International. Contribute crocheted, knitted, patched, quilted or felt 3’x3’ fiber panels to be sewn together to completely cover abandoned gas station and gas pumps in Central NY to call attention to over-dependence on oil for energy. No fee. => Jennifer Marsh, International Fiber Collective, 109 Fordham Rd #A, Syracuse NY 13203, USA. 614-561-9057; blueangle1412@yahoo.com; http://xrl. us/AOM93cu. Media: DR etc. Deadline: Mar 19 International. Juried show, any drawing method or tools on any substrate, including 3-D materials, that directly show hand and thought of the artist., by women. $24/3 (sl, CD or online), statement. Solo show, $750. Jury: Nancy Charak, artist. => Drawing on Experience, Woman Made Gallery, 685 N Milwaukee Av, Chicago IL 60622, USA. 312-738-0400; gallery@ womanmade.org; http://xrl.us/AOM95f.
|N| Media: PA MM. Deadline: Mar 21 International. Intensive, non-credit, self-directed studio program for emerging artists to develop work while gaining exposure to NYC’s renowned artists, critics, curators, galleries, and museums. $25/10-20 (sl or CD), resume, statement of purpose, appl, $5000 if accepted for tuition + housing. Semi-private, sky-lit studio, lectures, seminars and critiques by guest artists, etc. => Summer Residency Prog, Cooper Union School of Art, 30 Cooper Sq, NY NY 10003, USA. 212-353-4200; residency@cooper.edu; http://xrl.us/AOM86bp. Media: 2D 3D. Deadline: Mar 23 International. Juried show. $20/1, $5 ea. addl, max 5 (sl or printed image [up to 3 for ea. 3D work]). $1.5K+. Jury: Eric Swangstu, founder, cur., The Art Mine, Port Hadlock, WA. => Carol Eichler, 2008 Annual, Sequim Arts, 1250 Thornton Dr, Sequim WA 98382, USA. 360-582-0927; caroleichler@ yahoo.com; http://xrl.us/AOM86w. |N| Media: DR. Deadline: Mar 24 International. Juried exhibit on theme of reclamation. $24/1, $5 ea add’l. (CD preferred, or sl). Jury: Barbara Southworth, photographer. => Suzanne Ludlum, Reclamation, Fredericksburg Ctr for the Creative Arts, 813 Sophia St, Fredericksburg VA 22401, USA. 540-373-5646; curator_main_gallery@ fccava.org; http://xrl.us/AOM97d. Media: VI NM commentary. Deadline: Mar 26 International. DVD publication of work best documented in time-based format, w/ commentary by curators, artists, art critics and members of the contemporary art community to”explore that which is essential, grave, indispensable, and/or critical to existence.” No fee, video documentation of work or small group of works by single artist, 100-wd statement regarding work, résumé of artist and commentator, etc, artist’s résumé, commentator’s résumé, brief outline,. DVD publication. => Volume 12: Vital, Aspect: The Chronicle of New Media Art, 46 Waltham St Ste 103, Boston MA 02218, USA. 617-695-0500; fax -778-2231; info@aspectmag.com; http://xrl.us/AOM94v. Media: 2D 3D PH. Deadline: Mar 28 International. Juried exhibit. $35/4 (sl or CD, photos may be submitted as exhibition ready prints). $3.7K. => 34th Juried, Westmoreland Art Nationals, 252 Twin Lakes Rd, Latrobe PA 15650, USA. 724-834-7474; info@artsandheritage.com; http://xrl.us/AOM95t. Media: PR. Deadline: Mar 30 International. Juried exhibit of any printmaking method, max paper size 29 x 23 cm. $70USD/3 (50 EUR for Europe). $1150, solo exhibition, catalog. => 7th World Art Print Annual 2008, Lessedra Gallery & Contemp. Art Projects, 25, Milin Kamak Street, Lozenetz, 1164 Sofia, BULGARIA. (++359 2) 866 38 57; georgi@lessedra.com; http://xrl.us/AOM96as. |N| Media: FI VI NM. Deadline: Mar 31 |+| International. Showing “new and compelling work” to be projected or monitor based. No fee/3 (DVD or DV [PAL format]), separate appl for ea work, descrip, CV. => Marcel Baettig, Visions in the Nunnery, The Nunnery Gallery, Bow Arts Trust, 183 Bow Rd, London, E3 2SJ, UK. 020 7538 1719; visionsinthenunnery@googlemail. co.uk; http://xrl.us/AOM97bv. |N| Media: All. Deadline: Apr 1 International. 2-day art fair attended by 40K. $35/5 (including one of booth), $250 & up in booth fees if accepted.
$10K, promotion. => Amanda Hahn, 46th Annual Fine Art Fair, Peoria Art Guild, 203 Harrison, Peoria IL 61602, USA. 309-671-1093; fax -637-7334; artfair@peoriaartguild.org; http://xrl. us/AOM97cL. |N| Media: SC. Deadline: Apr 1 International. Showing 3-6 outdoor works by 3 artists who use natural, recycled and/or sustainable materials to evoke the images, themes, issues and dreams of sustainable community. Contact for details. $1.5 stipend ea. Jury: arts, civic and sustainability leaders. => Gary Ferguson, Art at the Heart 08, Ithaca Downtown Partnership, 171 E State St, Ithaca NY 14850, USA. 607-277-8679; fax -8691; idp@downtownithaca.com; http://xrl. us/AOM97ak. Media: 2D on flexible material. Deadline: Apr 1 International. Contribute flat triangular pieces exactly 14.5”x14.6”x15.0” dealing w/ good or bad aspects of religion, population movements, animals, plants, etc., to make geodesic dome to be assembled by Nix in NYC at SOHO20. No fee/1, no limit. Shown in web catalog. => Open the Door Richard, Nelleke Nix, Box 375, Mercer Island WA 98040, USA. nixnelleke@ hotmail.com (subject: “dome”). Media: 2D 3D x(PH FR FU CU DI). Deadline: Apr 1 International. Juried exhibit. $35/2 (sl only). $6K cash, merchandise, purchase. Jury: Betsy Dillard Stroud, AWS, DF, NWS; Ben Owen III, potter. => Betsy Heckethorn, July Nat’l Show, Associated Artists of Southport, 130 E West St, Southport NC 28461, USA. 910-790-0323. chickadeestudio@ hotmail.com Media: All wall-hung inc VI & FI. Deadline: Apr 1 International. Invitational, small works (<200 sq. in.) demonstrating dedication to continuance of body of work. No fee/5-10 (sl, inkjet, laser or photocopies or video of recent works), statement re: working process. Booklet of show. => Joanne, 19th Ann. Inv. Small Works, New Arts Program, Box 82, Kutztown PA 19530-0082, USA. 610683-6440; fax same; info@napconnection.com; http://xrl.us/AOM95bp. Media: Appropriate. Deadline: Apr 1 International. 6-wk. exhibitions in 2000 sq ft gallery w/ 9-14’ ceilings. No fee/20, statement, CV, etc, exhibit proposal. Artist fees at CARFAC levels, insurance, travel (where possible), professional installation assistance, documentation, promotion. => Carolyn Bell Farrell, Sr. Curator, Exhibition Submissions, The Koffler Gallery/Koffler Centre of the Arts, Bathurst Jewish Community Centre, 4588 Bathurst St, Toronto ON M2R 1W6 CANADA. 416636-1880x 268; fax -5813; koffler@ bjcc.ca.; http://xrl.us/AOM81ad. Media: FI. Deadline: Apr 1 International. Showing several categories (features, short films, animation, docs, etc). $25-$85/1, depending on genre and submission date (or through www.withoutabox.com). Screenings, etc., at least 9 special awards. => Int. Film Festival, Moondance, 970 9th St, Boulder CO 80302, USA. director@ moondancefilmfestival.com (subject: moondance); http://xrl.us/AOM86ax. Media: Appropriate. Deadline: Apr 1 International. Temporary interior or exterior site-works and interventions on 250,000 sq. ft complex w/ gyms, tracks, ground and wooded areas classrooms, health clubs, etc. No fee/20, project proposal, statement, CV, etc,. => Carolyn Bell Farrell, Sr. Curator, Flex, The Koffler Gallery/Koffler Centre of the Arts, Bathurst Jewish Community Centre, 4588 Bathurst St, Toronto ON M2R 1W6 CANADA. 416636-1880x 268; fax -5813; koffler@ bjcc.ca.; http://xrl.us/AOM81ac. |N| Media: Appropriate. Deadline: Apr 4 |+| International. Original and innovative installation or intervention projects to be located anywhere in Cumbria, e.g, on buses, up the fells, under the lakes, in the woods, at the service station, down the pub, around a mountain. No fee/3-6, proposal or details, appl, CV. Possbile help w/ materials costs
and expenses, other assistance. Jury: panel of arts professionals. => Steve, FRED - the Cumbrian art invasion, Fold gallery, 3, Walton’s Yard, Market square, Kirkby Stephen Cumbria CA17 4QT, UK. 017683 71561; FRED@ fredsblog.co.uk. Media: PH. Deadline: Apr 8 International. Juried show of nude form, all photo media, styles and schools of thought. $35/3, $10 ea. add’l , no limit (online submission only). $900, subscription, publication in exhibition CD. Jury: Kim Weston, photographer. => Larry Padgett, The Artful Nude, The Center for Fine Art Photography, 400 N College Av, Ft Collins CO 80524, USA. 970-224-1010; cfe@c4fap.org; http://xrl.us/AOM96y. |N| Media: NM etc. Deadline: Apr 15 International. Juried show of new and non-traditional media. $25/5. $100. Jury: Paula Katz assist. cur. of art, Columbus Mus. of Art. => Mary Wilson, Unfamiliar Ground, Gallery RFD, 106 N. Green St, Swainsboro GA 30401, USA. 478-237-6873; galleryrfd@gmail. com; http://xrl.us/AOM96g. |N| Media: PH DI. Deadline: Apr 15 ~ International. Juried exhibit of images of “reflection-contemplation-musings-fantasy-imagination,” any photo technique. $25/3 (sl or CD). $475. => Kathy Umlauf, International Photography Competition, NWCC Corporate Gallery, Box 690, Barrington IL 60011, USA. 847-956-7966; fax -7980; nwcc@northwestculturalcouncil.org. Media: All. Deadline: Apr 15 International. Shows by individuals or groups, esp. those w/ experimental or exploratory approach. No fee/15-20 (sl, CD or vid <5 min), proposal, statement, CV. CARFAC fees. => Programming Committee, The Alternator Gallery for Contemporary Art, 103 - 421 Cawston Av, Kelowna BC V1Y 6Z1 CANADA. info@alternatorgallery. com; http://xrl.us/AOM95L. Media: All x(VI FI). Deadline: Apr 15 International. Juried exhibit. $30/3, $5 ea add’l(sl, prints or CD). Group show, $1K. Jury: Phyllis Braff, pres. Int. Asssoc. of Art Critics, USA section, former New York Times art critic. => Nese Karakaplan, Alpan Gallery Inc, 2 W Carver St, Huntington NY 11743, USA. 631-423-4433; fax -249-3089; info@ alpangallery.org; http://xrl.us/AOM95k. Media: All. Deadline: Apr 15* International. Juried exhibit of work that presents “aspects of life in the countries from which the artists come.” $70/1, but $25/1 if by Dec 31, other discounts. => Application Office, Olympic Games of Art 2008, ARTIADE 2008 N.G.O., 343 Soquel Av PMB 312, Santa Cruz CA 95062, USA. info@artiade.com; http://xrl. us/AOM95q. |N| Media: All. Deadline: Apr 17 International. Possible show at New Art Center to include works that are playful, disruptive in nature, and boundary- crossing, perhaps taking systems of order, right/wrong, sacred/ profane, male/female, clean/dirty, and blurring the distinction. No fee, email questions, low-res JPGs or URLS to trickster.art@gmail.com. => Sage Rogers, Trickster Art, Cultural Production, Brandeis University, Box 549110 MS 006, 415 South St, Waltham MA 02454-9110, USA. trickster.art@gmail. com. |N| Media: Appropriate. Deadline: Apr 20 |+| International. Exhibit of “ideas, designs, descriptions, images, and videos” for a new US White House. $20/1 (drawings, renderings, collages, sketches, descriptions, poems, movies, animations, photographs, etc) online to receive access to special area of website. $8.5K, published in “Surface” magazine, travel and 3 days in The White House Hotel on the Bowery. Jury: Beatriz Colomina, architectural historian, NYC; Stefano Boeri, editor-in-chief, “Abitare” magazine, Milan; John Maeda, pres. elect, Rhode Island School of Design. => Storefront for Art and Architecture,. info@whitehouseredux.org; http://xrl. us/AOM97ce.
|N| Media: VI. Deadline: Apr 20 International. Vid and multimedia event located in historical city centre at the “Steenplein” using 6 containers as screening theatres -- art movies, experimental films, animation films, video clips, etc -- suited for continuous screening (no beginning/end) thru single. No fee/1, no limit (Video-CD DVD-Video, prefer PAL), entry form for each, contact ASAP. => Damien Van herck, here today, gone tomorrow, fst forward>>, Ernest van Dijckkaai 4, 2000 Antwerpen, BELGUIM. video@ fstforward.be; http://xrl.us/AOM88ar. Media: Curatorial. Deadline: Apr 21 |+| International. 5- or 6-wk. shows having at least 2 artists, virtually any theme, esp. by curators or artists acting as curators. No fee/80 (max total; 12 max per artist; sl or CD), 1-3 pg. statement of concept, appl, etc. $1000 stipend, publicity, etc. => Ceci Mendez, Curatorial Opportunity Program (COP), New Art Ctr. in Newton, 61 Washington Pk, Newtonville MA 02460-1915, USA. 617-964-3424; ceci@newartcenter.org; http://xrl.us/AOM95br. |N| Media: PH. Deadline: Apr 30 International. Competition for professionals and amateurs w/ awards in 21 categories, traditional or digital methods. $35/1, $20 ea. add’l (online). Masters Cup, $11.5K, published in the awards Annual, Creative Excellence Prize, international exposure and. Jury: Anthony Haden-Guest, art & collecting columnist, “Financial Times,” London; Amy Steigbigel, dir. of photography (NY), Getty Images; Audrey Jonckheer, dir. Worldwide Public Relations, Eastman Kodak; et al. => 3rd Ann. Photography Masters Cup, International Color Awards, 369 S. Doheny Dr Ste 323, Beverly Hills CA 90211, Also offices in UK and Australia. +01 310-499-4394; info@thecolorawards. com; http://xrl.us/AOM86q. |N| Media: All. Deadline: May 1 International. Annual juried show. $25/3 (CD). Jury: Yasmil Raymond, assist. cur., Walker Art Center. => Open Door Exhibit, Rosalux Gallery, 1011 Washington Ave S, Minneapolis MN 55415, USA. 612-747-3942; info@rosaluxgallery.com; http://xrl.us/AOM97bk. |N| Media: PA WM PS GR MM NM. Deadline: May 2 ~ International. Juried show of works on canvas, on paper and mixed media, by women. $50/3 (sl or CD). Unspecified prizes. Jury: Pamela Koob, cur. Permanent Collection, Art Students League NY. => Jonah Rosen, 2008 Spring Brush Exhibit., The Pen & Brush, 16 East 10th St, NY NY 100035904, USA. 212-475-3669; fax -6018; info@penandbrush.org; http://xrl. us/AOM97ch. |N| Media: All. Deadline: May 9 International. Shows of work for 09 season. $10/20 (sl or CD), resume, statement. => Heather Green, Galleries 2009, Rogue Community Col., 3345 Redwood Hwy, Grants Pass OR 97527, USA. 541-956-7339; fax -4713588; hgreen@roguecc.edu; http://xrl. us/97bj. Media: SC. Deadline: May 10 |+| International. 6-mo. outdoor display of large scale sculptures in area heavily trafficked by art collectors, others. No fee/2 (sl, photos, CDs, etc). $2.5K honorarium for each of 18 pieces. => Richard L. Twedt Pub. Arts Mgr., 2009/10 El Paseo Invitational, City of Palm Desert, 72-567 Highway 111, Palm Desert CA 92260, USA. 760568-5240; rtwedt@ci.palm-desert. ca.us; http://xrl.us/AOM96bc. Media: FI VI. Deadline: May 10 International. Juried festival of independent, alternative work. $20-$90/1 depending on length, when submitted (VHS NTSC or Region 1 0 DVD). Gorilla software, free admission, possible broadcast, other prizes. => 14th Annual Brainwash Movie Festival, Brainwash, Box 23302, Oakland CA 94623-0302. 415-273-1545; shelby@brainwashm.com; http://xrl. us/AOM77w. Media: FI VI. Deadline: May 15 International. Showing short work by “diverse artistic international voices that define the new trends in
independent film and video.” No fee/1, (DVD NTSC or miniDVD),3 images, bio, statement. Fee paid to artists. => Video Installations, aluCine Toronto Latin@ Media Festival, 90 Oxford St Ste 8, Toronto, ON M5T 1P3, CANADA. 416-966-4989; entry@alucinefestival.com; http://xrl.us/AOM96s. |N| Media: FI. Deadline: May 31 International. Showing work for and by children, categories: adult-produced live action, animation, feature, short, TV, doc, child-produced (3-14). $40-$100/1 depending on type, date submitted (free for children 3-14) (VHS [PAL or NTSC] or DVD). $5K+. Jury: adults and chilMedia Inc, 1517 West Fullerton Av, Chicago IL 60614, USA. 773-281-9075; fax -9075; jessicaw@ facets.org.; http://xrl.us/AOM97aa. |N| Media: All. Deadline: Jun 1 International. Juried exhibit. $30/3, $5 ea add’l, max 7 (sl, CD or 5-min cued VHS or DVD for time-based). Juror’s award, solo show. Jury: Chakaia Booker, sculptor. => 14th Annual International, SOHO20 Chelsea Gallery, 511 W 25th St Ste 605, NY NY 10001, USA. 212-367-8994; fax -8984; soho20@verizon.net; http://xrl. us/AOM97bp. |N| Media: Mail Art. Deadline:Jun 15 International. Contribute decorated white bookmarker or two, perhaps w/ “cultural crosswords” theme, to help Plainsboro Library celebrate connection and community that mail artists create by sharing their work. No fee, no returns. => Emily Townsend, Cultural Crossroads Bookmarkers, 19 Sapphire Dr, West Windsor NJ 08550, USA. Media: FI VI. Deadline: ASAP before Nov 08 International. Showing narrative and documentary features and shorts by 1) South Asians living in the Diaspora or non-South Asians submitting projects w/ S. Asian content, cast or crew or 2) work w/ a unique voice/message made in South Asia and considered “independent. $25, shorts, $40, features; appl., descrip, 3 screener films, VHS or DVDs (NTSC Format). Achievement awards, $10K+ in-kind and services. => Aroon Shivdasani, 8th Mahindra IAAC Film Festival, Indo-American Arts Council Inc, 146 West 29th St #7R-3, NY NY 10001, USA. 212-594-3685; fax -8476; aroon@iaac.us; http://xrl. us/AOM95bb. Media: Appropriate. Deadline: Various International. Publication of images, etc. No fee, contact first to discuss format and other technical details. => Martine Rouleau, Static: Alarm, London Consortium, Institute of Contemporary Arts, 12, Carlton House Terrace, London SW1Y 5AH, UK. +44 (0) 20 7839 8669; fax 7930 9896; static@londonconsortium.com; http://xrl.us/AOM87ce. |N| Media: VI DI time-based. Deadline: Open International. Showing all forms (ideally 2-8 min ea, esp on themes of typography, translation, life/death or domesticity) that can be documented in digital formats, daily, 5 a.m. to 1 a.m., in Harvard Square to an estimated 53,000 pedestrians. No fee/(send link to an online portfolio to art@lumeneclipse.com or DVD, CD, mini DV),short bio, website, email contact. => Lumen Eclipse, 248 Beacon St, Somerville MA 02143, USA. art@lumeneclipse.com; http://xrl.us/AOM97ar. Media: All. Deadline: Open International. Juried online boutique “dedicated to selling the highest quality creations made by hand.” No fee, use online appl. => Artchestra, 610 Willow St Ste J, Alameda CA 94501, USA. 510-769-1830; NewArtist@artchestra. com; http://xrl.us/AOM91e. Media: All. Deadline: Open |+| International. Objects about 4x4x8cm for temporary display in ongoing exhibit in case w/ 33 compartments. No fee, download and fill out exhibit sheet. => Debby Böhm, The Museum of Temporary Art, Lange Gasse 25, 72070 Tübingen, GERMANY. info@ museum-of-temporary-art.com; http:// xrl.us/AOM95bm.
Media: All. Deadline: Open International. Projects for next season. No fee, (sl or other approp. documentation) bio, 1-2 p. explanation, budget, etc. Jury: staff, artists, curators, etc. => Visual Arts, Disjecta, 507 NE Morgan, Portland OR 97034, USA. 503-636-6756; Heather@disjecta.org; http://xrl.us/AOM83ai. Media: All. Deadline: Open ~ International. Shows for 08 season. No fee, on line appl. Jury: artists, art educators, business owners, center staff. => Catherine Smith, Carr Gallery, Willard Arts Center, 498 A St, Idaho Falls ID 83402, USA. 208-522-0471x102; fax -0413; csmith@idahofallsarts.org; http://xrl.us/AOM84bp. Media: All. Deadline: Open ~ International. Group, theme or other shows. No fee/10, résumé brief descrip, etc. Jury: 3 elected board members. => Julie Moreno, Gallery Exhibition, Padzieski Art Gallery, 15801 Michigan Av, Dearborn MI 48126, USA. 313-943-3095; fax -2368; jmoreno@ci.dearborn.mi.us; http://xrl. us/AOM95ap. Media: VI. Deadline: Open |+| International. Showing work < 2 min. in bubble-like self-contained space for 1 viewer at a time. No fee/1, (high res .DV, width 720 x height 576 pixels), short text, bio, still image, no return. => Marie Auvity, Les Petites Formes, Zapping Unit, 4 rue de la plaine, 75020 Paris, FRANCE. http://xrl. us/AOM83cn. Media: DI. Deadline: Open International. Digital marketplace for original work, primarily “conceptual, exploring the ideas of art and commerce, precious art, and the ephemeral nature of a digital print,” sold as PDFs to print or framed artwork or print. No fee/2 (low-res PDF, jpg, gif), résumé, statement, submit on line to submissions@ artocracy.org only; 25% comm. on sales. => Megan Murphy, Artocracy, 2910 E 57th Ste 5-282, Spokane WA 99223, USA. 509-999-8529; mmurphy@artocracy.org; https://www. artocracy.org. Media: All. Deadline: Open |+| International. User friendly, online research tool w/ searchable database and matching function to help biologists, technologists, mathematical physicists, and psychologists to playwrights, visual artists, dancers, and musicians find collaborators for projects of mutual interest. No fee. => ArtSci INDEX. 941-955-5103; index@ asci.org; http://xrl.us/AOM82b.
MEMBERSHIP ORGANIZATIONS Media: 2D 3D. Deadline: Open International. Supports, encourages and promotes 2- and 3-D arts. No fee/6, 35GBP annual fee. Exhibition opportunities UK and USA, art and craft fair opportunities in the UK, etc. => Laura Elliott, International Association of 2 & 3 Dimensional Art, IATTDA, 8 Greenwood, 47 Wayland Close, Bracknell, Berkshire, RG129LA, UK. 07939282766; info@iattda.co.uk; http://xrl.us/AOM95bc.
POLITICAL & PEACE |N| Media: All. Deadline: Mar 10 International. Show by emerging artists of feminist work that preferably “utilizes a range of feminist strategies to contest issues such as censorship, pollution, racism, sexual violence, war and, social justice as well as creating sites of resistance.” $25/3, $5 ea add’l, max 5 (CD or email JPGs), appl. Solo show, etc. Jury: Joanna GardnerHuggett, prof. art history, DePaul U., Chicago,. => Esther Charbit, Feminist Interrogations, ARC Gallery, 832 W Superior St #204, Chicago IL 60622, USA. 312-733-2787; info@arcgallery. org; http://xrl.us/AOM97p. Media: FR. Deadline: Mar 15 |+| International. Contribute crocheted, knitted, patched, quilted or felt 3’x3’ fiber panels to be sewn together to completely cover abandoned gas station and gas pumps in Central NY to call attention to over-dependence
on oil for energy. No fee. => Jennifer Marsh, International Fiber Collective, 109 Fordham Rd #A, Syracuse NY 13203, USA. 614-561-9057; blueangle1412@yahoo.com; http://xrl. us/AOM93cu. Media: All. Deadline: Open |+| International. Online exhibit of anti-war work. No fee/6, submit online as jpgs or as wmv, mpg, avi or mov format, 320x240 pixels up to 15 MB for videos. => Hedva Shemesh, Let-The-MusesSpeak-IAA.org. hedart@gmail.com; http://xrl.us/AOM91w. Media: All. Deadline: Open International. Publication of images in Iranian emag promoting “common ideas about the same subject and sharing talents and experiences w/ world wide artists.” No fee/2-6, submit online as jpg, or tif, minimum 800x600. => BrainStorm Magazine, Kolahstudio. com. kolahstudio@gmail.com; http:// xrl.us/AOM82d. Media: FI VI. Deadline: Open |+| International. Seed funding for projects that bring together filmmakers from opposing sides of armed conflict situations worldwide. No fee, submit proposal synopsis, 250 words or less via email then 5-pg proposal synopsis, samples of work, etc. by mail. $10K generally. => Claude Ibrahimoff-Hurley, Conflict Zone Film Fund, Make Films Not War, 39 Mesa St Ste 300, The Presidio, SF CA 94129, USA. 415-561-3104; fax -3111; filmfund@ makefilmsnotwar.org; http://xrl. us/AOM93bL.
PUBLIC ART see also web and slide registries |N| Media: PU. Deadline: Mar 6 |+| International. RFQ (EOI) for exterior/ interior dramatic entrance to 39-level office tower, preferably stainless steel or similar for ext., combo of both stainless steel or similar and vibrant blown glass or similar materials that are colorful and will reflect/sparkle w. No fee, contact for pros, details. $1.25 million CDN. => Karen L Robertson, Jamieson Public Art Project, KLR Interior Design, 2307 Richmond Road SW, Calgary AB T2T 5E3, CANADA. 403-698-3333; karenr@klrinteriordesign.com. |N| Media: PU. Deadline: Mar 7 International. RFQ to create interior or exterior original integrated work (for new Children’s Reading Center and Mus.), including but not limited to floor and wall designs and the use of other functional and/or non-functional elements. No fee/10 (CD), 12 copies of letter of interest, resume. $182K budget. => Christina Roldan, Children’s Reading Center and Mus. project, Broward Cultural Division Pub. Art & Design Prog., 100 S Andrews Av 6th Fl, Ft Lauderdale FL 33301-1829, USA. 954-357-8542; fax -5769; croldan@broward.org; http://xrl. us/AOM97y. |N| Media: All. Deadline: Mar 19 |+| International. RFQ to create major work integrated into design of new underground light rail station. No fee/20 (CD), approach statement, resume. $550K. => Jennifer Babuca, UW Station, Sound Transit, 401 S. Jackson St, Seattle WA 98104-2826, USA. 206398-5120; babucaj@soundtransit.org; http://xrl.us/AOM97br. |N| Media: PU SC. Deadline: Sep 30 |+| International. RFP for artist/artist team to design and create welcoming, durable, site specific, static or kinetic work that may include water and light features, for prominent downtown square. No fee/10 (CD), letter of interest, initial concept drwgs or description, 3 refs. $50K budget. => Hamilton Ohio City of Sculpture, One High St, Box 545, Hamilton OH 45012, USA. 513-8953934; hamiltonohiocityofsculpture@ fuse.net; http://xrl.us/AOM97ae. |N| Media: PU. Deadline: Open International. Roster of experienced artists for consideration on public art initiatives commissioned via limited calls (invitational opportunities) and/or direct award (single source) contracts. No fee, contact to request Expression
of Interest #05-008. Jury: panel of artists, arts and design professionals, Public Art Program staff. => Edwin Whang, Buyer, Finance & Supply (Purchasing), Artist Roster, City of Calgary Pub. Art Prog, CANADA. 403-2684090; edwin.whang@calgary.ca.
RESIDENCIES |C| Media: All. Deadline: Mar 25 ~ International. 3 wks (May - Aug) in Csopak/ Balatonfured for research, development or creation of work. $35 (sl, DVD/CD or vid.), statement of plans, etc, $1150 if accepted, contact for appl. No funding available. => Residency Prog., Hungarian Multicultural Center Inc, Box 141374, Dallas TX 75214-1374, USA. 214-324-0078; bszechy@yahoo.com; http://xrl. us/AOM94h. Media: CE. Deadline: Mar 31 International. Kitchen staff and studio managers for summer, w/ time off to pursue own work in well equipped ceramic facility. No fee/10, appl, refs, résumé, cover letter. $125/week, studio, housing, meals, firings, most materials. => Summer Staff, Watershed Center for the Ceramic Arts, 19 Brick Hill Rd, Newcastle ME 04553, USA. 207-882-6075; fax -6045; info@ WatershedCenterCeramicArts.org; http://xrl.us/AOM95ck. |N| Media: CE. Deadline: Apr 1 International. Summer at fully equipped studio. $25/6 (CD-Mac), resume, appl. Full or partial funding, some work assistanceships. Jury: Committee of field professionals. => Kiln Gods Residency Awards, Watershed Center for the Ceramic Arts, 19 Brick Hill Rd, Newcastle ME 04553, USA. 207-882-6075; fax -6045; http://xrl.us/AOM97cc. Media: All. Deadline: Apr 15 International. 1 or 2 yrs. for research or production in fine art, design or theory, w/ topic of own or project formulated by the institute. EU60, proposal, appl. Studio, EU8840 stipend, use of extensive facilities, etc. => Leon Westenberg, Post-academic Research and Production, Fine Art, Design, Theory, Jan van Eyck Academie, Academieplein 1, 6211 KM Maastricht, NEDERLAND. +31(0)433503724; fax -37 99; leon.westenberg@janvaneyck. nl; http://xrl.us/AOM86bc. Media: All. Deadline: Apr 30 International. 1-2 mo. (Jul & Aug) in high dessert next to Joshua Tree National Park. $25/3-5 (sl or CD), appl, donate 1 work to program afterwards. studio, living space. => Frederick Fulmer, Artist Residency Prog., Joshua Tree Highlands House, 8178 Fleur Rd, Joshua Tree CA 92252, USA. 760366-3636; info@joshuatreehighlandshouse.com; http://xrl.us/AOM96an. Media: All. Deadline: May 5 |+| International. Fall 08 or Winter 09 to work, develop ideas, conduct research. No fee/9 (sl or CD or 3-5 2-min samples if time-based work), appl résumé, recs., etc. Studio, use of media lab, shops, printmaking studio, other facilities, travel allowance, $2K for materials, $3K stipend. Jury: panel of artists, curators, and arts professionals. => Claudia Gonzales-Griffin, Artist-in-Residence Prog., McColl Center for Visual Art, 721 North Tryon St, Charlotte NC 28202, USA. 704-332-5535x22; fax -377-9808; cgriffin@mccollcenter.org; http://xrl.us/AOM85bh. |N| Media: All. Deadline: May 31 |+| International. 2-6 mo in studio in small village on west coast of Finland to begin or complete work. No fee, artistic documentation (CD only) CV, project plan, appl. Studio space, apartment, etc. => Ateljé Stundars, KulturÖsterbotten, Handelsesplanaden 23, FI-65100 VAASA, FINLAND. +358 6 324 2211; fax -2210; atelje.stundars@ svof.fi; http://xrl.us/AOM97bs. |N| Media: All. Deadline: Jul 15 International. 2-4 wks Nov thru Apr in historic studio/house in national park. $50/6, work plan, appl, recs, etc. Studio, apartment, $500/mo. stipend. => A-I-R Prog, Weir Farm Trust, 735 Nod Hill Rd, Wilton CT 06897, USA. 203-761-9945; http://xrl.us/AOM97as.
|N| Media: All. Deadline: Open International. For contemp. artists to create new work using experimental materials and techniques. By invitation only, do not apply directly. Work collaboratively w/ FWM’s staff of printers and technicians. Jury: panel of prominent artists and gallerists. => The Fabric Workshop and Mus., 1315 Cherry St, Philadelphia PA 191072026, USA. 215-568-1111; fax -8211; info@fabricworkshopandmuseum.org; http://xrl.us/AOM75AK. Media: CE. Deadline: Contact |+| International. Short and long term stays in well-equipped studio for sculptural, functional or experimental work, also woodfire work Oct-May. $10/5-10 (sl or CD), appl, résumé, letter of intent, recommendations, teach 8-week adult class. Semi-private lofted studio, opportunity to exhibit work, electric, raku, and soda kilns. => Residency Prog., The Clay Studio of Missoula, 910 Dickens St, Missoula MT 59802, USA. 406-543-0509; info@ theclaystudioofmissoula.org; http://xrl. us/AOM96bn. Media: All. Deadline: Open |+| International. 1 wk. to 1 yr. on small island in Azores (east of Portugal), “surrounded by simple beauty, the abundance of nature, and the company of others in the process of creating.” $20/3, financial info, letter of proposal, 3 rec, CV, $EU30/night donation requested if accepted, some partial scholarships, work exchange. Studio space, private bedroom, shared bath, etc., possible financial assistance. => Adrianna Jonet, Residencies 2008, Footpaths to Creativity, 8 Rideout La, Stoughton MA 02072, USA. 617-5492452; http://xrl.us/o76AOM. Media: All. Deadline: Open International. Stay and work on the edge of the North Atlantic Ocean. By invitation only, but artists may send an expression of interest and information about their work. => Fdn Dir, Pouch Cove Fdn, PO Box 693, Pouch Cove, Newfoundland A0L 3L0, CANADA. 800-563-9100; jb@jamesbaird.ca; http://xrl.us/AOM85m.
SLIDE & WEB REGISTRIES see also Public Art Media: All. Deadline: Open |+| International. Juried interactive database of online digital images, slides, video and DVD documenting the work of emerging artists, used by curators, gallerists, collectors, etc.;,separate submission procedures for video. No fee/15, (sl, vid. or DVD), bio, statement; digital work by email only. Jury: Matthew Higgs, director, chief curator. => Curated Artists’ Registry, White Columns, 320 West 13th St, NY NY 10014, USA. info@whitecolumns.org; http://xrl.us/AOM83n.
WEB, DIGITAL, NEW MEDIA |N| Media: DR. Deadline: Open International. On-line community of people who draw and wish to disseminate their drawing. No fee, email for instructions on how to join, add work to site. => Marion Ray Behr, Drawing Blog. A. mylyne@prodigy.net; http://xrl. us/AOM86da. Compiled by Benny Shaboy, California USA, NY Correspondent, Tamara Wyndham. End of material from Art Opportunities Monthly Issue #97 March. 2008
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