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Every Interior designer has a list of tried and true questions to help assess the tastes and habits of their client. With the recent resurgence of fiber crafting, you might want to ask “do you knit or crochet”? If the answer is yes, you’ll know your client has a heightened love of textures, fibers and color that might make the design process a bit easier! And, when you finish that project with an Artisan Crafted, Jumbo Yarn Bowl on the coffee table in the living room or next to the easy chair in the den, you’ll have a lovely focal point and a client for life!
Heckathorn Turned Wood had so many requests for “bigger” Yarn Bowls from their Etsy followers, that Jumbo Wood Yarn Bowls have quickly become Lathe Artist Bob Heckathorn’s singular passion. These oversized, functional collectibles have a different purpose than smaller, (single ball) yarn bowls you’ll find on craft sites.
These Jumbo Yarn Bowls are HUGE –ranging from 10″ – 13″ in diameter; designed to hold several balls of yarn as well as the entire project, tools, etc. when the work is set aside. Discerning yarn fanatics love the organization these Jumbo Yarn Bowls provide, while an Artisan Crafted Art Bowl elevates their current work in progress to a whole new level.
Months in the making, Heckathorn Turned Wood’s Yarn Project Bowls are created from choice reclaimed hardwoods (Cherry, Kauri, Camphor and Pecan, etc.) as well as segmented pine for more rustic tastes. The slow drying process adds gentle warping and character to the shape of the bowl while occurring natural cracks are filled with Bob’s proprietary jewel inspired sparkling inlay. Every Jumbo Yarn Bowl is hand-sanded, buffed and finished over ten times, resulting in a silky smooth, brilliant gloss finish.
If you happen to be designing space for a yarn enthusiast Heckathorn Turned Wood is a special resource for a hand-turned accent piece, direct from the artist. Each Jumbo Yarn Bowl is unique, one-of-a-kind, signed and numbered with species by the artist. Including one of these functional collectibles in the right design project will be a special gift the owner will cherish for years to come. For more on the creative process visit Bob’s blog at HeckathornTurnedWood.com.
Find out more on the Heckathorn’s website: HeckathornTurnedWood.com
You can buy these bowls on Etsy here: HeckathornTurnedWood.Etsy.com
Follow Heckathorn Turned Wood on Instagram: Instagram.com/heckathornturnedwood
The oil paintings of Miami, Florida based artist PJ Mills present everyday objects such as a toy, spiritual items, food, and personal possessions of the artist, all realistically rendered in still life scenes. The artwork objects may be contextually placed in a still life setting or within more ambiguous spaces. At first glance this subject matter may seem to have little importance— yet these paintings make viewers take another look at these ordinary items perhaps previously taken for granted. As the artist PJ Mills says,” These paintings focus on those personal possessions that I find curiously engaging.” And we agree–there is a substantial presence in each of these images. Some of the canvases are as large as 51 x 64 inches and as small as 12 x 12 inches, with each study holding its own as an artwork.
PJ Mills is art historically connected to the practice of painters of the past in that his painterly examination may represent or symbolize the artist’s ideas or the items may have metaphorical implications. Still life painting of such common everyday objects is often referred to art historically as “rhopography.” According to The English Oxford Dictionary the art historical definition of rhopography, is a depiction of subject matter considered insignificant or trivial, as still life, the domestic interior, animals, insects and the like.
PJ Mills subjects of interest for his paintings may include the contemporary, such as Polaroid photos, as well as objects present through time such as things that maintain religious or supernatural characteristics– divining rods, masks, or spiritual fetish articles. The artist is also very aware of how a simple juxtaposition of two or more objects will express far more complex meanings. The juxtaposition of objects arranged by visual artists is similar to how many poets lay down verse. It is not the words per se that contain the power, but the unknown image that arises from what was created by the juxtaposition. Defined as the “imago ignota,” it is the combination of words which elevate them beyond the language of the obvious. “I contend that this holds true for images, as well,” says the artist.
“In the last few years,” says PJ Mills, ” I have started to isolate and focus on personal effects that relate specifically to personal consumption and identity. A woman’s compact may be an aid for the adjustment of lipstick but also holds the secrets of her self-absorption snapped shut in the tidy compartment of her purse. Risque and subjective photographs (Polaroids) may be titillating, they are also quite personal and speak of privacy as well. Jewel like insects, the tiny treasures of boyhood fascination or even the food we eat raise questions of adult obsession with consumerism. Issues of identity and consumerism all stem directly and indirectly from strange as well as obvious places in our lives. These visual investigations of isolated objects and/or juxtapositions of personal effects, represent the seemingly obvious. But also the often enigmatic, and yet always metaphorically pregnant meanings.”
“My approach to painting is highly personal and intuitive. During the creative process I try to think as little as possible about this work and let the subjects surface from my subconscious. The result is quite suggestive by its contents and symbolically loaded with historical references. This material develops from entirely personal experiences and through obsessions I have with objects and my musing regarding the human condition as it relates to identity issues. The personal subjectivity of this work is not a grand philosophical statement. It is instead more closely related to a genre sensibility characteristic of the mundane used as metaphors for larger ideas.”
Then the brilliant artist PJ Mills simply sums up his work by stating– “I depart from seventeenth century concepts and slip in contemporary wackiness.”
PJ Mills received his MFA degree in painting from Cornell University and has exhibited in numerous US art galleries. You can view more paintings on the artist’s website here.
Follow the artist PJ Mills on Instagram here.
Visit PJ Mills’ Facebook page here.
Honfleur Gallery & Vivid Solutions has a CALL FOR EXHIBITION PROPOSALS for their 2018 season in Honfleur Gallery and Vivid Solutions Gallery.
Applications are due May 1, 2017.
To Apply for Honfleur and Vivid Solutions Gallery artist should submit a portfolio via email by May 1, 2017 that includes the following:
• 5-20 JPEG images and/or videos (3 minutes or less in duration) of relevant work
o Indicate if work will be included in the exhibition, or if images are representative of new work that has yet to be produced
o Label with artist’s name and title of the work (e.g.
o Optional: Include dimensions, materials, year completed, and other pertinent information in a separate document
• Artist Statement
• Exhibition Description
• Current resume/CV
• Short bio
• Proposal for at least one related program (panel discussion, artist talk, workshop) costing one hundred dollars or less to execute
• Support information (URL of artist’s website or social media, articles, reviews, related press, past projects, etc.)
( If submitting as a curator, please include a list of artist names and Curatorial Statement)
Open Call For Artists’ Exhibition Proposals 2017
Ends on January 13, 2018
Locust Projects is currently running a rolling OPEN CALL for exhibition proposals from national and international visual artists to propose experimental site-specific projects for their 3 exhibition spaces.Read the full submission guidelines here.Find out about more international art gallery submission opportunities here.
Another great exhibition write-up on Andy Parkinson’s blog Patterns That Connect
I am delighted to have been included in the group exhibition curated by Lucy Cox and Freya Purdue, Colour: A Kind of Bliss, at St Marylebone Crypt from 5 April to 30 June 2017.
From the Catalogue Introduction, written by Lucy Cox and Freya Purdue…
“Colour is a kind of bliss … like a closing eyelid … a tiny fainting spell.”
– Roland Barthes
Colour: A Kind of Bliss brings together six British painters concerned with different approaches to the use of intense energy and luminous qualities of colour. Through varying densities of paint and chroma, saturation and de-saturation, their paintings realise direct emotive forms resulting in both subtly and vibrancy. Painting for these artists working in the field of abstraction/non-figuration is a synthesis of ideas, drawing and colour.
In the vast expanding digital world, we have become entranced by momentary…
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Arquetopia’s acclaimed flagship residency for artists, curators, art historians, and students. The residency program administrators asked us to share their summer 2017 residency program:
Dear Marie Kazalia and Friends at Artist Marketing Resources:
A warm hello from all of us at Arquetopia Foundation and International Artist Residency in southern Mexico, and thank you for posting our past residency open calls for artists. We hope you are having a great spring so far.
I am writing to ask if you would please include our current open call for ArquetopiaSUMMER 2017, our Special International Summer Program, on your site as the deadline is Sunday, April 2, 2017.
Thank you for your time, interest, and for including our calls. We appreciate your help in getting the word out!
Co-Founder, Co-Executive Director and Director of Music Programs
Arquetopia, Foundation for Development
Avenida 15 Poniente 715, Centro Histórico
Puebla, PUE 72000 MEXICO
Tel. (+52) 222 594 77 28
OUR ARTIST-IN-RESIDENCE PROGRAMS
Our Artist-in-Residence Programs offer competitive professional opportunities for emerging and mid-career, national and international artists, designers, curators, art historians, art educators, journalists, writers, and cultural researchers age 25 and over. Our programs are based on a non-exploitative model promoting social consciousness. Residents are strongly encouraged to explore various ways of cultural exchange as part of their artistic and/or research goals and to actively engage in critical discussions as part of their residency experience. Understanding Mexico’s context, and specifically Puebla and Oaxaca’s cultural complexity, is key for a successful cultural exchange. We welcome applicants from diverse backgrounds and disciplines who are interested in creating work or inspired by art, elements, techniques or processes specific to Mexico and/or unique to Puebla or Oaxaca.
Arquetopia is distinguished worldwide for its array of unique residency programs with substantial content. In contrast to various property rental schemes, tourist resorts, B&B’s, and sublets elsewhere, our residency spaces function exclusively for productive art professionals, writers, and researchers and include structured, informative programs; a network of collaborative workspaces, institutions, and studios; and individualized project support.
HOW TO APPLY
Visit the Arquetopia website at www.arquetopia.org
Complete and submit the Arquetopia Artist-in-Residence Online Application Form, following the instructions on the web page. Following selection, applicants are notified immediately via e-mail.
ArquetopiaSUMMER 2017 SPECIAL 3-IN-1 INTERNATIONAL SUMMER ACADEMIC PROGRAM Includes Novohispanic Graphic Arts Technique Instruction And Self-Directed Art Production
Program Session Dates: June 5 to July 17, 2017 (6 weeks)
Deadline: Apply Now through Sunday, April 2, 2017
Spaces are limited. Our committee processes all residency applications when they are received vs. after the deadline has passed.
Fee Reduction of USD -$350 for optional full payment within 1 week of selection.
Full Program Itinerary and Schedule of Events Below
Arquetopia’s flagship residency program: ArquetopiaSUMMER 2017 will focus on the relationship between individual art practices and the visual history of violence. How is the discourse of violence institutionalized? How is violence affecting art production systems and influencing art markets? How has violence become an important part of the visual history of Mexico? How is the normalization of violence through aesthetic principles critical to understand intention and representation?
ArquetopiaSUMMER 2017 Special International Summer Academic Program (with Novohispanic Graphic Arts and Mural Art technique instruction, and self-directed Art Production) is a prestigious 6-week critical program that offers competitive professional opportunities for local and international emerging and mid-career artists, curators, art historians, and students age 23 and over.
This unique program offers critical methodologies to diverse art practices, exploring how violence is constructed through the language of aesthetics. The goal is to provide tools to understand visualities and gestures in art, while identifying institutional trivialization of intention, and representation in visual expression. Through the program, participants will conceptualize their art by engaging their practice in critical discussions. One of the central goals is to contextualize historical and contemporary articulations regarding the language of visual violence. The seminars and tours included in the program will explore the role of aesthetics in the construction of Mexico’s visual history and its categorization in the context of global visual culture. The program will also put into context the role of cultural institutions, such as museums and galleries, in the production of meaning through objects, social relations, and art consumption. Through hands-on workshops in collaboration with the Museum of Art of the Former Convent of Santa Monica, participants will have the opportunity to expand their art practice by exploring the artistic connections between the baroque graphic arts and the Novohispanic mural painting tradition.
ArquetopiaSUMMER 2017 PROGRAM INCLUSIONS
This program includes 27 seminar hours; 9 hours of individual and collective critiques; guided tours and visits to prominent museums in Puebla, independent galleries, and relevant sites. The program also includes a 27-hour hands-on art workshop instructed by a master conservator, exploring the artistic dimensions of the baroque printmaking tradition and Novohispanic mural art techniques. Activities are designed to promote intense creative work and artistic dialogue; therefore, artists are expected to allocate self-directed studio hours as part of their weekly schedule.
Renowned international art historians, artists, and master restorers facilitate the dialogues, individual and collective critiques, seminars, and workshops. Seminars are conducted in English. Workshop instruction is in Spanish or English. Participants produce work in our partnered studio at one of Mexico’s most important art museums, in Puebla’s majestic central historic district.
ArquetopiaSUMMER 2017 FIVE SPECIAL GUEST SCHOLARS AND INSTRUCTORS
|Kirsten Pai Buick, Ph.D. specializes in American art, focusing her research on African-American art, the impact of race and gender on the history of art, representations of the American landscape, and the history of women as patrons and collectors of the arts. She has advanced scholarship of the work of numerous African-American artists through publications including the first book-length examination of the life and career of 19th-century sculptor Mary Edmonia Lewis. Buick is a tenured, full professor at the University of New Mexico, where she has taught for more than 15 years. She earned her bachelor’s degree in art history and Italian literature in 1985 from the University of Chicago. She earned her master’s and doctorate degrees in art history from the University of Michigan. Buick has published extensively on African-American art. Her book Child of the Fire: Mary Edmonia Lewis and the Problem of Art History’s Black and Indian Subject was published by Duke University Press, and her second book, In Authenticity: ‘Kara Walker’ and the Eidetics of Racism, is currently in progress. Her published articles include studies on the work of artists including Daniel Coburn, Patrick Nagatani, Joseph Delaney, Aaron Douglas, Horace Pippin, and Kehinde Wiley. Buick has earned numerous academic, professional, and scholarly awards and grants including the Driskell Prize, Smithsonian American Art Museum’s Predoctoral Fellowship, the Charles Gaius Bolin Fellowship at Williams College, CAA Professional Development Fellowship in Art History, Rhoades Foundation Visiting Lectureship, and the UNM University Libraries Faculty Acknowledgement Award.|
|Siamak Delzendeh was born and raised in Tehran. He initiated his artistic career by experimenting with writing and publishing short stories. Later, he moved to Montreal and studied Photography and Art History at Concordia University. He participated in some group and solo exhibitions in Montreal, Toronto and Tehran. After returning home in 2009, Delzendeh published several articles and critiques on visual arts in Tehran. He also exhibited photo installations and other works at Siin, Y(Igreg) and Golestan art galleries. From 2012 to 2014, he was involved in making a documentary series on visual arts. He participated in several research programs in Iran and composed visual art entries for the Subcontinent Encyclopedia and also the Encyclopedia Islamica. In 2015, Delzendeh participated in a critical writers’ exchange residency program between the Irish Museum of Modern Art in Dublin and the Kooshk Residency in Tehran. He also participated as a panelist in the Eleventh International Conference of Iranian Studies in Vienna in 2016. His most recent book, Pictorial Shifts of the Iranian Visual Art, a Critical Survey (from the Qajar period to the end of Pahlavi era), was published in September 2016 by the Nazar Art Publication in Tehran.|
|Annette Rodríguez, Ph.D. received her doctorate in American Studies at Brown University in 2016. In 2015, Rodríguez was presented the 18th annual Catherine Prelinger Award by the Coordinating Council for Women in History for her scholarly and professional contributions to women in history, and for educating young women to pursue careers in the historical profession. In July of 2016, Rodríguez was selected as a winner of the Dixon First Amendment Award for her efforts on behalf of students, faculty and staff in New Mexico higher education. She has previously been selected as a National Graduate Fellow by the Law and Society Association, a Latino Museum Studies Program Fellow at the Smithsonian Institute, the George I. Sanchez Fellow at the Center for Southwest Research, and a Graduate Fellow at the Office of the New Mexico State Historian. Rodríguez has acted as an instructor at Brown University, the University of New Mexico, Northern New Mexico College, and Santa Fe Community College. She concentrates her work on perennial racist violences in the United States as communicating events that construct and reinforce ideologies and hierarchies of race, gender, citizenship, and national belonging.|
|Emmanuel Ortega is a curator and a doctoral candidate in Ibero-American colonial art history at the University of New Mexico. He is an adjunct instructor in the Department of Art and Art History at the University of Nevada Las Vegas. Since 2007, he has investigated images of violence in the Novohispanic context. For his master thesis, Ortega investigated images involving public performances organized by the Novohispanic Inquisition. For his Ph.D. dissertation, Ortega researches visual representations of the New Mexico Pueblo peoples in Novohispanic Franciscan martyr paintings. He has contributed several entries for the Khan Academy website and the Arizona Center for Medieval and Renaissance Studies online bulletin. He has presented his work in the XXXVI Annual Colloquium of Art History organized by the Universidad Autonoma de Mexico, 2012, the College of Art Association and American Studies Association in 2015. Also, in 2015, Ortega partnered with the Museo de Arte Religioso Ex-Convento de Santa Mónica in Puebla, México to curate two art exhibitions based on recently restored paintings from the museum’s permanent collection.|
|Francisco Guevara is a visual artist and curator specializing in creating projects using contemporary art to promote Development by designing alternative models of social entrepreneurship for human development. He graduated with the degree of University Expert in Management and Planning of Development Cooperation Projects in the Fields of Education, Science and Culture from the Universidad Nacional de Estudios a Distancia (UNED) in Madrid, Spain, in coordination with the Organization of Latin American States for Education, Science and Culture (OEI). He also received his postgraduate degree in Cultural Management and Communication from the Latin American Faculty of Social Sciences (FLACSO) in Buenos Aires, Argentina. He joined the Race, Gender and the Historiographies of Art Seminar at the University of New Mexico in 2009 to incorporate into his curatorial projects a broader understanding of identity in the local and international context. His work and projects emphasize the role of contemporary art practices as a tool for social change. His experience covers international projects including: intangible heritage, public art, exhibits and visual arts education. As an artist he has researched, studied and worked exploring the connection between food, rituals of eating and collective identity. He is Co-Founder and Co-Executive Director of Arquetopia Foundation for Development.|
ArquetopiaSUMMER 2017 PROGRAM ITINERARY AND SCHEDULE OF EVENTS
Week 1: The first week of the program will serve as an introduction to Arquetopia’s methodologies. We will welcome Sofia Carrillo, curator of Mexico City’s Ex Teresa Arte Actual Museum for a portfolio review of all participants. This week will include self-directed art production hours and an introduction to historical and artistic connections between Novohispanic graphic arts and mural painting traditions. In addition, individual art critique sessions will help participants establish overall goals. The first tour of Mapping the City will focus on ritualized violence.
- Portfolio review with curator Sofia Carrillo
- Self-directed art production time (12 hours, approx.)
- Introduction to Novohispanic Graphic Arts and mural painting traditions (9 hours)
- Individual art critique
- Mapping the City: Ritualized Violence
Week 2: The second week will focus on the diversity of art practices, collective critique, and in the assessment of conceptual needs for each individual project. We will welcome Iranian curator and scholar Siamak Delzendeh, who will teach the first seminar exploring the relationship between violence, Modernism, and the construction of national identities to contextualize contemporary art practices. Furthermore, we will be sourcing out materials for production. For this reason, the time allocated for self-directed art production will be increased during this week, allowing participants an exploration of their themes and projects independently. Art instruction is included in the second week, which will place a particular emphasis on Novohispanic Graphic Arts techniques. Lastly, the second Mapping the City tour will focus on violence through visual culture.
- Seminar with Siamak Delzendeh (9 hours)
- Self-directed art production time (12 hours, approx.)
- Novohispanic Graphic Arts Techniques Workshop (9 hours)
- Collective art critique
- Mapping the City: Violence through Visual Culture
Week 3: During the third week, we will introduce participants to the complex mural tradition reflecting an amalgam of art techniques that produced a very rich visual culture. Studio hours will increase, allowing artists to explore their themes and projects independently. Art instruction will focus on Novohispanic mural painting techniques, and individual critiques will allow participants to assess their progress. Mapping the City will focus on exploring the Mesoamerican and Novohispanic mural tradition, including Cholula and Casa del Dean. Artists will have the option to share their process in a roundtable as part of Arquetopia’s cultural community outreach programs in collaboration with Benemérita Universidad Autónoma de Puebla.
- Self-directed art production (18 hours, approx.)
- Novohispanic Mural Painting Techniques Workshop (9 hours)
- Individual critique
- Mapping the City: Exploring the Mural Tradition
- Community outreach roundtable at BUAP
Week 4: The fourth week will focus on contemporary art case studies as examples of discourse on violence and its normalization in art. We will welcome Dr. Annette Rodríguez, who will teach the second seminar exploring how violence constructs and reinforces ideologies and heirarchies of race, gender, citizenship, and national belonging. Studio hours will continue, while collective critique will serve as feedback for the individual art practices. Mapping the City will focus on Mexico and Puebla’s contemporary art scene, including studio visits and an artist talk.
- Seminar with Dr. Annette Rodríguez (9 hours)
- Self-directed art production (18 hours, approx.)
- Collective critique
- Mapping the City: Contemporary Violence
Week 5: For the fifth week, we will welcome art historian Emmanuel Ortega, who will teach a seminar on violence and the stratification of artistic practices. With the main purpose of challenging hierarchies that negatively impact the production of art and art history to this day, the seminar will also focus on the construction of national identity. This seminar also includes guided visits to relevant sites in order to further contextualize colonial art practices. Participants will continue to produce in the studio and have individual critiques. The activities and tours will include baroque architecture and other relevant sites.
- Seminar with Emmanuel Ortega
- Self-directed art production (18 hours, approx.)
- Individual critique
- Mapping the City: Violence and National Identity
Week 6: For the sixth and final week, we will welcome art historian Dr. Kirsten Buick, who will teach a master class on the aesthetics of violence and the writing of art history. Through a series of case studies, participants will explore how artists, art historians, critics, and the public construct meaning through objects and how we frame, at various times race, gender, sexuality, and class through visual expression. For the final critique, participants will present the results of their residency and collectively review the diverse processes. A farewell dinner for all ArquetopiaSUMMER 2017 participants will be held during this week. Artists will have the option to share their process in a roundtable as part of Arquetopia cultural community outreach programs in collaboration with Universidad Iberoamericana Puebla.
- Master class with Dr. Kirsten Buick
- Self-directed art production (18 hours, approx.)
- Final collective critique
- Farewell dinner
- Community outreach roundtable at Ibero
ArquetopiaSUMMER 2017 SPECIAL VENUE
The Museum of Art of the Former Convent of Santa Monica is one of Mexico’s most prominent religious and colonial art museums. Its collections were formed in the 1930s with artwork from the 16th through 17th centuries including some of the greatest artists of the New Spain such as Juan Correa, Miguel Cabrera, Miguel Jerónimo de Zendejas, and Lorenzo Zendejas, among others. The museum also records monastic life in different periods of history, from everyday life to religious rituals.
- Selection decisions are based on artistic work and proposed project. Candidates at all stages of their careers (emerging and established) must demonstrate a clear sense of potential.
- Our pool of applicants and residents is diverse in all aspects.
- Our residency programs are competitive opportunities for artists and researchers to pursue their own work, free of pressure (especially work that in their particular circumstances would normally be difficult to produce).
- Selection priority is given to projects that explore a responsible connection between the applicant’s artistic practice and the cultural context of Mexico, of Puebla, or of Oaxaca. The connection can be as broad as an artistic technique or as specific as a local theme.
- The creation of community with fellow residents and staff during the residency period is important.
Founded in 2009, Arquetopia is an internationally established, award-winning nonprofit arts and cultural foundation with a social scope that emphasizes critical thinking through artistic practices. Our Artist-in-Residence Programs are the largest and most reputable in Mexico and Latin America, with an array of contents anchored in a solid structure of collaborations with prominent cultural institutions, renowned experts, and notable artists.
We are invested in approaching art and art history with a critical perspective by understanding Mexico’s complexity in context and incorporating nuances in narratives and interpretation of Mexico’s 3,000-year heritage of visual culture. Since its founding, Arquetopia has raised the bar in the residency field, becoming a reference to every residency program in Mexico and influencing most of them in approaching artmaking with more rigorous practices, critical perspectives, and high standards.
A spectacular, four-story 1939 Mexican Colonial California-style compound conveniently located in Puebla’s central historic district and close to the Zócalo (city square) accommodates the offices, residency space for up to 12 artists-in-residence, and numerous production spaces of Arquetopia. Recently renovated and expanded, the residency offers a large, natural-light studio; a darkroom; a printmaking studio, a ceramics firing facility with a medium-sized gas kiln; a natural pigments laboratory; ten furnished bedrooms; a large dining room; an open-access kitchen; furnished outdoor terraces and viewing decks; a small botanical garden; a research library; and a rooftop lounge with panoramic views of the city.
PUEBLA, SOUTHERN MEXICO
Accessible via two international airports in Puebla (PBC) and Mexico City (MEX), Puebla is a UNESCO World Heritage Site that lies 136 km (84 mi) from Mexico City and has approximately 5,000 colonial buildings. With a population of 2.7 million, Puebla is famous for a deep cultural identity, delicious cuisine, Talavera ceramics, and traditions rooted in the 16th-century baroque and enriched by a blend of five pre-Hispanic/indigenous cultures, Arab, Jewish, French, and Spanish influences. Puebla lies 45 km (28 mi) east of the Popocatépetl and Iztaccíhuatl volcanoes, giving the residents a magnificent view of their snow-topped peaks. At an elevation of 2,200 m (7,200 ft), Puebla features a temperate subtropical highland climate, resulting in an average of only three days per year seeing temperatures above 29°C (84°F).
RESIDENCY DURATION / TIME PERIOD
Term of 6 weeks. Dates for this program are fixed, from Monday, June 5 to Monday, July 17, 2017.
WHAT THIS RESIDENCY INCLUDES
- Each resident meets weekly with our staff for individualized research assistance/resources, project guidance, and critiques
- Our residencies are process-based; residents are not expected to give talks, exhibitions, or workshops
Accommodation and Meals:
- Furnished, private bedroom
- Meals and 24-hour access to the kitchen and dining room
- Wireless Internet
- Use of Arquetopia’s residency spaces including 4th-floor lounge and outdoor terraces
- Shared bathrooms with modern fixtures and showers
Studio Workspace and Materials:
- 24-hour access to large and bright, shared art studio with generous natural light
- Personal workspace with large table and wall space
- Some tools provided
- On-site darkroom provided for photographers
- On-site print studio provided for printmakers
- On-site ceramics firing facility provided for ceramists
- Materials and supplies for the instructional course provided
- Materials and supplies for additional project production not included but available for purchase locally
RESIDENCY DEPOSIT, FEE, AND PAYMENT DEADLINES
Fee: USD $795 per week (USD $4770 total for the 6 weeks).
Payment Deadlines: Deposit of 20% of Residency Fee due within 1 week of selection. Balance of Residency Fee due within 30 days of selection. Fee Reduction of USD -$350 for full payment within 1 week of selection.
Arquetopia is committed to providing an inclusive and welcoming environment for all members of our diverse local and international community. Arquetopia’s resident artist and staff backgrounds vary in all aspects. As part of Arquetopia’s mission is to promote diversity, Arquetopia actively fights discrimination by offering access to its programs and activities without regard to race, color, gender or gender expression, national origin, age, religion, creed, or sexual orientation.
There’s TWO DAYS left to submit to the Series 8 Call for Art + Music! The deadline is Monday, March 13, 2017.
Your Art. Our Beer. The Series 8 Call for Art + Music has no theme; there are no boundaries on creativity.
Show the world your work! Our beer is now being sold across Canada, North Eastern and Mid Western USA, as well as Spain, Italy and Australia.
To submit your art or music, and get details on ALL the artist benefits and payment, visit collectiveartsbrewing.com/submit-art.
We look forward to seeing your work!
The exclusive collectors’ community at Rarify is a place where users can store and showcase their collections, find rare art and design works from internationally recognised artists and connect with like-minded collectors and industry professionals.
Through a sophisticated recommendation engine, Rarify will learn a user’s preferences and recommend artists, designers and collectors they may be interested in.
“We’re really excited to bring Rarify to the art and design world. It’s a place where collectors can showcase their collections and also meet others who share their passion. We’re excited about the energy that this community of collectors will bring with them” said Paul Shanley, Rarify’s Founder.
Shanley, an avid collector himself, started Rarify after realising that the options for art and design collectors to connect and find rare items were limited.
“More and more people are choosing to invest in art and design. But the industry hasn’t really reacted to this and the tools available for collectors to find items they love haven’t really changed. By giving collectors a way to showcase their collections and connect with other like-minded collectors, we’re giving them the ability to find art and design items on an unprecedented level, some of which would usually never be seen on the market again,” added Mr. Shanley.
Users can register at www.rarify.net.
You probably shoot images with your camera phone and then make adjustments or add effects using various apps, including one or more for converting your color photos to black and white (aka monochrome). Many digital cameras also have options for converting color image captures to black and white. But those quick conversions are sort of one size fits all, and probably won’t produce the highest quality results for your specific image. Plus wouldn’t you like to know how to make color adjustments to get the best black and white results from the start. If you’d like to step up your quality and gain more control, master photographer Harold Davis has a new book to guide you. The title of the book is The Photographer’s Black & White Handbook. The cover price is $35.00 but the book is currently available for $17.88 for a soft cover print copy and only $13.79 for a Kindle version.
The book will guide you in post-processing your images using such tools as are available in Lightroom, Photoshop, and Topaz plug-ins. Not all are necessary. Each image layer is processed uniquely to your personal artistic vision, and the guidebook will get you started, answer many of your questions, and assist you in countless ways to help increase your understanding for better results. Of course, you still have to put in the time and effort. If you are already proficient using post process programs, and want to explore more possibilities for image effects, the last chapter of this book–CREATIVE B & W EFFECTS–covers such things as tinting and toning, split toning using various tools, selective color and hand painting, selective focus, solarizing, simulated infrared, vintage, antique and film effects, adding borders and so much more.
Harold Davis’ website is called the Digital Field Guide https://www.digitalfieldguide.com
You can view more b & w photos from the book in my Niume article here.
The author very recently talked about his book, conversion processes, and showed images in a B & H Photo video presentation –
Alexandria Museum of Art
30th September Competition
June 2 – September 22, 2017
ENTRIES MUST BE COMPLETED ON CaFE. TO ENTER, FOLLOW THIS LINK:
For its 40th Anniversary, the Alexandria Museum of Art will be installing its first permanent exhibition galleries in October, 2017. Because of this and the 30th year of the September Competition, the Alexandria Museum of Art has changed the dates for the September Competition exhibit. In 2017, the exhibition will be on display from June 2nd through September 23rd, 2017. In 2018 and following, the September Competition exhibition will be on display for four months, from July through October.
Curator & Registrar
Alexandria Museum of Art
933 Second Street, Alexandria, LA 71301
Larisa Oancea, curator and content contributor at Yogurt Magazine, a creative magazine based in Rome focused on contemporary photography and visual arts sent us their Call for Entries to share our with our readers (and on social media)—
Taking its cue from Jung’s concept of “sublimation”, Yogurt Magazine is an ambitious visual research about the new anthropology of Eros. Our current call for artists reflects, as well, on the concept of desirable body and its uncanny derivations in contemporary photography.
CALL FOR ENTRIES
The desirable body and its uncanny derivations in contemporary photography
Yogurt Magazine is seeking for photographies which grasp an original interpretation of the concept of sensuality and its uncanny derivations: desirable body, masculine or feminine, whole or fragmented.
You are invited to propose your photos to info@yogurtmagazine
DEADLINE: March 30th 2017
We are looking forward to hearing from you!
Just received today–
Peripheral ARTeries is looking for artists to be featured in the new special Biennial Edition of their art publication, that comes to its 8th edition. This opportunity is great for both established and early career artists who need a boost to their artist portfolio. Accordingly, worldwide artists at any career-stage can submit their works. Peripheral ARTeries is an artists led project aiming to facilitate artists connecting with each other as well to general and specialized public.
The 8th edition will once again explore and show current trends and tendencies in Contemporary Art: Peripheral ARTeries cultivates a spirit of openness through a unique collaborative and participatory approach.
There are no entry fees: and each artist may submit a maximum of three works or projects made in any technique:
Video Art & Short Film
Fine Art Photography
This opportunity to all proposed forms of art and media and it will focus on works which cause people to reflect on the larger community and a kind of art capable of challenging the viewers’ traditional perspective on art itself.
application form: https://form.jotform.com/artcall/arteries2017
more information http://peripheralarteries.yolasite.com/
Any questions can be sent to firstname.lastname@example.org
Gallery Sitka, which is actually 2 Galleries filled with art of various styles, is located in town of Fitchburg, in Central Massachusetts, USA, has Calls for Artists. Gallery Sitka also manages The Bull Run’s Artist’s Walkway with the Current Show in Fitchburg: Comics!
Today, Gallery Sitka contacted me on Twitter to let me know that their current Call to Artists is for artwork on the theme Oceans! The show runs for all of February and March. Read the full details in their CALL TO ARTISTS here.
Follow Gallery Sitka on Twitter here. Follow Artist Marketing Resources on Twitter here and here.
And as always, you can find our extensive artist resource of art galleries here.
Follow R. Cline Arts on Facebook here.
Find more opportunities to connect with Art Consultants here.
This Las Vegas based art consulting firm works with architects, healthcare providers, the hospitality industry and corporations world-wide. They also have an exhibition program and are seeking both national and international artists. They sent us their Call to Artists to Submit. You can contact them via Facebook or via other details provided above.
Niume is a platform where you can add images about your art and tell others about your work. Sign up for a free Niume account here and then write your post. Select the Art category for your article. Then add an eye-catching photo of your art as a cover image. Write an interesting title. Then add more images of your art to the body of the post. Include interesting written information about your work along with a link to your site. Include keywords such as painting, works on paper, fine art, drawing and many other possible fine art terms.
Once you publish, share on Flipboard, Twitter, Facebook, Stumbleupon, Tumblr and many other social media platform share options offered by Niume.
View the Niume platform here.
Just one of the many opportunities for artists that we share here, and one of many more that you will find on our e-list of art gallery artist submission opportunities (available here), artists may apply now until February 16th 2017 to exhibit at the Crypt Gallery in London.
Factory-Art Ltd London is organizing their NEVERWHERE Exhibit at the Crypt Gallery to take place in Spring 2017.
Submit your art!
Factory Art Projects “NEVERWHERE” – London 2017
Factory Art invites artists from all over the world to submit their artworks for selection for their next exhibition in London, titled: “NEVERWHERE”–
The Crypt gallery St Pancras is a London Below venue, that will be selecting and showing the work of 20 artists for this upcoming exhibition opportunity.
20 artists will be selected to exhibit “Neverwhere“.
Deadline for Applications: Tuesday 16th February 2017, 10pm GMT.
apply via online form here
Naotaka Hiro: Peaking
Photo Courtesy of The Box Los Angeles
Naotaka Hiro: Peaking at The BOX, LA
By Shana Nys Dambrot
Through January 28th
Shaped canvas paintings are not often emotionally expressive, favoring the precise curves and angles of custom frames over the bohemian flaunting of rough-edges and raw remnants. Instances of attacking, slicing, piercing, puncturing, and otherwise compromising the painted surface through draping, crumpling, reversing and ruching are more emotive, obscuring image and content in ways that can feel subversive, destructive, violent, but also risk seeming calculated for effect. Naotaka Hiro’s current exhibition at The Box literally and figuratively turns these art historical tropes inside out, presenting a series of engaging, vivacious, visceral and absolutely disruptive carved-up canvases (and related series of frenetic works on paper, surreal bronze body-cast sculptures, and performative action-painting video) that reinvigorate these practices.
Naotaka Hiro: Peaking
Photo Courtesy of The…
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For our readers–use these discount codes to get your art postcards, books-booklets-magazines of your art, new calendars, and retractable banner for your next open studio, exhibition or event,