Art

Residency: Charlotte Street Foundation in St. Louis

CHARLOTTE STREET FOUNDATION Studio Residency Program 2019-20
PO Box 10263
Kansas City, MO 64171

APPLY NOW


Contact Email: info@charlottestreet.org
Call Type: Residencies
Eligibility: Unspecified
State: Missouri
Entry Deadline: 5/27/19
Days remaining to deadline: 8

REQUIREMENTS:
Media 
Images - Minimum: 1, Maximum: 10 
Audio - Minimum: 0, Maximum: 5 
Video - Minimum: 0, Maximum: 5 
Total Media - Minimum: 1, Maximum: 10

CALL TO ARTISTS
WRITERS + PERFORMANCE + VISUAL
CHARLOTTE STREET 2019-20 STUDIO RESIDENCIES

APPLICATION DEADLINE  MAY 27th 2019

Charlotte Street Foundation is seeking applications from visual artists, performing artists, and writers interested in its Studio Residency Program. Applications are due Monday, May 27th 2019. The year-long studio residency term runs September 2019 through September 2020. 


Applications will be accepted through CaFE  www.callforentry.org.
Charlotte Street Foundation administers an independent jury panel each term.

Entering its sixteenth year, the Studio Residency Program provides free studio and rehearsal spaces to exceptional emerging and/or already accomplished artists in need of workspace in which to create and to develop their creative processes, professional practices, and peer networks. Through the program’s offerings—which include studio space, required monthly meetings, presentations, studio visits, mentorships, public programs, exhibitions, and access to a multidisciplinary network of artist peers—Charlotte Street’s Studio Residency Program encourages creative production, artistic experimentation and collaboration, professional development, and community building.

Charlotte Street Foundation addresses artist’s need for studio space in Kansas City by securing vacant downtown office space, in partnership with generous real estate owners. Since its inception in 2004, the program has supported hundreds of artists. Approximately 30 artists will be in residence during the year-long term (September 2019 through September 2020). Charlotte Street strives for an equal mix of emerging and established artists representing a multiplicity of disciplines. Applicants will be notified by July 2019. 

Studio Space:
Currently, Charlotte Street Foundation provides studios at:
Town Pavilion, 1100 Walnut, 6th Floor, Kansas City, MO 64106.

  • All artists- 24-hour access & wifi

  • Visual artist studios- 16 private spaces and dedicated areas within larger, open shared spaces available

  • Performing artist studios- 24-hour access with dedicated time slots, rehearsal space with dance stage and Marley floor for dancers/choreographers and a separate rehearsal space with a piano for music and theatre/performance artists.

  • Writer studios- 5 private and semi-private studios

  • All studios are workspaces only; the program does not provide residential accommodations.

  • The studios are not furnished and do not include access to specialized equipment, tools, materials, etc.

Program components:

Participating artists are expected to commit to:

  • Advancing their artistic practices and professional development

  • Building a sense of community with fellow studio artists

  • Leveraging their residencies toward future opportunities

Note: Artists who do not make full, creative use of the opportunity may be asked to leave the program.

Also note: All artists selected for residencies will be required to complete goal-setting worksheets and meet with Charlotte Street Foundation staff for short, in-person interviews prior to the commencement of their residencies in order to review goals, plans, space needs, etc.

Other benefits include:

  • Monthly meetings —all-resident group meetings occur the Third Monday evening of each month throughout the term. The meetings allow the artists to connect, collaborate, and share resources. Guest speakers are also scheduled throughout the term to build community, present opportunities and professional development tips to the residents.

  • Mentorships — Residents are paired with volunteer artists or arts professionals from the broader community who agree to meet periodically over the course of the term. Each artist completes a goal-setting worksheet at the onset of their residency which is shared with their mentor to help guide the objectives of the mentorship.

  • Studio Visits— Artists, gallerists, curators, writers, etc. are invited for one-on-one studio visits with residents, arranged both by CSF and by residents themselves. These visits provide experience, feedback, and new connections for residents.

  • Open Studios —The annual Spring Open Studios provides opportunities for residents to meet and share their work with the broader community. The public is invited to visit the residency studios, meet artists and see new and in-process artworks, experience live performances, hear artist talks, writer's readings, and more.

  • Resident exhibition / performances / public programs —  Other opportunities to share their work with the public include a Slide Slam evening presentation, and exhibition and public performance opportunities in Kansas City.

  • Residency Blog- Charlotte Street Foundation hosts a residency blog featuring artist profiles. Resident artists are expected to author posts throughout the term. CSF utilizes the blog for curatorial selections, studio visits, artist interviews and social media.

Volunteering:

Artists participating in the program are REQUIRED to volunteer 5 hours per month assisting with Charlotte Street efforts, including gallery-sitting at CSF venues, distributing promotional cards for CSF events, assisting with exhibition installation, community outreach programs, and other related activities.

 

Eligibility:

Residencies are granted to selected artists for one-year terms, which run September through September. Artists who make exceptional use of their studios are eligible to apply for a second year term, with their applications subject to the same competitive review as new applicants. Full-time students will NOT be considered.

  • Visual artists working in all media are encouraged to apply. Note, the use of toxic materials (spray paint, oil paint mediums) in studios is prohibited. The studio spaces do not enable the use of a kiln, welding equipment, or other heavy machinery. The majority of spaces are not light- or sound-tight.

  • Performing artists working in all disciplines are encouraged to apply, including theatre artists, choreographers/dancers, composers/musicians, singers/songwriters, performance artists, filmmakers, and cross-disciplinary artists.

  • Writers working in all genres are encouraged to apply. Particular preference will be given to artists with a strong interest in working in a cross-disciplinary environment with access to other artists, including those whose focus is on critical/expository writing about art/artists and contemporary culture.

 

Application Requirements: To apply, visit www.callforentry.org.

For more information about the CaFE application platform and process, we recommend viewing the following links:

https://www.callforentry.org/how-to-apply-artists/
https://www.callforentry.org/applying-to-a-call-faq/


Applications are DUE by 11:59pm (CST), Monday, May 27th, 2019.

Applicants will be required to submit:

  • Contact information

  • Resume/CV highlighting your artistic training and accomplishments

  • Statement describing your current work, and the intent and vision behind your work to date (500 words max)

    • Work samples — from the past 3 years:

    • Up to 10 jpegs for visual artists

    • Up to 3 audio or video samples for performing artists or exclusively time-based visual artists

    • Up to 5 jpegs + up to 2 audio/video samples for visual artists working in combination of still and time-based media

    • Up to 3 writing samples/excerpts for writers, no more than 10,000 words total

  • Statement of intent, including:

    • Description of need and desire for the studio

    • Plans for the use of the studio and work to be created/developed

    • Estimated hours per week/month expected to be spent in studio

    • Description of materials and processes used in studio practice. (Note: if your work requires the use of equipment or processes not possible in the studios — i.e. you use toxic materials, a kiln, welding equipment, require high ceilings or a light, or sound-tight space, etc. — explain how this would impact your use of the space and its value to you.)

    • Goals and expectations for participation in the studio program; How will the residency contribute to personal, creative, and professional growth?

    • Contributions you will make to the program/community of resident artists; specific skills, strengths, interests, experiences, etc. you might bring and share; particular activities you wish to instigate or organize.

 

Charlotte Street Foundation, founded in 1997, is a nationally-leading, non-profit, Kansas City-based organization that identifies the needs and fuels the evolution of an ever-changing multidisciplinary arts ecosystem, acting as its primary provocateur. We cultivate the contemporary, the exceptional, and the unexpected in the practice of artists working in and engaging with the Kansas City Art Community.

 

For more about Charlotte Street Foundation and the Studio Residency Program, visit:

http://www.charlottestreet.org

http://www.charlottestreetstudios.wordpress.com

please email info@charlottestreet.org with any questions.

Residency: The Fort Worth Community Arts Center residency program (Texas)

TitleFWCAC Collective ResidencyOrganizationFort Worth Community Arts CenterClosing DateSunday, September 1, 2019LocationFort Worth, TXInformation

The Fort Worth Community Arts Center will offer a residency program for the duration of one year beginning January 1, 2020 through December 31, 2020.

Deadline: September 1, 2019

Fort Worth Community Arts Center is proud to present our Collective Residency Program for art oriented organizations in the DFW area.

This program includes the following:
• 1 office space with 24/7 access on the second level of the Arts Center gallery for one year. This office measures 162 square feet. This includes a mailbox at the Arts Center, use of the conference rooms with reservation, use of the kitchen/breakroom. The value of this office is $3078.00 annually or $256.50 per month.

• Hold 3 exhibits in various galleries at the Arts Center throughout the course of the year.

• Organize and run 4 workshops throughout the year

• The use of a gallery space to hold a fundraising event at no charge to the organization other than hard costs such as labor. The value of an event for up to 100 guests is $1840.00. Labor generally runs about $600.00. All proceeds from ticket sales, donations, etc., after hard costs expenses will go completely to the organization

• Collective agrees to help promote the Arts Center fundraising event through any means possible.

• Collective agrees to partner in planning and implementation of Art-Aid Expo in June. This includes assisting with organization, sponsorships, promotion, and ideas.

• Members of Collective agree to sit on a selection panel to designate the next collective group to revive this residency opportunity.

The Arts Center will be happy to have the organization call it their home and work with your organization. We want to create this residency program as a model to offer other artist collectives to help them grow in our community.

Proposals from Collectives need to include:

  • Letter of Intent

  • A Collective statement (no more than one page in length)

  • List of Collaborators, including their website

  • Images of previous events – JPG (clearly labeled with an matching image list)

Submissions will be reviewed in early September. If you are selected to exhibit, we will need to flush out specific dates. While we will respect your original artistic vision, we retain the final right to edit the exhibitions.

ABOUT US: Located at 1300 Gendy Street, the FWCAC is part of the most architecturally significant museum districts in the United States. The striking modern Herbert Bayer building (with a later O’Neil Ford addition) opened to the public in 1954 as home to one of the most prestigious and oldest collecting organizations in the state of Texas, the Modern Museum of Fort Worth. When, in 2002, the Modern moved down the street, the Fort Worth Community Arts Center opened. The building has exhibited world class art and supported the performing arts for more than half a century. The Arts Council manages the FWCAC, provides leadership and funding to local arts organizations through our competitive Grants Program and administers the Fort Worth Public Art program.

SUBMISSION: Images must be JPEGs with minimum width/height of 800 pixels, maximum size as 3MB. Do not use spaces or special characters (!@$, etc) in image file names. Video and audio files can be submitted through links. FWCAC reserves the right to reject inaccurately represented work, or incomplete submission.

PRESENTATION: Work must be suitably framed (or sides cleanly finished or painted) and ready for hanging. D-rings should be used for heavy works, wires for works under 5lbs. Drawings, prints, watercolors and pastels on paper must be under Plexiglass.

SALES: All work will be for sale unless the artist informs the gallery to the contrary. 40% of proceeds from sales will go to FWCAC and the remainder to the artists.

DEADLINE: All applications must be submitted before midnight (CMT) on September 1, 2019. FWCAC will notify accepted applicants only by late September.

USE OF IMAGES: Any image submitted may be used for non-commercial, marketing or promotional purposes directly related to this show. This use may include in any publications, printed materials, advertisements, or electronic media. Copyright and all other rights remain that of the artist.

CONTACT/QUESTIONS: Please direct all questions to:
Jonathan Mark Levy, Program and Exhibition Manager
1300 Gendy Street
Fort Worth, TX,  76107
direct: 817.527.8033
jlevy@artscouncilfw.org

Apply at: https://fortworthcommunityartscenter.submittable.com/submit/135485/fwcac-collective-residency

Websitehttps://www.fwcac.com/

Call for Entry: New Mexico Department of Transportation: I25 Montgomery Interchange Project Aesthetic Enhancements (New Mexico)

Contact Email: Danton.Bean@hdrinc.com
Call Type: Public Art
Eligibility: Regional
State: New Mexico
Entry Deadline: 5/10/19
Days remaining to deadline: 20

REQUIREMENTS:
Media 
Images - Minimum: 3, Maximum: 10 
Total Media - Minimum: 3, Maximum: 10



View Site Details

NMDOT CN-A301900 I-25 Montgomery Interchange Aesthetic Treatment Prospectus

 

The New Mexico Department of Transportation is seeking an artist or artist team to advise and provide specific recommendations to the design team on the aesthetic treatment of the I-25 and Montgomery Interchange to be reconstructed in Albuquerque, NM.

This project is on the mainline of I-25 in north Albuquerque and serves as a gateway to the Montano commercial area and river crossing of the Rio Grande to the west and the Montgomery commercial and residential areas to the East.


The project will address reconstruction and the capacity needs of the interchange and adjacent frontage roads for the next 20 years while providing an aesthetic experience for the estimated 94,000 trips by the traveling public that pass through the area on a daily basis.
 

Surfaces to be addressed may include bridge abutments, railings, project retaining walls, and pedestrian fencing as defined by the design team. Treatments may be expressed through color, texture, and unique repeating concrete form liners for vertical surfaces and metallic shapes for fencing. Subtle lighting treatments may be considered if they do not cause a distraction to drivers and the local government agency agrees to pay for power, maintenance and repairs/replacement. Treatments will address the cultural and natural resource qualities of this northern part of Albuquerque, and comprise an holistic aesthetic ‘look’ for the interchange without providing a distraction to the traveling public.
 

Interested parties must apply and be prepared to demonstrate aesthetic ability, ability to work as part of a team, and ability to work within time and monetary budgets. Interested applicants must be New Mexico residents at the time of the submittal and during the aesthetic treatment development.

Utilizing the CAFÉ website and process, the Local Selection Committee (LSC) will select five semi-finalists and conduct interviews before selecting a finalist and commissioning the work. The LSC will consist of NMDOT staff, local artist and government representatives. An honorarium of $500 will be paid to each participating semi-finalist who must appear in person to meet with the LSC. A site-specific recommendation indicating the applicant understands the commission is not required at the interview however demonstrating understanding and the ability to produce a site-specific work are.
 

The LSC will select an artist or team to develop draft alternatives for presentation to the public and panel. At least one public involvement meeting will be required as part of the design process. 

Among prominent local natural resource themes would be the Sandia Mountains, the West Mesa, and the Rio Grande Bosque. Among local cultural themes are the balloon fiesta park neighborhood, general Southwestern motifs, and transportation.

 

Maintainability and constructability of proposed features will be important evaluation criteria.

The selection criteria shall include, but are not limited to:

  • The qualifications of the artist(s) as demonstrated by the supporting materials.

  • Attractiveness and potential of artwork/aesthetic design to enhance the project.

  • Artistic merit and superior caliber of craftsmanship shown by the images.

  • The degree to which the artwork/treatment fits within the context of the surrounding area.

  • The artwork/aesthetic design’s uniqueness and presentation of a distinctive visual image.

  • The use of themes that align with the public’s preferences.

  • The selected artist will be compensated as an independent contractor by the consulting engineering firm.

(HDR), $10,000 for the draft alternatives for presentation to the public and $11,500 for the final design.

The winning artist will work with the consulting engineer to translate imagery into CAD and engineering drawings.

Please read the following information carefully as incomplete or late submissions will not be accepted:

1. The artist will post on the CallForEntry (CaFE) website 3 to 10 images of previously completed work. Please review and adhere to the website instructions and requirements (see this link: https://artist.callforentry.org/image_prep.phtml). Tutorials can be downloaded using the links near the bottom of the web page.

2. The submission CAFÉ must include a written letter of interest that addresses the needs of the project, the artist’s interest and motivation in preparing artwork for the project, and an outline of the artist’s specific professional qualifications.

3. The submission on CAFÉ must include a current chronological resume or curriculum vitae
demonstrating relevant work experience, particularly public art or privately funded  commission projects. Please note that a biography or autobiography will not fulfill the requirement of a current resume.

4. The submission will include an annotated image list containing the title, media, dimensions, year of completion, project description, budget, and commissioning agency.

5. All materials must be submitted in digital format according to the specifications outlined by CAFÉ.

6. The LSC will not review supplemental information beyond what is requested, including materials specific to this project.

7. Failure to provide any of the published requirements will result in disqualification from the competition.

8. The initial submission consists of only the artist’s general qualifications and experience on projects of similar scope and intent. The initial submission should not be a site-specific concept.

Semi-finalists will be expected to submit a sample drawing or rendering relevant to the project.

The following are key dates in the selection process:

  • April 2019 – Request for submissions posted on CAFÉ website.

  • May 10, 2019 – Electronic Submission Deadline.

  • May 2019 – Electronic Notification of Semi-Finalists.

  • June 2019 – Semit-Finalist presentations, Finalist commission awarded.

  • July 2019– Interim reviews, public meeting and final artwork due.

  • August 2019 – Artwork scans completed and delivered to NMDOT in specific form.

Questions regarding the bridge art project should be directed to Danton Bean by phone (505)830-5412 or by email atDanton.bean@hdrinc.com.

Call for Proposals: The Cultural Center Crosswalks Project (Florida)

Call Type: Public Art
Eligibility: Regional
State: Florida
Event Dates: 7/1/19 - 12/20/19
Entry Deadline: 5/2/19
Number of Applications Allowed: 3

REQUIREMENTS:
Media 
Images - Minimum: 4, Maximum: 8 
Total Media - Minimum: 4, Maximum: 8

OVERVIEW
The Cultural Center Crosswalks Project will be located at SE 1st Ave. connecting City Hall to the Cultural Center. The artistic scope of work is to develop and install three crosswalk designs. This is a community engagement project and the selected artist(s) will work with residents/volunteers to install the artwork. The artwork lifespan of the project is predicted to be five years. This project is part of the NEA Grant awarded to the City in 2017.

THEME & REQUIREMENTS
This is a community engagement project and the selected artist(s) will work with residents/volunteers to install the artwork. The purpose of this project is to not only beautify the streets and connect City Hall and the Cultural Center, but also to strengthen ties within the community and give them a sense of pride and ownership to the finished artwork.

The crosswalk designs should be an abstract, repeating pattern that is easily translated into a stencil. The shapes must be solid colors, no gradients. The Crosswalks shoud convey a sense of place and utilize easy design elements with the purpose of refreshing the colors in the future, if need be. Designs should be simple and beautiful. Specific paint must be used. Since this is an outdoor floor mural, the artist must use paint that can stand up to not only weather wear and tear but car traffic as well.

This project is functional public art and will serve the purpose of providing a safe and beautiful street enhancement.

PROJECT LOCATION
The location for the crosswalks will be on SE 1st Ave. connecting City Hall and the Cultural Arts Center. There will be three crosswalks in total: one larger crosswalk (43’ by 35’) in between two smaller crosswalks (68’ x 10 ‘ and 32.5’ by 10’). Visit this website for details on locations, https://pbpublicart.com/assets/images/misc/Location.jpg

The City will assist with road closures during the installation and pressure clean the street area prior to design installation.

ARTWORK PURCHASE BUDGET
The purchase budget established for the project is $15,000.00. The price will include all insurance, taxes, fees, permits, materials and installation.

PERMITS

It shall be the artist’s responsibility, where applicable, to obtain all necessary permits prior to fabrication and installation. The artist will ensure that the design will be code compliant and can stand up to South Florida weather conditions.

INSURANCE

LICENSEE shall not commence services under the terms of this Agreement until certification or proof of insurance detailing terms and provisions has been received and approved in writing by the CITY’s Risk Manager. If you are responding to a bid and have questions regarding the insurance requirements hereunder, please contact the City’s Purchasing Department at (954) 786-4098. If the contract has already been awarded, please direct any queries and proof of the requisite insurance coverage to City staff responsible for oversight of the subject project/contract.

            LICENSEE is responsible to deliver to the CITY for timely review and written approval/disapproval Certificates of Insurance which evidence that all insurance required hereunder is in full force and effect and which name on a primary basis, the CITY as an additional insured on all such coverage. 

Throughout the term of this Agreement, CITY, by and through its Risk Manager, reserve the right to review, modify, reject or accept any insurance policies required by this Agreement, including limits, coverages or endorsements.  CITY reserves the right, but not the obligation, to review and reject any insurer providing coverage because of poor financial condition or failure to operate legally.

Failure to maintain the required insurance shall be considered an event of default. The requirements herein, as well as CITY’s review or acceptance of insurance maintained by LICENSEE, are not intended to and shall not in any way limit or qualify the liabilities and obligations assumed by LICENSEE under this Agreement.

            Throughout the term of this Agreement, LICENSEE and all subcontractors or other agents hereunder, shall, at their sole expense, maintain in full force and effect, the following insurance coverages and limits described herein, including endorsements. 

A.        Worker’s Compensation Insurance covering all employees and providing benefits as required by Florida Statute, Chapter 440.  LICENSEE further agrees to be responsible for employment, control and conduct of its employees and for any injury sustained by such employees in the course of their employment.

B.        Liability Insurance.

(1)       Naming the City of Pompano Beach as an additional insured as CITY’s interests may appear, on General Liability Insurance only, relative to claims which arise from LICENSEE’s negligent acts or omissions in connection with LICENSEE’s performance under this Agreement.

(2)       Such Liability insurance shall include the following checked types of insurance and indicated minimum policy limits. 

Type of Insurance                                                            Limits of Liability

GENERAL LIABILITY:                   Minimum 1,000,000 Per Occurrence and   

                                                              $2,000,000 Per Aggregate

* Policy to be written on a claims incurred basis

XX    comprehensive form                    bodily injury and property damage

XX    premises - operations                   bodily injury and property damage

__      explosion & collapse

          hazard                                         

__      underground hazard                    

XX    products/completed                     bodily injury and property damage combined

          operations hazard                        

XX    contractual insurance                   bodily injury and property damage combined

XX    broad form property damage       bodily injury and property damage combined

XX    independent LICENSEEs            personal injury

XX    personal injury 

__      sexual abuse/molestation             Minimum $1,000,000 Per Occurrence and Aggregate

          liquor legal liability                     Minimum $1,000,000 Per Occurrence and Aggregate

----------------------------------------------------------------

AUTOMOBILE LIABILITY:           Minimum $1,000,000 Per Occurrence and $3,000,000 Per Aggregate. Bodily injury (each person) bodily injury (each accident), property damage, bodily injury and property damage combined.

XX    comprehensive form                   

XX    owned                                         

XX    hired                                            

XX    non-owned                                  

----------------------------------------------------------------

REAL & PERSONAL PROPERTY

          comprehensive form                    Agent must show proof they have this coverage.

----------------------------------------------------------------

EXCESS LIABILITY                                                              Per Occurrence                                            Aggregate

                                                                                        

          other than umbrella                     bodily injury and    $2,000,000                                   $2,000,000

                                                              property damage

                                                              combined         

----------------------------------------------------------------

PROFESSIONAL LIABILITY                                                               Per Occurrence                                            Aggregate

XX    * Policy to be written on a claims made basis           $1,000,000                                   $1,000,000

----------------------------------------------------------------

(3)       If Professional Liability insurance is required, LICENSEE agrees the indemnification and hold harmless provisions set forth in the Agreement shall survive the termination or expiration of the Agreement for a period of three (3) years unless terminated sooner by the applicable statute of limitations.     

            C.        Employer’s Liability.  If required by law, LICENSEE and all subcontractors shall, for the benefit of their employees, provide, carry, maintain and pay for Employer's Liability Insurance in the minimum amount of One Hundred Thousand Dollars ($100,000.00) per employee, Five Hundred Thousand Dollars ($500,000) per aggregate.

D.        Policies:  Whenever, under the provisions of this Agreement, insurance is required of the LICENSEE, the LICENSEE shall promptly provide the following:

(1)       Certificates of Insurance evidencing the required coverage;

(2)       Names and addresses of companies providing coverage;

(3)       Effective and expiration dates of policies; and

(4)       A provision in all policies affording CITY thirty (30) days written notice by a carrier of any cancellation or material change in any policy.

            E.         Insurance Cancellation or Modification.  Should any of the required insurance policies be canceled before the expiration date, or modified or substantially modified, the issuing company shall provide thirty (30) days written notice to the CITY 

            F.         Waiver of Subrogation.  LICENSEE hereby waives any and all right of subrogation against the CITY, its officers, employees and agents for each required policy.  When required by the insurer, or should a policy condition not permit an insured to enter into a pre-loss agreement to waive subrogation without an endorsement, then LICENSEE shall notify the insurer and request the policy be endorsed with a Waiver of Transfer of Rights of Recovery Against Others, or its equivalent. This Waiver of Subrogation requirement shall not apply to any policy which includes a condition to the policy not specifically prohibiting such an endorsement, or voids coverage should LICENSEE enter into such an agreement on a pre-loss basis.



More info: https://artist.callforentry.org/festivals_unique_info.php?ID=6509

Jobs: City of Pleasanton needs a coordinator of arts conservation (California)

Contracted Public Arts Conservation and Maintenance Services
City of Pleasanton

Pleasanton, CA
 

The City of Pleasanton seeks to enter into a contract with a qualified individual or business capable of working closely with the Community Services Manager, Civic Arts, to plan and coordinate conservation and maintenance services for the City's Public Art Collection. 

For more information and to see the complete Request for Proposal visit http://www.cityofpleasantonca.gov/business/bids.asp 



Contact:Michele M Crose
Email:mcrose@cityofpleasantonca.gov
Phone:925.931.5347
Addressee:
Address: PO Box 520
Website: http://www.cityofpleasantonca.gov/business/bids.asp

Deadline: 05-25-2018
 

Residency: Artists Invite Artists Proposal 2018 for Ceramic Artists (Newcastle, ME)

Entry Deadline: 6/15/18
Number of Applications Allowed: 20

Artists Invite Artists Proposal 2018
19 Brick Hill Road
Newcastle, ME 04553


REQUIREMENTS:

Media
Images - Minimum: 10, Maximum: 10 
Total Media - Minimum: 10, Maximum: 10 


Many of Watershed’s summer residency sessions are organized by artists—who propose a theme related to clay and recruit a handful of other artists to join them for two or three weeks. We call these Artists Invite Artists (AIA) Groups. The balance of participants in each AIA session register independently, often drawn by a shared interest in the session theme. Once at Watershed, all artists work side-by-side in the Watershed studios, forming one community.

An AIA session provides an opportunity to gather with colleagues you know or to spend time with artists whose work you’ve admired from afar. The lead artist and group of invited artists can collectively shape a creative thematic retreat without the pressure and preparation involved in leading a typical training or workshop. AIA sessions are inspired and guided by the leading artists, but time is spent in shared exploration and dialogue in the studio rather than in formal instruction. While clay is core to the Watershed experience, some AIA artists work in other media as well.

To submit a proposal, you must develop a session theme and recruit at least four (and up to 8) other artists to participate in the session.  As the AIA leader, you attend the residency free of charge and your AIA invited artists receive a 15% discount off their residency fees.

Applications to organize a residency are due annually on June 15 in the year prior to the residency. Applicants will be notified in August of their status. For more information on how AIA sessions work, please visit the Watershed website at http://www.watershedceramics.org/residencies/organize-a-residency/

Call for Curators: New Art Center Curatorial Opportunity Program 2018 (Newtonville, MA)

New Art Center Curatorial Opportunity Program 2018
New Art Center
61 Washington Park
Newtonville, MA 02460

Entry Deadline: 6/5/18


REQUIREMENTS:

Media
Images - Minimum: 10, Maximum: 20 
Audio - Minimum: 0, Maximum: 6 
Video - Minimum: 0, Maximum: 6 
Total Media - Minimum: 10, Maximum: 20 


View Site Details

1. Statement of Purpose

The New Art Center's Curatorial Opportunity Program (COP) supports independent curators of contemporary art by making diverse visions possible in a non-profit and alternative exhibition space. The program investigates contemporary culture through the visual arts, exhibits strong curatorial voices, and encourages the timely examination of new ideas and perspectives.

The New Art Center (NAC) are currently accepting curatorial proposals for 5- to 7-week group exhibitions from September 2019 – May 2020 at the New Art Center in Newton. We will only accept electronic submissions received by June 5, 2018. No extensions will be granted and no paper applications will be accepted.

2. Background Information

Since 1991, NAC has used its Main Gallery for group exhibitions (two artists or more) curated by an exhibiting artist or independent curator. We continue this tradition through the COP, our annual public call for curatorial proposals.

Our Main Gallery is one of the few mid-sized nonprofit exhibition spaces in New England, which attracts over 5,000 visitors each year. The gallery occupies the hall of a former church, with 25-foot vaulted ceilings, substantial natural light, and several movable wall panels. The space is approximately 2,500 square feet, with an average width of 39 feet and an average length of 40+ feet.

A visit to the gallery prior to application is advised and encouraged, if possible. Two curatorial workshops, led by local curators, will be held on March 14 and April 25 from 7-9 PM. Prospective applicants are encouraged (though not required) to attend one of these workshops to hear more about the curatorial process and have questions about the program answered by NAC staff. To register, visit https://newartcenter.org/index.php/workshops-products/

The COP furthers the NAC’s mission to offer exceptional opportunities to make, exhibit, view, think about and talk about art. COP exhibitions and associated public programs are the foundation of our gallery education and outreach programs and enhance the learning available in our studio classes and workshops, which educate over 2,500 students annually and sustain a faculty of over 40 professional artists.

3. Scope of Work

Required:

  • Proposals must include works by two artists or more.
  • Proposals must include one public program with an educational component; more than one is encouraged (see ‘proposed public programs’ under Criteria, below).
  • In proposals including one’s own work, that work should not be the main focus of the exhibition, and should only be included if it supports the thesis. Artists wishing to include their own artwork in the proposal must be willing to eliminate their own work if the panel feels that such a cut would strengthen the exhibition. 

Additional Considerations:                

  • The proposed exhibitions can include works in a single medium or several media, from painting, drawing, sculpture, photography, and video to installation, performance, and sound art. A variety of media or diverse use of similar media is recommended.
  • Exhibitions may be organized around medium or process
  • Exhibitions may investigate social, cultural, historical, theoretical or political concepts
  • Strong applications are centered on a curatorial concept that ties the work together (see "4.Decision Criteria")

NAC Support
For each exhibition, the New Art Center provides a curator stipend to be applied to exhibition-related expenses at the curator's discretion. The stipend is awarded after the opening reception. Curators and artists are encouraged to consult with the NAC to seek outside funding to enhance their exhibition program(s) or invitation, or to provide for additional advertising. The NAC receives a 50% commission on sales of any works in the exhibitions. 

The NAC provides:

  • a set budget for printing of a postcard invitation
  • a $1,000 USD curator stipend
  • public relations support such as sending press releases to press venues
  • advertisements, extensive listings, emails to our 10,000+ person mailing list, and posts to our social media feeds
  • duplication of material for distribution at the exhibition
  • gallery signage
  • insurance up to $150,000 in total for art work while it is at the NAC
  • physical assistance in preparing the space and installing the work
  • an opening reception with refreshments

The NAC does not provide (or pay for):

  • transportation of artworks or artists to or from the NAC
  • installation construction beyond basic installation and wall configuration

4. Decision Criteria

  • Quality of the work to be shown: Note - though submission of artists' resumes is required, artists who lack substantial exhibition records and experience will still be considered.
  • Clarity, subtlety, and power of the underlying curatorial concept: Proposed exhibitions must articulate a clear central idea, convincingly supported by the work included. This idea, or thesis, must be expressed in a brief curator's statement of concept. This is required whether the central idea is simply strong aesthetic resonance between works in a single medium or complex theoretical or academic dialogue presented across multiple media.
  • Proposed public programs: The Curatorial Opportunity Program helps advance the New Art Center’s educational mission by using the galleries to enhance the experience of NAC’s students and guests. Proposals must include at least one educational component connected with the exhibition, the goal of which is to place the exhibition, the art practices, and the curatorial practice into the larger context of contemporary art for a general public. This can consist of a panel discussion, gallery talk, ongoing interactive presentations, activities geared toward engaging the NAC’s daily student population or related presentations and/or performances in other mediums.
  • Capability of the curator to carry out the project: In addition to working with the Exhibitions Director on the exhibition design and installation, curators are also responsible for communicating with the artists. This includes assuring timely delivery of press materials, adherence to agreed-upon artwork delivery and pickup times, etc. The curator and artists are expected to work with the Exhibitions Manager to assure that all necessary tasks are accomplished and deadlines are met.

5. Eligibility                               
All artists and curators are eligible regardless of race, ethnicity, gender, belief, national origin, sexual orientation or physical abilities. While artists and curators from the greater Boston area are encouraged to participate, there are no geographic restrictions. Please keep in mind that the NAC does not pay for travel expenses or shipping of artwork (or insurance of artwork in transit to or from NAC).

Proposals will not be considered for one-person exhibitions or if they envision a general call to artists. Additionally, proposals will not be considered if they lack a statement of concept; require financial support from the Center beyond the usual stipend and services (see Support); are late or incomplete; are inappropriately scaled for the Main Gallery (see Gallery Space) or have prohibitively complex and/or expensive installation requirements.

6. Requirements for Proposal Preparation

  • ou must complete all fields in the online application in order for it to be submitted. The application requires that you upload all of your documents as PDF or Word documents. The curator statement, proposed public program(s) and image list will also need to be entered into the text boxes provided as well.  CREATE YOUR DOCUMENTS FIRST, AND THEN COPY THE TEXT INTO THE TEXT BOXES.
  • You must create a free CaFÉ™ login and password in order to upload images and all other aspects of the application.
  • Other helpful hints and a CaFÉ FAQ are found here: https://www.callforentry.org/cafehelp.phtml

CHECKLIST

  • Curator's Statement of Concept  
    • (suggested length: 1-2 paragraphs or 200 words)
      • The curator's statement must begin with an exhibition title followed by a one-paragraph summary of the curatorial intention of the show.
  • Artist List
    • (suggested length: 50-100 words per artist)
      • The artist list should address each artist individually and discuss how the body of work selected for exhibition relates to and supports the overall concept.
  • Proposed Public Program(s) with Educational Component
    • (suggested length 1 pg/300 words)
      • At least one public program proposal is required, more than one is encouraged. Each proposed program should aim to contextualize and/or expand upon the exhibition, the contemporary art practice, and the curatorial practice for the general public.  
  • Artist Agreement
    • You must have secured participation of all the artists in your proposal prior to your application’s submission. Please list all confirmed artists in your Curator Statement of Purpose.
  • Resumes and References
    • Provide resumes (1-4 pages each) for the curator(s) and for each of the participating artists. You will need to combine all resumes into one document before uploading it. Curators must also submit contact information for three professional or academic references.
  • Images
    • Specifications, Audio & Video Specifications:
      • File format: JPEG only
      • File dimensions: No smaller than 1920 pixels on the longest side
      • File resolution: 72 ppi/dpi (standard web resolution)
      • File size: 5 MB maximum
    • A maximum of 30 images will be reviewed, with a maximum of 12 images per artist. For a tutorial on image preparation, please visit: https://www.callforentry.org/image_prep.phtm
    • A maximum of 6 audio files and a maximum of 6 video files can be uploaded to CAFÉ, BUT WE CAN REVIEW MORE. In addition to your online submission, please share any additional audio and/or video files via Dropbox with Exhibitions@newartcenter.org. If you prefer, you may also mail the files on a DVD to Manager of Exhibitions, New Art Center, 61 Washington Park, Newtonville, MA 02460. Any mailed application materials must be postmarked no later than June 5, 2018.
  • Image List & Digital Image Submissions - Please follow instructions carefully! 
    • The Image List must be numbered in accordance with the order of the images in the CAFÉ slideshow. We suggest that you create the Image List first and then select and order your images in CAFÉ in accordance with the list.
    • The list must include (for each work):
      • Artist's Name
      • Image Number 
      • Title of work
      • Year
      • Medium (please include as much information about the media used as possible)
      • Dimensions 
      • Specification of either 'A' (for actual work to be exhibited) OR 'R' (for representative work). Inclusion of 'actual' work is encouraged.
        • xample: John Doe #1, Untitled, 2015, oil on canvas, 24 x 36 inches, A
  • In addition to providing the Image List, you will also need to provide the image information for each image you upload onto CAFÉ. Please follow these directions carefully!!
    • For each image you upload, please fill out the fields with the following information:
      •  In CAFÉ’s “Description” field, include:
        • Artist's Name - The name(s) should be the first words entered in the description field!
        • Image Number - This should follow the Artist’s Name in CAFÉ’s “description” field
        • A (for actual work to be exhibited) or R (for representative work)
        • Example: John Doe #1 A
      • n CAFÉ’s “Title” field, include the title of the artwork
      • In CAFÉ’s “Year” field, include the year the piece was completed
      • In CAFÉ’s “Medium” field, include as much information as you can about the media used
      • In CAFÉ’s “Dimensions” field, include the dimensions of the piece
      • In CAFÉ’s “Price” field, insert $0; you must complete this field in order to submit the application, but price has no bearing on the application’s review process.

7. Review of Applications and Award Process                              

  • Deadline: June 5, 2018
  • Applications must be submitted on the CaFÉ website by 11:59 pm Eastern Standard Time on June 5, 2018.
  • Please plan ahead. No paper applications will be accepted and no extensions will be granted. NAC exhibitions staff will be available to answer last minute questions from 1-5 PM. It is reccomended that you submit your application in advance of the deadline to allow time for unforseen technical difficulties.
  • Applications are reviewed by a group of professional artists, curators, educators, museum and gallery personnel / staff, NAC staff and NAC community members.  
  • The panel reviews the application and support materials for the quality of the exhibition concept, the quality of work, educational potential, and clarity.
  • NAC staff may contact the applicant’s professional references and/or request to meet with finalists as part of the selection process. The review process may also include a phone interview or studio visit to view actual work.
  • COP awards will be announced to the recipients in August of 2018. No phone calls please.
  • The New Art Center will determine the schedule for COP exhibitions. Restrictions on scheduling flexibility must be stated in the application’s Curator Statement of Concept.

8. Questions?          
Please contact: Info@newartcenter.org. These COP Guidelines can be downloaded from the New Art Center website: https://newartcenter.org/index.php/curatorial-opportunity-program/

Call for Entry: Wall Artwork(s) Historic Downtown (Liberty, MO)

http://www.LibertyMissouri.gov/arts

Wall Artwork(s) Historic Downtown Liberty, MO
City Hall- Community Development
101 E. Kansas
Liberty, MO 64068


APPLY TO THIS CALL
 

Entry Deadline: 2/26/18
Days remaining to deadline: 33

REQUIREMENTS:

Media
Images - Minimum: 1, Maximum: 6 
Total Media - Minimum: 1, Maximum: 6 


View Site Details

Project: Wall Art – Corner of 2 N. Water Street & 8 E. Kansas St. – “Liberty” Themed Artwork(s)
The City of Liberty is issuing a call for artists to create artwork that would cover 15 individual panels (approx 6 ft tall by 12 ft wide) hung side by side to adorn a temporary wooden façade (6 ft. tall by 160 ft. wide) at the corner of Water and Kansas Streets in Historic Downtown Liberty.  The wall serves as a visual barrier for a vacant lot located at the SE Corner of the Historic Courthouse Square.
We are looking to create a mural that is appealing to area residents and visitors.  Preferred themes could celebrate community and/or culture with elements that will draw people from around the Kansas City Metro, and visitors to KC, to Liberty for a photo opportunity. The panels should be light-hearted and capture the essence community pride, inclusivity, and equity.
Themes:
 City Pride
 Culture
 History

Artists who draw, paint, make prints, work in computer or graphic design, photography, etc. are invited to apply.  Must be 18 or older to apply, and be willing to sign a legal agreement and waiver. Once installed, each piece artwork must require limited maintenance and withstand the area’s climate and weather for up to two years. 
Panel Details: 
“Panels” refers to the 15 sections, which selected artists will design using the medium of their choosing that adheres to the below guidelines. Panel dimensions as follows:
▪ 13 12’x6’ panels (5 panels on Water St., 8 panels on Kansas St.)
▪ 1 10’ x 6’ panel (A diagonal or angled panel on Kansas St.)
▪ 1 5’ x 6’ panel (a panel on Water St.)

• Some of the panels have a unique shape and the committee will consider how the art will look in the designated space when making the assignments. 

● The wall is built completely out of unpainted or additionally primed CCA treated plywood. Canvas artwork will be directly fixed to this wall via staples. If you choose to paint directly on the wood, that is also permitted. Photos of the blank wood wall are included as an attachment to this application.

●Use the references below to serve as a launch point to explore Liberty’s history and culture:
▪ Visit Liberty Mo tourism website: www.visitlibertymo.com
▪ History of Liberty: www.libertymissouri.gov/2120/History-of-Liberty
▪ William Jewell College History: http://www.jewell.edu/about-jewell/history
▪ Liberty Public School District: www.lps53.org/
▪ Historic Downtown Liberty, Inc.: www.historicdowntownliberty.org/intriguing-history/

● Sample murals and artwork from around the country that served as inspiration to the committee for this Call for Artists are http://www.bravotv.com/blogs/8-street-art-murals-across-the-us-that-were-basically-made-for-instagram

● The artists will be selected by members of the Public Art Committee that includes members of the Liberty Arts Commission, the property owner, representatives from Historic Downtown Liberty, Inc., and City Staff. The group will select proposals they feel fit the City’s culture. 

The Call Options
Artists will select one of three options for their proposal, you may:
A. Create a proposal for one individual panel from the dimensions listed above
B. Create a proposal for all panels on either N. Water or all panels on E. Kansas
C. Create a proposal for all panels, on both streets, the entire façade

The Proposal:
Please be prepared to submit the following items in the online application. All files should be submitted in as .PDF, PNG  or JPG and be sized approximately 1880 pixel on the longest side @ 100 dpi
▪ Resume (Maximum 2 pages)
▪ Outline which proposal option you are choosing
▪ 3-6  examples of previous work
▪ Detailed Project Description, including:
o A literal description of the artwork
o A description of the concepts in the proposed piece
o How will this work contribute to a visitor’s experience of downtown Liberty?
o An artist statement describing wall art experience and interest in the project
▪ 1 to 5 sketches or digital illustrations of the proposed mural panel
▪ Proposed budget for reimbursement of materials
▪ There is no application fee. All artwork will become the property of the City of Liberty at the time of hanging.

Honorarium:
▪ The Liberty Arts Commission will provide the canvas and the hardware for attaching the artwork to the façade if you choose. The artist will be responsible for the remaining materials.
▪ Option A  Honorarium: Up to $150 per panel
▪ Option B Honorarium: Up to $1750
▪ Option C Honorarium: Up to $3500

Timeline: 
▪ Applications are due by February 26, 2018
▪ Artists will be notified by March 20, 2018
▪ Weather permitting, artwork(s) should be completed by April 27, 2018

Residency: The Fine Arts Work Center has a rockin' little program for artists in any medium (Provincetown, Ma)

Emerging Artist Fellowship: The FINE ARTS WORK CENTER in Provincetown

 

The Deadline for the 2018-19 Visual Art Fellowship is February 1, 2018.

 

The Fine Arts Work Center offers a unique residency for visual artists and writers in the crucial early stages of their careers. Located in Provincetown, Massachusetts, an area with a long history as an arts colony, the Work Center provides seven-month Fellowships to twenty Fellows (ten visual artists and ten writers) each year in the form of living, work space and a modest monthly stipend. Residencies run from October 1 through April 30. Fellows have the opportunity to pursue their work independently in a diverse and supportive community of peers. Former visual arts Fellows include Ellen Gallagher, Jack Pierson, Lisa Yuskavage, Elliott Hundley, Tala Madani, and Jacolby Satterwhite.

 

Digital applications are accepted at http://fawc.slideroom.com

For more information, please visit our website at http://web.fawc.org/visual

Job: Registrar/Preparator at Joshua Liner Gallery (NYC)

Website

http://joshualinergallery.com/

NEW YORK, NY

Sector Gallery

Position Level Experienced (Non-Manager)

Education 4-Year Degree

Position Type Full Time Permanent

Description

Joshua Liner Gallery seeks a full-time Registrar / Preparator. The ideal candidate should have significant experience in a gallery or museum environment, with a strong interest in Contemporary Art. Primary duties and responsibilities revolve around all aspects of the Gallery’s inventory: both their physical installation, maintenance, shipping and storage, as well as digital side of organization.   Responsibilities include, but are not limited to: coordinating and managing all incoming and outgoing shipments, loans and consignments for external galleries and institutions, and condition reports for incoming works. Ongoing, the applicant is expected to maintain accurate inventory records for all artworks; measuring and entering new details in the database as they come, insuring that all details are up-to-date and inline with physical inventory onsite and at storage at all times. You will be responsible for all inventory lists as needed: price lists, checklists, and artwork labels for Gallery exhibitions and art fairs.   Physically, the applicant will be responsible for the installation of monthly exhibitions, and responsible for handling a team of outside installers, when necessary. Candidate must have a knowledge of materials to be able to build appropriate and safe packages for shipping, as well as for installing artwork. Understanding of various techniques and materials are crucial, in order to problem solve and for creative thinking when needed. Experience and skill in art handling is therefore essential. Minor photography (with provided equipment) is sometimes required, when needed. The candidate should possess a natural ability to work closely with others, to communicate as a small team. This includes a necessary professional demeanor for all client correspondence: both digitally, on the telephone, and in person. The ability to work well with artists and collectors to organize shipping and installation details is central to this position. Due to this detailed aspect of this position, our ideal candidate will be highly organized and thorough. A knowledge of Artbase is preferred, as well as familiarity with Adobe design programs.   This is a full time position and includes benefits, 10:00AM – 6:00PM, Tuesday – Saturday. Additional days and hours as needed for installing and de-installing exhibitions, local art fairs, etc. Salary commensurate with experience, benefits included.  

Application Instructions / Public Contact Information

Please send a cover letter and resume to joshualinergallery.jobs@gmail.com outlining your relevant experience with the subject “Registrar / Preparator.” Due to high volume of applications, only candidates with relevant qualifications will be contacted for an interview. No phone calls or walk-ins please.

Residency: Ox-Bow School of Art and Artists' Residency (Saugatuck, MI)

Ox-Bow MFA and Arts Faculty Residency Program

 

Ox-Bow, School of Art and Artists' Residency, located in Saugatuck, MI, offers courses, workshops, and artist residencies for students and artists at all stages in their career. In the summer MFA candidates and recent graduates and Arts Faculty residents can take advantage of the Ox-Bow community, which includes faculty, visiting artists and students.

The MFA and Faculty residencies provide:

·       Private Studio (raw studio space, classroom studios not available)

·       Private room

·       Meals

·       Access to visiting artists and faculty for studio visits

·       Evening artist lectures

·       Opportunities to share work: slide presentations and/or readings and open studios

We are happy to announce Ox-Bow has furthered its commitment to the needs of artists by no longer charging fees for the residency program (including application, room & board, and residency fees). All accepted residents will be fully funded. Artists may apply for additional stipends to help pay for the cost of travel, supplies, and time away from work.

To find out more about the program visit our website.  Interested in spending an extended time at Ox-Bow? Check out the LeRoy Neiman Foundation Fellowship program or consider applying for the fall residency program.

Residency applications are accepted online and there is no fee. If you have questions about our programs or application contact us at ox-bow@saic.edu

 

Deadline or Post Expiration: Thursday, February 1, 2018

Contact Name: Annie Fisher

Contact Email: ox-bow@saic.edu

Contact Phone Number: 1-800-318-3019

Ox-Bow, School of Art and Artists' Residency

Request for Qualification: City of Albuquerque's BioPark Botanic Garden needs artwork (Albuquerque, NM)

Entry Deadline: 12/30/17

REQUIREMENTS:

Media
Images - Minimum: 3, Maximum: 8 
Total Media - Minimum: 3, Maximum: 8 
 

LOCATION/CONTEXT: The High Desert Rose Garden site provides an ideal location to include public art.  The Main focal point for the artwork will be the entrance to the High Desert Rose Garden.  This entrance space will provide the potential for an exterior mobile/hanging or recessed type (stained glass) artwork that considers the use of New Mexico’s natural light and how the work will transform the surrounding area via the interaction of light and shadows.  The work will need to be structurally sound to withstand short intense wind bursts.  Ultimately, the artwork should add to the experience that the visitors enjoy when visiting the High Desert Rose Garden. 

PROJECT INTENT/THEME: The intent of the High Desert Rose Garden is to demonstrate that roses have a place in the southwest xeric landscape. The way the work relates to this intent, the site, and the surrounding landscape, will weigh significantly in the selection process. New Mexico is known for its open skies and natural light.  Artists are encouraged to incorporate this element into the work using tradition and nontraditional ways of manipulating and incorporating the natural light. 

MEDIA/STYLE/SIZE: The Art Selection Committee will consider a variety of media and styles that incorporate but not limited to: glass, stone, metal, wood or other media that integrates well with the existing architecture and the natural southwest environment of the High Desert Rose Garden. The artwork must be suitable for long-term outdoor display. Durability and minimal routine maintenance will be desirable aspects of a successful proposal. The project will support an artwork that will utilize and/or incorporate durable natural materials that will enhance the High Desert Rose Garden.

BUDGET: A maximum of $50,000.00 is available to the selected artist to design, fabricate, transport and install the work(s) at the BioPark Botanic Garden’s rose garden. (1% for Art Funds: BioPark)

 PROCESS: This is a National, open competition, Request for Qualifications (RFQ) for all artists and/or artist teams.  The Art Selection Committee will offer a stipend for preliminary design concepts from a set of finalists not to exceed 5 (five); or at the discretion of the Art Selection Committee, the committee reserves the right to select a single artist and/or artist team from the original submissions from the RFQ.  Stipend funds of $500 per selected finalist are available.

 Deadline for Submission:  December 30,2017

 Eligibility: This competition is a National Call for Artists, open to artists and designers who reside in the United States.

 APPLICATION PROCESS:  Artist will need to apply to this call using Café (Call for Entry) www.callforentry.org

 (Late and/or incomplete submissions will not be considered.)

 Submission Materials – Artists must submit the following items for the project:

 1.       A letter of intent, not to exceed 1000 words, discussing your approach to the site, its context, and potential opportunities you may explore in executing your artwork.

2.       Up to 8 (eight) digital images of past work that would be suitable as indicators of your experience and aesthetic choices.  If you have completed successful public artworks, they would be helpful (though not necessary) for the committee to review.

3.       An annotated image key, clearly labeled with your name and a numerical listing for each image, the title of the work, the media, the dimensions and year of completion.

4.       A current resume not to exceed 3 (three) pages should include statements regarding your artwork/art education or CV. If you are submitting as part of a team, please include separate resumes and statements for each individual.

 All submitted materials should be submitted electronically.  All text documents should be in PDF format and all submitted images as jpegs no larger than 300 dpi. 

 QUESTIONS/FOLLOW UP:  Questions about the project, and requests for tours of the garden, may be directed to Matthew Carter, Public Art Project Planner with the Albuquerque Public Art Program, (505)768-3804, or email: mcarter@cabq.gov

Residency: Camera Obscura Lab on the beach at Santa Monica has space for TWO new artists (Santa Monica)

Call for Artists and Artisans - Studio Residencies at the Camera Obscura Art Lab

Application Deadline: Wednesday, January 10, 2018, rec'd by 12:00pm PST

Santa Monica Cultural Affairs seeks applications from artists and artisans living in Los Angeles County for a fourteen-week studio residency at the Camera Obscura Art Lab in Palisades Park, Santa Monica. Residency terms are: April 25 - August 1, 2018 or August 8 - November 14, 2018, and up to two applicants will be chosen to fill each term. The Studio Residency Program offers artists a shared glass-walled studio with a spectacular ocean view in an iconic midcentury park building overlooking the Santa Monica Pier, four blocks from the terminus of the Expo line. The City seeks artists whose work offers opportunity for inspiring the public through example and instruction. All disciplines and mediums will be considered.

An honorarium of $2,000 and use of the facility for a final exhibit/presentation is offered to each successful applicant.
For more information visit https://www.smgov.net/Portals/Culture/Public_Art_Program/Artist_Opportunities.aspx

Call for Artists: Expressions of Clinician Well-Being and Burnout (Washington D.C.)

Expressions of Clinician Well-Being and Burnout
For International artists
 

The National Academy of Medicine is calling on artists of all kinds to explore what clinician burnout, clinician well-being, and clinician resilience looks, feels and sounds like to people across the country.  nam.edu/ExpressClinicianWellBeing

Clinician burnout can have serious, wide-ranging consequences, from reduced job performance and high turnover rates to—in the most extreme cases—medical error and clinician suicide. On the other hand, clinician well-being supports improved patient-clinician relationships, a high-functioning care team, and an engaged and effective workforce. In other words, when we invest in the well-being of clinicians—doctors, nurses, pharmacists, dentists, medical trainees, and more—everyone wins.

Supporting clinician well-being requires sustained attention and action at organizational, state, and national levels, as well as investment in research and information-sharing to advance evidence-based solutions. More broadly, sustained change requires diverse, collective action and the experiences and voices of many.

Use any art form to show us what clinician burnout, clinician resilience and/or well-being means to you. Whether it’s a depiction of how you de-stress from a busy day, how you feel when taking care of patients, or a picture of your favorite clinician, show us—what does clinician well-being look, feel, and sound like to you? Everyone has a stake in this issue—what’s yours?

The well-being of our clinicians impacts everyone. This art show will promote greater awareness and understanding of barriers to clinician well-being—and solutions that promise a brighter future. 

Your art could be featured in a permanent online gallery and/or an in-person show hosted by the National Academy of Medicine in May 2018.

View submission requirements and submit your piece at nam.edu/ExpressClinicianWellBeing



Deadline: 02-16-2018
National Academy of Medicine
Washington, DC

Contact: Kyra Cappelucci
email: KCappelucci@nas.edu
Phone: 
Website: nam.edu/ExpressClinicianWellBeing

Grants: National Endowment for the Arts has funds for "Arts Works" (USA)

Arts Works - First Deadline
National Endowment for the Arts

Art Works is the National Endowment for the Arts' principal grants program. Through project-based funding, we support public engagement with, and access to, various forms of excellent art across the nation, the creation of art that meets the highest standards of excellence, learning in the arts at all stages of life, and the integration of the arts into the fabric of community life. Projects may be large or small, existing or new, and may take place in any part of the nation's 50 states, the District of Columbia, and U.S. territories.

We encourage applications for artistically excellent projects that:

  • Celebrate America's creativity and cultural heritage.
  • Invite a dialogue that fosters a mutual respect for the diverse beliefs and values of all persons and groups.
  • Enrich our humanity by broadening our understanding of ourselves as individuals and as a society.

*1965 Enabling Legislation for the National Foundation on the Arts and the Humanities Act of 1965

Grants generally will range from $10,000 to $100,000. No grants will be made below $10,000. Grants of $100,000 or more will be made only in rare instances, and only for projects that we determine demonstrate exceptional national or regional significance and impact. In the past few years, well over half of the agency's grants have been for amounts less than $25,000.


Contact: 
Phone: 
Email: 
Website: 
Grant link: https://www.arts.gov/grants-organizations/art-works/grant-program-description
Deadline: 02-15-2018

Grants: The Pollock-Krasner Foundation has money available for visual artists with "genuine financial needs" (Open Deadline)

The mission of the Pollock-Krasner Foundation is to aid those individuals who have worked as artists over a significant period of time. The foundation’s dual criteria for grants are recognizable artistic merit and financial need, whether professional, personal, or both.

The foundation welcomes, throughout the year, applications from visual artists (painters, sculptors, and artists who work on paper, including printmakers) with genuine financial needs. Grants are intended for a one-year period of time, with the size of the grant to be determined by the artist’s individual circumstances and professional exhibition history. Artists applying for a grant must be actively exhibiting their current work in a professional artistic venue such as a gallery or museum space.

The foundation does not accept applications from commercial artists, video artists, performance artists, filmmakers, crafts-makers, computer artists, or any artist whose work primarily falls into these categories. In addition, it does not make grants to students or to fund academic study or pay for past debts, legal fees, the purchase of real estate, moves to other cities, personal travel, or the costs of installations, commissions, or projects ordered by others.

For complete application guidelines and a list of previously supported artists, see the PKF website.

Link to Complete RFP
Grant link: http://www.pkf.org/grant.html
Deadline: 12-31-2017

Job: The Art Station of Illinois State University needs a FT Curator of Education (Normal, IL)

The Art Station of Illinois State University

Curator of Education

Illinois State University seeks a Curator of Education for a new initiative, The Art Station, which will provide Illinois State University students and faculty with opportunities to pursue learning and scholarship in the visual arts. In particular, this innovative program will provide individualized attention to students by fostering strong student-faculty connections to conduct research and provide professional practice opportunities. Simultaneously, The Art Station will provide educational and self-expressive visual arts experiences to children, youth, and families in the community, taught and guided by art educators and professional artists, with deliberate efforts to reach at-risk and otherwise underserved populations in order to support Illinois State University's values of diversity and civic engagement. The Art Station is committed to fostering creative practice, impactful education, and transformative experiences in the visual arts. 

Under general direction of the Director, the Curator of Education uses specialized knowledge in art education along with skills obtained through experience, specialized training or certification to educate the public about the visual arts. The Curator of Education is responsible for leadership, strategy, and management of the Art Station's education department and its service functions as they relate to seminars, workshops, public programming, and other outreach activities. Curator of Education is responsible with creating and implementing school programs and partnerships, interpretive projects, and content delivery. Work will heavily include teacher and faculty collaborations.  

Appointment renewal for the following year will be based upon available funding and performance.  

Requirements

Required Qualifications:

1. Master's degree in art history, art education, studio art, museum studies or related fields with at least three years of professional experience working in the area of museum education or art education; or Bachelor's degree and at least 10 years of experience in art management, art education, museum education, or related fields. 
2. Experience with curriculum development and lesson planning. 
3. Knowledge of curriculum theory and design, teacher education, and interpretive strategies. 
4. Experience with supervision. 
5. Experience in overseeing daily operations of art education program such as organizing and ordering supplies, scheduling programs and special events, and scheduling staff. 
6. Experience in interacting with diverse populations: children, parents, college students, faculty, staff, peers. 
7. Excellent writing, speaking, organizational, project management, and interpersonal skills
8. Computer literacy, particularly in word processing, desktop publishing, spreadsheet programs. 
9. Must have a valid driver's license and be willing to travel. 
10. Must be available to work evening and weekend as needed. 
11. If this position is Security Sensitive or if you are subject to a criminal background investigation based on University policy, employment is contingent upon you passing a satisfactory criminal background investigation. You may not begin work until the criminal background investigation results have been received and cleared by Human Resources.   

Desired Qualifications:

1. Experience in studio, classroom teaching, or working with public preferred. 
2. Experience with new media and technological innovations strongly desired. 
3. Experience in non-profit organizations, museums, or higher education preferred. 
4. Experience training and working with volunteers preferred. 
5. Wide knowledge and enthusiasm of the visual arts.  

Application Process:

To assure full consideration, an application along with a resume/curriculum vita, reference list (specifically, the names, addresses, telephone numbers and e-mail addresses of at least three professional references), and cover letter must be submitted online at http://www.IllinoisState.edu/jobs no later than January 5, 2018.   Copy and paste this direct link that will take you directly to the posting.

www.jobs.ilstu.edu/applicants/Central?quickFind=73751

Illinois State University:

Founded in 1857, Illinois State is a coeducational, residential university that emphasizes undergraduate study. Its 34 academic departments in 6 colleges offer 72 undergraduate programs in more than 160 fields of study.  The Graduate School coordinates 42 masters, 2 specialist, and 10 doctoral programs. Illinois State ranks 79th among the top 100 public universities in the nation according to U.S. News & World Report rankings of “Best National Universities” released in fall 2015 and has been named a “Great College to Work For” by The Chronicle of Higher Education.

Bloomington-Normal Community:

Illinois State University is located in the twin-city community of Bloomington-Normal, with a population of approximately 125,000 and is located within easy driving distance of the financial and business centers in Chicago and St. Louis. Expansion Management Magazine rated Bloomington-Normal as one of two metro areas with a five-star quality of life, giving the community high rankings in such areas as standard of living, quality of schools, and traffic and commute. In 2016, Huffington Post named Bloomington one of the “11 Amazing Cities You’ve Never Thought To Live In, But Should.”  Bloomington was also recently placed on Livability.com’s list of 100 Best Places to Live.

 For more information, please visit our website at: http://www.ilstu.edu/

 Illinois State University is an Equal Opportunity/Affirmative Action Employer.

Call for Papers: Practices, Circulation and Legacies: Photographic Histories in Central and Eastern Europe The City Museum of Ljubljana, Museum and Galleries of Ljubljana, (Ljubljana, Slovenia)

CFP: Photographic Histories in Central and Eastern Europe (Ljubljana, 8-10 May 18)

Ljubljana, May 8 - 10, 2018
Deadline: Dec 31, 2017
photographycee.wordpress.com

CALL FOR PAPERS

Practices, Circulation and Legacies: Photographic Histories in Central and Eastern Europe

The City Museum of Ljubljana, Museum and Galleries of Ljubljana, Gosposka 15, Ljubljana, Slovenia

Since its very beginnings, professional as well as non-professional photographers have used photography in Central and Eastern Europe to record all aspects of life. Photography has thus participated in spreading and shaping knowledge about the region, its people, and the rest of the world. In spite of the central role photography has played in the diverse socio-cultural environments of Central and Eastern Europe, research on its history in this part of the continent is still little appreciated and remains understudied.

The 2018 conference in Ljubljana will be the third in a series of international conferences initiated in Warsaw in 2016 with the aim of developing and promoting interdisciplinary studies about photography and its histories in the region.

In 2018, we seek to enhance understandings of the mechanisms and realities that have influenced the development of local photographic practices and their relationship with uses of photography elsewhere. We also aspire to expand knowledge about social and cultural customs that facilitated the circulation and legacies of photographs throughout the medium’s history in the region. Paper proposals may therefore address a range of interrelated topics, including but not limited to:

- The history and state of photographic collections/archives, the opportunities they present and the challenges they face
- The history and state of local research practices and academic discourses on photography (research topics, theory and methodology)
- The circulation of photographs and photographic images in public and private spheres and their impact on collective imaginations in Central and Eastern Europe (e.g. the uses of photography in art, media, politics…)

We invite proposals for 20-minute presentations from scholars working in areas such as: photography, art history and theory, visual sociology, anthropology, museology, philosophy, ethnography, cultural studies, visual and media studies, communications, and fine and graphic arts.

To propose a paper, please send your abstract (no less than 250 and no more than 300 words including the title) by the 31st December 2017 to photographycee@liberproarte.eu

In addition, please include a short biographical note of no more than 150 words with full affiliation, the title of your presentation and contact details as a separate document.

The presentation will be given in English

Notification of acceptance: 1 February 2018

Contact: photographycee@liberproarte.eu

Organisation:
Marija Skočir (Museum and Galleries of Ljubljana, Ljubljana)
Eva Pluhařová-Grigienė (Humboldt University of Berlin, Berlin)
Marta Ziętkiewicz (Liber pro Arte, Warsaw)
Petra Trnková (Institute of Art History, The Czech Academy of Sciences, Prague)
Ewa Manikowska (Institute of Art, Polish Academy of Sciences, Warsaw)
Gil Pasternak (Photographic History Research Centre at De Montfort University, Leicester)

Reference:
CFP: Photographic Histories in Central and Eastern Europe (Ljubljana, 8-10 May 18). In: ArtHist.net, Oct 27, 2017 (accessed Oct 29, 2017), <https://arthist.net/archive/16584>.

Jobs: Stanford University needs a FT Museum Preparator (Stanford, CA)

Museum Preparator III
Stanford University

Stanford, CA
 

Stanford University

Museum Preparator III

Job Number: 75177

Museum Preparator III

100% FTE

2 year fixed term

OVERVIEW:

The Cantor Arts Center is a vital and dynamic institution with a venerable history. Founded in 1891 with the university, the historic museum was expanded and renamed in 1999 for lead donors Iris and B. Gerald Cantor. The Cantor's encyclopedic collection spans 5,000 years, includes over 40,000 works of art and beckons visitors to travel around the world and through time: from Africa to the Americas to Asia, from classical to contemporary. With 24 galleries presenting selections from the collection and more than 20 special exhibitions each year, the Cantor serves Stanford's academic community, draws art lovers from the San Francisco Bay Area and beyond, and attracts campus visitors from around the world. Free admission, free tours, lectures, family activities, plus changing exhibitions make the Cantor one of the most well-attended university art museums in the country and an invaluable resource for teaching and research on campus. 

JOB PURPOSE:

The Museum Preparator III is a senior, expert-level position, working under minimal direction of the Exhibitions Registrar/Head of Preparation who makes the general work assignments. Employees in this classification perform a larger variety of duties than those expected of the Preparator II level.

This position is covered by a collective bargaining unit.

The duties listed under the Core Duties section are designed to provide a representative sampling of key tasks and/or responsibilities associated with the job. They are not intended to be a complete list of all the duties performed by employees in the classification.

CORE DUTIES:

The Preparator III responsibilities include, but are not limited to, the following:

  • Serves as Lead Preparator and installation coordinator on the largest and most complex exhibitions and gallery reinstallations including active participation in the design, coordination, and implementation of exhibitions using a high level of organization, communication and time management skills.
  • Designs and fabricates custom mounts and exhibition furniture
  • Works in galleries as part of the installation team for exhibitions and rotations including installation of digital media and multimedia and electronics (film, computer, audio video).
  • Performs gallery lighting design, with knowledge of LED lighting, re-lamping and exposure settings specific to object requirements.
  • Assists with producing and installing didactic materials, including wall labels, graphic panels, and cut vinyl signage.
  • Designs and fabricates custom storage housing for long-term storage at CAC.
  • Packs and transports art objects to and from lenders and donors.
  • Assists with receiving exhibition shipments and with the unpacking and repacking.
  • Helps maintain tools, equipment, shop spaces and art storage
  • May assist with framing and unframing works of art
  • Transmits instructions and specifications received from supervisor to workers; advise supervisor of work progress.
  • Explains tasks to workers; Inspects work for conformance with specifications. Guide and assist other Preparators as needed.
  • May solicit quotes, review estimates and select vendors.
  • Ensure that safety rules are followed. 

MINIMUM REQUIREMENTS

Education and Experience:

B.A. degree preferred with a minimum of seven years of progressively responsible experience in a museum setting with a permanent collection.

Knowledge, Skills and Abilities:

  • Demonstrated proficiency of handling valuable works of art in a wide variety of media including but not limited to paintings, bronze, ceramic, glass, metals, mixed media, textiles, works on paper, contemporary art and new media.
  • Demonstrated proficiency in installation of exhibitions and layout and lighting design. Ability to move or assist in moving heavy objects and ability to operate genie lifts, forklifts, pallet jacks, etc.
  • Demonstrated experience with installation coordination of large, complex exhibitions and gallery reinstallations.
  • Demonstrated proficiency of practices and methods in mountmaking including earthquake mitigation and demonstrated ability to apply this knowledge with initiative and judgment, concern for detail, accuracy, and neat execution of work.
  • Demonstrated skills and knowledge of shop equipment and ability to effectively perform various skilled and semi-skilled tasks, including woodworking, brazing, use of adhesives and fasteners, construction methods, and use of stationary and portable power tools. Experience framing, sheetrocking, taping and painting walls.
  • Demonstrated knowledge of safe and archival storage materials and techniques for loaned and museum collection objects.
  • Demonstrated ability to install and troubleshoot a variety of digital media equipment (film, computer, audio, video).
  • Demonstrated ability to produce and install wall labels, graphic panels, and cut vinyl signage.
  • Demonstrated experience with gallery lighting, lighting design and ability to determine light exposure settings specific to the needs of an exhibition or to a given object.
  • Ability to work cooperatively with supervisor, designer, museum staff, students, volunteers 

Minimum Qualifications:

  • Effective oral and written communication
  • Ability to accurately perform measurements and hang art to specifications.
  • Demonstrated ability in the design and fabrication of custom storage housing and knowledge of archival-quality materials.
  • Demonstrated knowledge of safe and proper handling methods.
  • Demonstrated experience with shop equipment and ability to perform various skilled tasks including wood, metal and plastic working, brazing, use of adhesives and fasteners, construction methods, and use of stationary and portable power tools.
  • Demonstrated high level of design and implementation of a variety of mount and display solutions. Knowledge of practices and methods in mount making including earthquake mitigation and various materials safe for use with art objects such as wood, paper, fabrics, plastics, metals, mechanical, paints and adhesives.
  • Ability to work cooperatively with supervisor, designer, faculty, staff, students, volunteers, and general public.
  • Demonstrated problem solving ability.
  • Demonstrated ability to effectively work independently.
  • High level of organization, communication and time management skills.
  • Demonstrated ability to effectively coordinate large and complex installations, solving the most difficult challenges.
  • Demonstrated proficiency with design and database programs
  • Demonstrated ability to learn and apply the University's commitment to a respectful workplace including, but not limited to, Affirmative Action, diversity and a workplace free of sexual harassment as it applies to their work group.

PHYSICAL REQUIREMENTS: 

  • Must possess and maintain a valid California Class C Non-commercial Driver's License and drive night and day.
  • Constantly stand/walk, lift/carry/push/pull objects that weigh up to 10 pounds.
  • Occasionally sit, climb (ladders, scaffolds, or other), reach/work above shoulders, twist/bend/stoop/squat, light/fine grasping (files, tools), grasp forcefully, perform desk-based computer tasks, use a telephone, sort/file paperwork or parts, scrub/sweep/mop/mix, operate foot and/or hand controls, lift/carry/push/pull objects that weigh 11 to 40 pounds.
  • Rarely kneel/crawl.
  • Ability to move or assist in moving heavy objects (must be able to lift 50 lbs).
  • Ability to operate scissor lift, pump lift cart and pallet jack.

WORKING CONDITIONS:

WORK STANDARDS:

  • When conducting university business, must comply with the California Vehicle Code and Stanford University driving requirements.
  • Interpersonal Skills: Demonstrates the ability to work well with Stanford colleagues and clients and with external organizations.
  • Promote Culture of Safety: Demonstrates commitment to personal responsibility and value for safety; communicates safety concerns; uses and promotes safe behaviors based on training and lessons learned.
  • Subject to and expected to comply with all applicable University policies and procedures, including but not limited to the personnel policies and other policies found in the University's Administrative Guide, http://adminguide.stanford.edu/

Job: Museum

Location: School of Humanities and Sciences

Schedule: Full-time

Classification Level:

To be considered for this position please visit our web site and apply on line at the following link: http://apptrkr.com/1022740

Stanford is an equal opportunity employer and all qualified applicants will receive consideration without regard to race, color, religion, sex, sexual orientation, gender identity, national origin, disability, veteran status, or any other characteristic protected by law. 

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Deadline: 12-02-2017

Job: Los Angeles Philharmonic Association needs an Assistant Archivist (Los Angeles)

Assistant Archivist
Los Angeles Philharmonic Association

Los Angeles, CA
 

The Los Angeles Philharmonic Association is currently seeking an:

Assistant Archivist

Position Summary: 

The Assistant Archivist performs archival duties that require working knowledge of archival management principles to organize, describe and promote access to historical materials, specifically those to be used for the Los Angeles Philharmonic’s upcoming centennial celebrations. The Assistant Archivist reports to the Digital Archives Manager. 

Position Elements:

  • Following national standards and best practices, develop local guidelines, procedures, and workflows to ensure consistent, secure, and long-term access to archive collections. Review and revise the documents on a regular basis.

  • Identify priorities and determine appropriate approaches to processing collections and preparing them for use. Develop and document project plans and workflows to meet defined objectives.

  • Process, catalog, and prepare collections to be featured or referenced as part of the Los Angeles Philharmonic’s upcoming centennial celebrations.

  • Digitize collections for ingest into Digital Asset Management system, including gathering and entering metadata to enable extensive search capabilities.

  • Assist with archival research and projects for Centennial celebrations as needed. 

Position Requirements:

  • Masters in Library and Information Science (MLIS) degree from an American Library Association (ALA)‐accredited library school or M.A. with concentration in Archival Studies, Digital Curation, Moving Images or Records Management.

  • Demonstrated command of music history and familiarity with other performing arts.

  • At least 3 years of experience processing collections in a variety of formats; creating and updating information in an archives collection management system; applying of metadata content/structure standards relevant to the archival control of digital objects (DACS, EAD, Dublin Core, PBCore).

  • Broad knowledge of digitization standards and developments.

  • Experience directing and overseeing the work of others.

  • Ability to plan, organize, and direct multiple projects and activities; excellent analytical, and problem-solving skills.

  • Understanding of nationally accepted standards, tools and best practices for archival processing, description and administration

  • Excellent organizational and research skills with attention to detail and accuracy.

  • Advanced experience with databases, data conceptualization and overall computer proficiency. Experience with scripting and command line processing is a plus.

  • Excellent writing, verbal and interpersonal skills.

 



Website: https://wfa.kronostm.com/index.jsp?locale=en_US&APPLICATIONNAME=LosAngelesPhilharmonicAssociationReqExt

Deadline: 11-30-2017